{"id":63,"date":"2003-07-05T14:50:57","date_gmt":"2003-07-05T06:50:57","guid":{"rendered":"http:\/\/www.fgautron.com\/weblog\/archives\/2003\/07\/05\/tokyo-fist\/"},"modified":"2025-04-06T00:23:57","modified_gmt":"2025-04-05T15:23:57","slug":"tokyo-fist","status":"publish","type":"post","link":"https:\/\/www.fgautron.com\/weblog\/archives\/2003\/07\/05\/tokyo-fist\/","title":{"rendered":"Tokyo Fist"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" data-attachment-id=\"37705\" data-permalink=\"https:\/\/www.fgautron.com\/weblog\/archives\/2003\/07\/05\/tokyo-fist\/tokyofist1\/\" data-orig-file=\"https:\/\/www.fgautron.com\/weblog\/wp-content\/\/tokyofist1.jpg\" data-orig-size=\"1024,681\" data-comments-opened=\"1\" data-image-meta=\"{&quot;aperture&quot;:&quot;0&quot;,&quot;credit&quot;:&quot;&quot;,&quot;camera&quot;:&quot;&quot;,&quot;caption&quot;:&quot;&quot;,&quot;created_timestamp&quot;:&quot;0&quot;,&quot;copyright&quot;:&quot;&quot;,&quot;focal_length&quot;:&quot;0&quot;,&quot;iso&quot;:&quot;0&quot;,&quot;shutter_speed&quot;:&quot;0&quot;,&quot;title&quot;:&quot;&quot;,&quot;orientation&quot;:&quot;0&quot;}\" data-image-title=\"tokyofist1\" data-image-description=\"\" data-image-caption=\"\" data-large-file=\"https:\/\/www.fgautron.com\/weblog\/wp-content\/\/tokyofist1-700x466.jpg\" src=\"https:\/\/www.fgautron.com\/weblog\/wp-content\/\/tokyofist1.jpg\" alt=\"\" width=\"1024\" height=\"681\" class=\"aligncenter size-full wp-image-37705\" srcset=\"https:\/\/www.fgautron.com\/weblog\/wp-content\/tokyofist1.jpg 1024w, https:\/\/www.fgautron.com\/weblog\/wp-content\/tokyofist1-300x200.jpg 300w, https:\/\/www.fgautron.com\/weblog\/wp-content\/tokyofist1-700x466.jpg 700w, https:\/\/www.fgautron.com\/weblog\/wp-content\/tokyofist1-800x532.jpg 800w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/p>\n<p><b>Tokyo Fist par Shinya Tsukamoto (1995)<\/b><\/p>\n<p>Ce film japonais m\u2019a laiss\u00e9 une tr\u00e8s forte impression en t\u00eate. En le regardant, j\u2019ai souvent \u00e9t\u00e9 choqu\u00e9 par la violence des images, mais celles-ci desservent un message. L\u2019ambition du r\u00e9alisateur Shinya Tsukamoto (\u585a\u672c\u664b\u4e5f) est de pr\u00e9senter une alternative extr\u00eame \u00e0 la soci\u00e9t\u00e9 japonaise actuelle. En prenant Tokyo comme symbole de cette force qui \u00e9crase les individus et les \u00e2mes, les faisant errer tels des zombies entre les immeubles gigantesques, Tsukamoto attaque \u00e0 sa mani\u00e8re cette soci\u00e9t\u00e9 lib\u00e9rale violente en proposant un contre-courant encore plus violent, mais d\u00e9finitivement plus humain: celui de la douleur. A travers la douleur, on reprend conscience de son corps, un corps qui a tendance \u00e0 ne devenir pas plus qu&rsquo;un simple support pour le cerveau, sans autre int\u00e9r\u00eat que de servir \u00e0 le d\u00e9placer d&rsquo;un endroit \u00e0 un autre. Mais il va plus loin dans son expos\u00e9: non seulement on reprend conscience de son corps \u00e0 travers la douleur (apport\u00e9e ici par la boxe que pratique le protagoniste), mais aussi de son \u00e2me, qui finissait par ne plus refl\u00e9ter l&rsquo;identit\u00e9 profonde de l&rsquo;individu. Le film n&rsquo;est pas un divertissement. Il s\u2019agit d\u2019une vision tr\u00e8s personnelle de l&rsquo;interaction entre les \u00eatres humains et la ville de Tokyo. J&rsquo;aime cela dans un film quand son r\u00e9alisateur ne fait aucun compromis pour exprimer ce qu&rsquo;il veut.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tokyo Fist par Shinya Tsukamoto (1995) Ce film japonais m\u2019a laiss\u00e9 une tr\u00e8s forte impression en t\u00eate. En le regardant, j\u2019ai souvent \u00e9t\u00e9 choqu\u00e9 par la violence des images, mais celles-ci desservent un message. L\u2019ambition du r\u00e9alisateur Shinya Tsukamoto (\u585a\u672c\u664b\u4e5f) est de pr\u00e9senter une alternative extr\u00eame \u00e0 la soci\u00e9t\u00e9 japonaise actuelle. En prenant Tokyo comme&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[1116],"tags":[1726,2592],"class_list":["post-63","post","type-post","status-publish","format-standard","hentry","category-cinema","tag-shinya-tsukamoto","tag-tokyo-fist"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"jetpack_likes_enabled":true,"_links":{"self":[{"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/posts\/63","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/comments?post=63"}],"version-history":[{"count":5,"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/posts\/63\/revisions"}],"predecessor-version":[{"id":45417,"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/posts\/63\/revisions\/45417"}],"wp:attachment":[{"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/media?parent=63"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/categories?post=63"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fgautron.com\/weblog\/wp-json\/wp\/v2\/tags?post=63"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}