Gay japanese bondage film
With the rise of the Pride Pride in Tokyo’s Shibuya and Harajuku, to the pressure on the Tokyo Government to officially notice same-sex partnerships, there’s a lot to celebrate in Japan. However, there’s still a long way to go. Phrases like “The nail that sticks up gets hammered down” still dominate Japan’s cultural ideology and landscape. This list of our favorite Japanese LGBTQ+-focused films showcases the nuanced and honest representations of Japan’s gender non-conforming community, and each film has gained attention both in Japan and abroad.
These Japanese Homosexual films have helped to shape, and change, Japan’s up-to-date film industry. As well as the country’s attitudes towards LGBTQ+ folks.
Funeral Parade of Roses (1969)
Director: Toshio Matsumoto
A cult classic, Funeral Parade of Roses is set in the underground same-sex attracted culture of 1960s Tokyo. It is based on a loose adaptation of Oedipus Rex in which a male lover son kills his mother and sleeps with his father.
Like Grains of Sand (1995)
Director: Ryosuke Hashiguchi
In this coming-of-age story, Shuji, a Japanese teen, falls in love with his friend Hiroyuki. However, Hiroyuki is
Tiona Nekkia McClodden
Born in Blytheville, Arkansas and raised in Greenville, South Carolina, McClodden weaves narratives through archives, memories and objects, integral to her past and present, that shape her broader oeuvre. Throughout her perform, McClodden examines and amplifies experiences relational to her personal identity. Ideas of selfhood and Ebony interiority lie at the core of her practice, and take in themes including queer poetics and ancestry, architecture and space, and traditional African spiritual practice. Notably, McClodden’s video installation I prayed to the wrong god for you, presented at the Whitney Biennial in 2019, earned her the prestigious Bucksbaum prize. In 2022, McClodden’s exhibitions at The Shed and 52 Walker alongside her year-long installation at MoMA in New York, garnered significant acclaim, prompting The Recent York Times to identify McClodden as ‘one of the most singular artists of our aesthetically rich, free-range time’.
In her central exhibition at Kunsthalle Basel (2023), titled ‘THE POETICS OF BEAUTY WILL INEVITABLY RESORT TO THE MOST BASE PLEADINGS AND OTHER WILES IN ORDER TO SECURE ITS RELEASE’, the artist considers consent, power an
Read More about "A Tapestry of Birmingham: Exploring Our Diversity"
The Fugitive Slave Acts were two Acts enacted by Congress in 1793 and 1850 to bolster the original Fugitive Slave Clause in the U.S. Constitution, which prevented a “person held to service or labor” from gaining autonomy in the event they escaped to a free state.
The second Fugitive Slave Act of 1850 was passed to combat the “Personal Liberty Laws.” The new Act denied enslaved people the right to a jury trial and increased the penalty for helping those seeking liberty to $1,000 and six moths in jail. To ensure that the Behave was enforced, it placed control of individual cases in the hands of Federal Commissioners, who were paid more for returning an enslaved person to the enslaver, than to set them free. This led to accusations that the law was biased in favor of slave states. After 1850, the Underground Railroad became more active as many release seekers were now helped by abolitionists to attain Canada to escape U.S. Jurisdiction.
The Abolitionists of Birmingham- Elijah Fish
Elijah Fish (at right: a composite image of several ma
Nobuyoshi Araki has long courted controversy in his native Japan. The photographer who shot to fame after intimately documenting his wife during the couple's honeymoon, is, by his own admission, obsessed with the opposite sex, and has become known for his graphic depictions of young women in sexualized situations. He's also a master stylist with a preternatural sense for color, a strength that gives supporters employ in the battle over whether the Araki oeuvre celebrates the female form, or exploits it.
Now a new book allows the provocateur to explain his stance on women in his retain terms. The 568-page tome -- a Taschen imprint titled, simply, "Araki" -- splits decades of photographs by themes, so a single section tackles sensual photographs of flowers, and another, Araki's images of women tied up in the tradition of kinbaku, an Edo-period rope play that came of age in 1950s Japan. Perhaps the section that will most intrigue followers of the photographer's work however, is the forward, an interview with Araki divulging thoughts he claims never to have shared before. He says he does this because the book is not set to be translated into Japanese, and so we are treated to his