La narration des corps dans Tokyo Lucky Hole (1983-1997) d'Araki Nobuyoshi: une esthétique de la pseudo-objectivité.

If it can be said for certain that dramatization is intimately part of Araki Nobuyoshi's works, then how the use of this detachment from objectivity - believed to be inextricably bound up with the photography as a media - becomes a component of an aesthetic language in itself? The sprawling work Tokyo Lucky Hole shows, with a bold brightness that recalls Walker Evans' "documentary style", much more than a mere immersion in Tokyo Kabukichō's clubs and peepshows. Accordingly, the nude body - feminine, even masculine - seizes the main place of Araki's work through his models' acting. By means of three different analysis lines, we will discuss in this essay the importance of bodies position (clothed, then naked) in this unusual work, whether this position is internal or external to the image. Bodies positioning seems to convey a major meaning through their juxtaposition or repetitions, which could ultimately be understood firstly as the medium of the language of pseudo-objectivity, and secondly as the indicator of some social criticism. [ABSTRACT FROM AUTHOR]