<abstract xmlns="http://www.w3.org/1999/xhtml"><p> Sion Sono’s Guilty of Romance (Koi no tsumi, 2011) was adapted from an actual crime in Tokyo’s love hotel: an educated woman (a prostitute at night) was found decapitated and her limbs were re-assembled with a sex-doll. Sono renders this through his cinematic narrative blurring the distinction between true crime and fictional sin like Rancière’s idea that everything is a narrative dissipating the opposition between “fact and fiction,” and “quasi-body” becomes a product of human literarity while an imaginary collective body is formed to fill the fracture in-between. In Sono’s story, the victim is a literature professor tormented by an incestuous desire for her father, whose favorite book is Kafka’s Castle. Thus she compares the love-hotel district where she turns loose at night as a castle of lusts. Here the narrative becomes a collective body that puppeteers human “quasi-bodies” in a Kafkaesque spatio-temporal aporia, and time’s spatialized horizontally with the germs of desire spread like a contagion on a Deleuzian “plane of immanence.” </p></abstract>

Sion Sono’s Guilty of Romance (Koi no tsumi, 2011) was adapted from an actual crime in Tokyo’s love hotel: an educated woman (a prostitute at night) was found decapitated and her limbs were re-assembled with a sex-doll. Sono renders this through his cinematic narrative blurring the distinction between true crime and fictional sin like Rancière’s idea that everything is a narrative dissipating the opposition between “fact and fiction,” and “quasi-body” becomes a product of human literarity while an imaginary collective body is formed to fill the fracture in-between. In Sono’s story, the victim is a literature professor tormented by an incestuous desire for her father, whose favorite book is Kafka’s Castle. Thus she compares the love-hotel district where she turns loose at night as a castle of lusts. Here the narrative becomes a collective body that puppeteers human “quasi-bodies” in a Kafkaesque spatio-temporal aporia, and time’s spatialized horizontally with the germs of desire spread like a contagion on a Deleuzian “plane of immanence.”

Quasi-Bodies and Kafka’s Castle in Sion Sono’s Crime Noir Guilty of Romance (2011)

Acta Universitatis Sapientiae, Film and Media Studies

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Sion Sono’s Guilty of Romance (Koi no tsumi, 2011) was adapted from an actual crime in Tokyo’s love hotel: an educated woman (a prostitute at night) was found...

Quasi-Bodies and Kafka’s Castle in Sion Sono’s Crime Noir Guilty of Romance (2011)

Data publikacji: 25 wrz 2014

Zakres stron: 167 - 181

DOI: https://doi.org/10.2478/ausfm-2014-0032

© 2014

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.