![\"mishima1.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2009\/08\/mishima1.jpg\")
<\/p>\n<\/p>\n
Wilhelm von Gloeden<\/a>‘s version of the Flandrin pose<\/a> as it appears on the cover of a 1989 Gallimard edition of Forbidden Colours<\/em> by Yukio Mishima. I included this photograph in the very first posting which examines the recurrence of Flandrin’s Jeune Homme Assis au Bord de la Mer<\/em> but this is the first time I’ve seen it used on a book cover. The French twist the title into “forbidden loves” and in so doing lose Mishima’s punning subtlety<\/a>.<\/p>\n The Ballad To a Severed Little Finger (1966).<\/em><\/p>\n Searching around earlier turned up a nice collection of poster works<\/a> by the great Japanese collage artist, Tadanori Yokoo. One of these<\/a> from 1966 is dedicated to Mishima, while the one above shows actor Ken Takakura in one of his many yakuza roles. Yokoo regarded Mishima as a major influence and further cemented the relationship by making an appearance in Paul Schrader’s 1985 film, Mishima: A Life in Four Chapters<\/em><\/a>. By convoluted coincidence, Schrader received his start in Hollywood ten years earlier with a co-written screenplay, The Yakuza<\/em><\/a>, which Sidney Pollack directed. Ken Takakura reprised his gangster persona in that film, along with Robert Mitchum. It’s a good piece of neo-noir, worth seeking out.<\/p>\n For more Tadanori Yokoo, see some of the recent posts by Will at A Journey Round My Skull<\/a>.<\/p>\n Elsewhere on { feuilleton } Previously on { feuilleton } Wilhelm von Gloeden‘s version of the Flandrin pose as it appears on the cover of a 1989 Gallimard edition of Forbidden Colours by Yukio Mishima. I included this photograph in the very first posting which examines the recurrence of Flandrin’s Jeune Homme Assis au Bord de la Mer but this is the first time I’ve … Continue reading “Forbidden Colours”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[42,4,7,5],"tags":[1041,624,236,663,1420,662,661,625],"class_list":["post-5959","post","type-post","status-publish","format-standard","hentry","category-books","category-design","category-film","category-gay","tag-a-journey-round-my-skull","tag-goh-mishima","tag-hideki-koh","tag-paul-schrader","tag-sadao-hasegawa","tag-tadanori-yokoo","tag-wilhelm-von-gloeden","tag-yukio-mishima"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-1y7","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/5959","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=5959"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/5959\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=5959"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=5959"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=5959"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"mishima2.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2009\/08\/mishima2.jpg\")
<\/a><\/p>\n
\n\u2022 The recurrent pose archive<\/a><\/p>\n
\n\u2022 The art of Goh Mishima, 1924\u20131989<\/a>
\n\u2022 The art of Hideki Koh<\/a>
\n\u2022 Mishima\u2019s Rite of Love and Death<\/a>
\n\u2022 Secret Lives of the Samurai<\/a>
\n\u2022 Guido Reni\u2019s Saint Sebastian<\/a>
\n\u2022 The art of Sadao Hasegawa, 1945\u20131999<\/a>
\n\u2022 The art of Takato Yamamoto<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"