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About the Author

Tom Mes is the founder and co-editor of Midnight Eye, the worldÂ’s leading website on contemporary Japanese cinema. An acknowledged expert on the work of Takashi Miike, his writing on the director has been published in the US, UK and Russia. TomÂ’s other books include Iron Man: The Cinema of Shinya Tsukamoto (FAB) and The Midnight Eye Guide to Japanese Cinema.

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Product details

Paperback: 428 pages

Publisher: FAB Press; Revised & Updat edition (June 24, 2006)

Language: English

ISBN-10: 1903254418

ISBN-13: 978-1903254417

Product Dimensions:

6.8 x 1 x 9.2 inches

Shipping Weight: 2 pounds

Average Customer Review:

4.6 out of 5 stars

9 customer reviews

Amazon Best Sellers Rank:

#2,001,689 in Books (See Top 100 in Books)

Takashi Miike is an amazing director and this book is perfect to explain his movies. It is well worth the money for how much information is in it. I would skim through the movie sections to get an feel on each Miike movie. My only advice would be to read about the movie after you watch it since it explains a lot and tells you everything that happens including the ending.

So glad to have this back in my collection. First edition, too!

Great product... great seller, hope to do nussines in the future... thanks :)

I was writting an essay on Takashi Miike for a Japanese Popular Culture course, and this book really came in handy with an entire movie list and great descriptions!

One of the major stumbling blocks for enthusiasts of Japanese cinema in the west is the difficulty one finds in viewing the material. The major directors of Japanese cinema (Naruse, Kurosawa, Ozu, Oshima, Mizoguchi et al) are well represented. But a director like Takashi Miike, despite his strong cult following in the west, has still only had a small fraction of his prolific output distributed here. It becomes difficult therefore to construct patterns in his cinema or progressions of style and content. However this book goes some way to repairing the distribution limbo of his films, although nothing can replace seeing the films themselves.Author Tom Mes dispenses with theories of genre and the intricacies of auteur theory (which would no doubt be to the directors approval) and chooses, via textual analysis, to map out the thematic universe that Miike has constructed in his films. Naturally this suggests authorship of some kind, and Mes acknowledges Miike as an artist without getting carried away rhetorically. The thematic network is mapped out in chronological terms, meaning one can read it straight through, or dip in, for reference purposes. Miike has largely worked in an industrial context in which is films are pre-written, pre-budgeted and sometimes pre-cast, but despite this, Mes argues that Miike is still able to weave personal concerns into the generically divergent material.Subsequently the chapter on themes is indispensable and Mes goes on to identify rootlessness, the outcast, the search for happiness, nostalgia, the family unit and violence as the recurring themes in his work. It is true that these motifs re-occur in a remarkable number of his films, and this goes hand in hand with a distinctive visual style that places great emphasis on montage sequences, interesting colour palettes, and a penchant for staggering visual exaggeration. The director also uses a repertoire of actors and technicians, and one begins to see the indelible print of an author. Fortunately this book is not a defence of Miike's ultra-violent and transgressive cinema, and doesn't attempt to raise Miike's cultural standing. Mes, along with Jasper Sharp runs the website Midnight Eye, which is devoted to New Japanese Cinema, and along with this book is the first port of call on the amazing cinematic world of Takashi Miike.

Tom Mes, Agitator: The Cinema of Takashi Miike (Fab, 2003)Western audiences labored in blissful ignorance of the career of Takashi Miike for years. American and European extreme gore fans started noticing him with the release of Dead or Alive; the rest of the world snapped to attention when film festivals started showing such definitive Miike films as Rainy Dog, Audition, and Ichi the Killer. By now, Miike is Japanese culture's most recognizable export. However, we've gone from being completely ignorant to categorizing the director as a guy who does nothing but extreme gore (despite the brilliant The Happiness of the Katakuris, a twisted, and relatively gore-free, musical from 2001). Tom Mes, a dedicated film festival-goer and Miike fan, aims to show us there's more to the guy than promotional vomit bags (which were handed out to those attending the premiere of Ichi the Killer at the 2001 Toronto Film Festival).In the bulk of the book, Mes takes the reader through Miike's prolific oeuvre (to give you an idea of just how prolific, since Mes stopped documenting to publish, with Deadly Outlaw: Rekka, released in mid-2002, Miike has released ten films as of this writing), tracing the various themes to be found in the director's work. Rest assured, Mes is not a fanboy; he casts a rather critical eye over a number of Miike's films. The effect is for the reader to want even more to see a number of Miike's films not yet available outside Asia, for the most part (Ley Lines draws the most praise, for example, of any film in the oeuvre, with The Bird People in China, Rainy Dog, and The Guys from Paradise also getting a lot of positive play; of them, only Rainy Dog is available in the west, and that only in Britain, according to IMDB). The book is rounded out with Miike's filming diary for Ichi the Killer, a long interview Mes conducted with Miike in 2002, and some biographical info on the man.Needless to say, this book is a must for fans of Miike's movies, and is well worth the steep price it commands. Those who consider Miike an amusement might also do well to dip in and take a look at the structures that underlie the outrageousness Miike depicts on film. Definitely a book worth having for even the most casual fan. ****

Finally! Someone has the guts to take this great filmmaker seriously. No one has a problem if you take Imamura, Oshima, even Kitano seriously, but for some reason Miike only gets written about as being "wild and crazy". Taking him seriously is like sacrilige to some people. In fact, the most "wild and crazy" thing you can do right now is take Miike's films as seriously as this book does. By doing so, Tom Mes stays much closer to the spirit of Miike's work than many of the director's supposed admirers can imagine.'Agitator: The Cinema of Takashi Miike' is only dull and humourless for those whose idea of a film critic is someone who cracks a few jokes about Sonny Chiba and Riki Takeuchi's hairstyle. Let me tell you: long after Miike's so-called fans have moved on to their next "wild and crazy" flavour of the month, Tom Mes's book will still be the authoritative text that gives a great director his due.

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