This chapter considers recent developments in yakuza cinema. It places important films by Miike Takashi, Kitano Takeshi, Aoyama Shinji and Mochizuki Rokuro in the context of this pervasive Japanese genre. Moreover it looks at the two chief strands of the yakuza film – the ninkyo and jitsuroku eiga - and considers how films by Aoyama Shinji and Miike Takashi in particular subvert or circumvent these paradigms. Subjects such as psychoanalysis and work on urban modernity are brought to bear on the analyses, and their import for masculine identity and male homosociality is examined alongside pertinent aspects of sexuality and gender paradigms in Japan, particularly theories pertaining to castration anxiety and the Oedipal complex.
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