Jose Torres

Teshigahara studied under Kamei Fumio and demonstrated his belief that documentary is a subjective creation by its director in his short film Jose Torres (1959). His subsequent documentaries and dramatic features have been stripped of all trace of the emotion and lyricism that could have accompanied the creation of such dramatically-composed works from the clearly-defined perspective of the filmmaker. The filmmaker uses his aesthetic sense to pick out fragments of reality, the recombination of which transforms abstract concepts into images. These unique qualities of Teshigahara’s filmmaking polish his subjects’ beauty further without making any concessions to commercialism, thanks perhaps in part to Teshigahara’s position as the head of the Sogetsu school of Japanese flower arrangement. Endowed with both a gift and the environment in which to express it, Teshigahara was in a sense a fortunate, pure-cultured successor to postwar avant-garde art.