The Depiction of Japanese Homosexuality through Masks and Mirrors An Observational Analysis of Funeral Parade of Roses

Abstract

Matsumoto Toshio’s avant-garde documentary Funeral Parade of Roses (bara no sōretsu) depicts life in Shinjuku’s 1960s underground culture. Using Sakabe Megumi’s hermeneutical theory, the film’s depiction of sexuality is analysed through its use of literal and figurative mirrors and masks. It is argued that sexuality is highly performative and that the film itself is structured like a play of mirrors, questioning the nature of reality by deferring hypostasis ad infinitum.

Keywords

• sakabe megumi
• mirror and mask
• close viewing
• avant-garde documentary
• gender performativity