Module Title: Japanese Cinema

Assignment Number: AS2

Word Count: 2401

Essay Title: How did Kinji Fukasaku’s last film “Battle Royale” reflect his approach to film-making?
Introduction:

Kinji Fukasaku was a prolific Japanese filmmaker who directed over 60 films throughout his over 40-
year-long career (Time Out Paris, 2016). His final film, "Battle Royale," released in 2000, was a
controversial and ground breaking piece of cinema that explored themes of power, control, and
rebellion in a dystopian society. The story itself was based upon the novel of the same name by
Koushun Takami which was published a year prior to the movie. The film has garnered a strong cult
following and is known for its graphic violence, exploration of themes such as power and control, and
its social commentary on Japanese society. In this essay, I will examine how "Battle Royale" reflected
Fukasaku's approach to filmmaking, particularly his use of violence, his exploration of societal issues,
and his unique cinematic style, while also referencing and comparing to his other past films.
Alongside this I will be examining the mise-en-scene, the editing, and the audio of "Battle Royale".

Background of the director and the premise of his swansong masterpiece, “Battle Royale”:

Kinji Fukasaku was born in 1930 in Mito, Japan. After studying at Nihon University, he began working
in the film industry as an assistant director in 1954 (Schilling, 2003). Fukasaku made his directorial
debut in 1961 with the film "Drifting Detective: Tragedy in Red Valley". Over the next several
decades, Fukasaku would direct over 60 films, ranging from gangster movies to science fiction epics.
His approach to filmmaking was characterized by his willingness to take risks and push boundaries.
His films often explored themes of violence, corruption, and social injustice, and he was not afraid to
tackle controversial subject matter. One of Fukasaku's most famous set of films prior to "Battle
Royale" were "Battles Without Honour and Humanity", released between 1973 and 1974. It was a
five-part series that explored the yakuza underworld of post-World War II Japan. The films were
notable for their realistic portrayal of violence and the use of nonlinear storytelling. It was a critical
and commercial success in Japan and helped to establish Fukasaku as one of the country's most
important directors. However, it was "Battle Royale" that would become Fukasaku's most famous
and controversial film.

The film itself is set in a dystopian future where a class of high school students are taken to a remote
island and forced to participate in a government-sponsored battle to the death. The story follows a
group of 42 high school students who are forced to participate in a deadly game, the titular "Battle
Royale," where they must kill each other until only one student remains within 3 days. The film has
been widely regarded as a masterpiece of Japanese cinema, and its significance lies in its portrayal of
societal issues and commentary on the education system in Japan. Fukasaku uses extreme violence
and gore to show the impact of oppressive systems on people's lives and the need for resistance. The
film also explores themes of power, control, and rebellion, highlighting the importance of individual
agency in a society where the government has complete control over people's lives. “Battle Royale”
came to be seen as a warning about the dangers of unchecked power and the importance of
standing up against oppression and tyranny.

Moreover, "Battle Royale" has been influential in popular culture, inspiring numerous other works of
fiction, including films, television shows, and video games. Its impact has been particularly notable in
the survival horror genre, which has seen a surge in popularity in recent years. The film's unique
concept of pitting school children against each other in a fight to the death has become a cultural
touchstone, and its impact can be seen in works such as "The Hunger Games", “Fortnite” and its
ludicrously popular game mode that harbours the same name as Fukasaku’s film, and the game
series "Danganronpa".
"Battle Royale" was met with controversy however upon its release in Japan. Its depiction of school
children killing each other was seen as shocking and disturbing by some viewers and critics. However,
Fukasaku's intention was not to glorify violence, but to show the impact of oppressive systems on
people's lives and the need for resistance. In fact, Fukasaku himself lived through World War II and
witnessed the devastation caused by war and authoritarianism (Mes, 2001). His experience informed
his approach to filmmaking, and "Battle Royale" can be seen as a reflection of his personal and
societal experiences. The film was a commercial success in Japan and went on to become a cult
classic around the world.

How Fukasaku’s film-making style shows through the film when compared to his previous works:

One of the most prominent elements of Fukasaku's filmmaking style was his use of violence to
convey societal issues. Fukasaku's earlier works such as "Under the Flag of the Rising Sun", 1972, and
"Graveyard of Honour", 1975, depicted violent conflicts with a sense of realism, which became one
of the hallmarks of his filmmaking style. "Battle Royale" takes this violence up a notch by presenting
a scenario in which school students are forced to fight to the death. Fukasaku utilises violence as a
tool to show the impact of oppressive systems on people's lives and the need for resistance, without
glorifying the act itself.

Fukasaku's ability to explore societal issues in his films is also evident in "Battle Royale," reflecting his
overall approach to filmmaking. "Under the Flag of the Rising Sun" tackled the issue of Japan's
treatment of women who were forced into prostitution during World War II, while "Graveyard of
Honour" explored the corruption of the yakuza underworld. In "Battle Royale," Fukasaku's
exploration of power dynamics in a society where the government is authoritarian and oppressive is
a clear reflection of his earlier works. However, in comparison to his earlier pieces of media, “Battle
Royale” puts less focus on the social commentary that backs up the movie and instead creates a
more inward focused piece that tends to gravitate more towards its action and character writing. This
was not a poor choice though, as it allowed the story to not be bogged down by the politics of its
premise which could have led to a less coherent and gripping story.

Fukasaku's previous works, such as "Yakuza Graveyard", 1976, and "Cops vs. Thugs”, 1975, often used
handheld cameras and natural lighting to create a sense of immediacy and realism (McDonald,
1983). "Battle Royale" also employs these techniques, but takes them to a new level by using them to
create a sense of chaos and urgency. These are employed to create what can ultimately be described
as a near claustrophobic effect as the small scope of the films setting and physical location shrinks to
match the cinematography. The fast-paced editing, use of music and sound effects, and use of
natural lighting all contribute to the visceral impact of the film.

Fukasaku's approach to portraying gender roles is also evident in "Battle Royale," as it was in his
earlier works. In "Graveyard of Honour," for example, a female character takes on the traditionally
male role of a yakuza member, and in "Violent Panic: The Big Crash", 1976, a female character
assumes a position of power in a male-dominated field. Similarly, in "Battle Royale," the female
characters are just as capable and complex as their male counterparts, and their gender does not
define them. The film's exploration of power and control is also reflected in its portrayal of gender
roles. In the game, the male and female students are given different weapons, with the males
receiving guns and the females receiving less lethal weapons such as cooking utensils or binoculars.
This is reflective of traditional gender roles in Japanese society, where men are often seen as the
providers and protectors, while women are expected to be homemakers and caretakers. However,
the film subverts these gender roles by showing that the female students are just as capable of
survival as the male students, and in some cases, even more so. Fukasaku's films often challenged
traditional gender roles, and "Battle Royale" is no exception.

In comparison to Fukasaku's earlier works, "Battle Royale" can be seen as a true culmination of his
filmmaking style and themes. This makes the film a definitive collaboration of all of his personal
tastes and choices that have been built upon film-after-film since the start of his career. Despite the
success of "Battle Royale", Fukasaku would only partially direct one more film before his death in
2003. The film’s sequel, "Battle Royale II: Requiem", 2003, was completed by his son Kenta after
Fukasaku's passing. As a result, the sequel was not as well-received as the original due to the lacking
impact Fukasaku had on the project and its heavy-handed political messaging.

Exploring the mise-en-scene, editing and audio of “Battle Royale”:

Mise-en-scene is a term used to describe all of the elements that are placed in front of the camera
during a shot. This includes the setting, props, lighting, costumes, and the behaviour of the actors
(NFI, 2023). In "Battle Royale", the mise-en-scene plays a crucial role in establishing the mood and
tone of the film. The setting of the film, a deserted island, is bleak and desolate, with no sign of
civilization. The students are dropped onto the island with only a map and a bag containing a random
weapon and a limited supply of food and water. The island itself is divided into various zones, each
with its own set of rules and dangers.

The costumes worn by the students are also important in establishing the film's themes. The
students are all dressed in traditional Japanese school uniforms, which represent their innocence
and vulnerability. However, as the film progresses, the uniforms become tattered and blood-stained,
symbolizing the loss of innocence and the violence that has taken over their lives. This is shown
straight from the start as the audience are presented with a shot of a young school girl clutching her
stuffed toy whilst yet being completely covered in splashes of bright red blood – all whilst she has a
sinister grin stretched across her face. This symbolic use of clothing as part of the mise-en-scene
plays into the terrifying reality of the story – that it is young children being forced to adapt to the
cruellest circumstances at the whim of a dystopian government.

Lighting is another important element of the mise-en-scene used in the movie. The film is shot
primarily in natural light, which creates a sense of realism and helps to establish the desolate setting.
However, the use of artificial lighting during night scenes creates a heightened sense of tension and
danger. For example, this can be seen with the shadows cast by the students as they move through
the dark forest as it creates a strong atmosphere of suspense and foreboding.

The behaviour and casting of the actors is also a crucial element of the mise-en-scene. The students
are all played by young actors who bring a sense of authenticity to their performances. The fear and
desperation that they display as they try to survive the game is palpable, and their interactions with
each other feel genuine. The behaviour of the adult characters, particularly the government officials
who oversee the game, such as the teacher, is also important in establishing the themes of the film.
Their cold, calculated approach to the violence and their disregard for the lives of the students
highlight the corrupt and oppressive nature of the society in which they live.

The editing of the film is another key component. The fast-paced and chaotic editing style used in
"Battle Royale" helps to create an atmosphere of panic and unease. The quick cuts and fast camera
movements during the battle scenes cast a feeling of disorientation and confusion upon the viewer,
which helps to convey the chaos of the situation. The editing also plays a role in the film's narrative
structure. The use of flashbacks and montages helps to establish the backstories of the various
characters and provides context for their actions during the game.

Sound and audio also play a crucial role in the film. The use of music, particularly the upbeat songs
that are played throughout the film, creates a jarring contrast with the violence and brutality
onscreen. This contrast helps to establish the film's satirical tone and highlights the absurdity of the
situation. The sound effects used during the battle scenes, particularly the squelching and slicing
sounds of the weapons, create a visceral and unsettling experience for the viewer. All whilst the
occasional heightened sounds of footsteps and breathing add to the tension at the necessary times.
The use of silence is also important in establishing the film's tone. During moments of extreme
violence or emotional intensity, the sound is often muted or removed entirely, creating a sense of
emptiness and despair. This technique is particularly effective during the climax of the film, where
the only sound that can be heard is the heavy breathing of the two surviving students as they face off
against each other.

Conclusion:

In conclusion, Kinji Fukasaku's final film, "Battle Royale," is a reflection of his approach to filmmaking.
His use of violence, exploration of societal issues, and unique cinematic style are all present in the
film, and can be seen as a culmination of his career as a filmmaker. "Battle Royale" portrays the
impact of oppressive systems on people's lives and the need for resistance, a theme that Fukasaku
explored throughout his career. His ability to use violence to convey societal issues and his
exploration of power dynamics in a corrupt society are also evident in "Battle Royale," as they were
in his earlier works. Fukasaku’s understanding of film-making is shown in full force in the film as the
mise-en-scene, the editing, and the sound design of "Battle Royale" all contribute to the film's overall
impact. The bleak setting, tattered costumes, and natural lighting establish a sense of realism and
danger, while the fast-paced editing and use of music create a jarring contrast that highlights the
film's satirical tone. The use of sound effects and silence helps to create a visceral and emotional
experience for the viewer, while the behaviour of the actors, particularly the young students, brings a
sense of authenticity to the film. Overall, the film “Battle Royale” perfectly reflects Kinji Fukasaku’s
directorial style and vision in a way that none of his other movies could – creating what amounting to
being his swansong as one of Japan’s most prolific film-makers.
Bibliography:

- Film – Kinji Fukasaku retrospective – Time Out Paris. (2016). Time Out Paris. Retrieved May 2,
2023, from https://www.timeout.com/paris/en/cinema/film/kinji-fukasaku-retrospective
- McDonald, K. (1983). Kinji Fukasaku: An Introduction. JSTOR. Retrieved May 2, 2023, from
https://www.jstor.org/stable/44018738
- Mes, J. S. T. (2001). Interview: Kinji Fukasaku. Midnight Eye. Retrieved May 2, 2023, from
http://www.midnighteye.com/interviews/kinji-fukasaku/ Schilling, M. (2003).
- The yakuza movie book: a guide to Japanese gangster films. Choice Reviews Online, 41(05),
43–45. Retrieved May 2, 2023, from https://doi.org/10.5860/choice.41-2700
- Team, N. (2023). Mise-en-scène – Everything You Need to Know. NFI. Retrieved May 2, 2023,
from https://www.nfi.edu/mise-en-scene/

Filmography:

- Fukasaku, K. (Director). (1961). Wandering Detective: Tragedy in Red Valley. New Toei Tokyo.
- Fukasaku, K. (Director). (1972). Under the Flag of the Rising Sun. Toho.
- Fukasaku, K. (Director). (1973a). Battles Without Honour and Humanity. Toei.
- Fukasaku, K. (Director). (1973b). Battles Without Honour and Humanity: Deadly Fight in
Hiroshima. Toei.
- Fukasaku, K. (Director). (1973c). Battles Without Honour and Humanity: Proxy War. Toei.
- Fukasaku, K. (Director). (1974a). Battles Without Honour and Humanity: Final Episode. Toei.
- Fukasaku, K. (Director). (1974b). Battles Without Honour and Humanity: Police Tactics. Toei.
- Fukasaku, K. (Director). (1975a). Cops Vs. Thugs. Toei.
- Fukasaku, K. (Director). (1975b). Graveyard of Honour. Toei.
- Fukasaku, K. (Director). (1976). Yakuza Graveyard. Toei.
- Fukasaku, K. (Director). (2000). Battle Royale. Toei.
- Fukasaku, K., & Fukasaku, K. (Directors). (2003). Battle Royale II: Requiem. Toei.
- Fukasaku, K. (Director). (1976). Violent Panic: The Big Crash. Toei.