That Death by Hanging was not merely about Koreans in Japan (zainichi) but an exploration of the limits of representability was observed by Stephen Heath in his seminal article ‘Narrative space’, as well as by the leading Japanese critic Yomota Inuhiko in his recent Oshima monograph. This is most evident in Death by Hanging (1968), the first of the critically acclaimed ‘New Wave’ films to come out of ATG (Art Theatre Guild) and a popular reference in the political modernist discourse. From Deep Sea Fish (screenplay, 1956) to Three Resurrected Drunkards (1968), Koreans figured not simply as characters, but as markers of the threshold of representability. Articulating the centrality of Korea in Oshima's oeuvre is important both from film historical and theoretical viewpoints. It was Korea, however, that he visited when overseas travel again became possible to the Japanese in 1964, an experience that continued to inform his works both on formal and thematic levels during his most prolific decade of the 1960s. The late auteur Oshima Nagisa might be best remembered for his successful collaboration with French producers, notably for In the Realm of the Senses (1976).
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