
The documentary film ‘Black Box Diaries’ nominated for the Critics Choice Documentary Award has two shocking things that can be remembered by its audience even after the tha have seen it. To begin with, one is shown where a female journalist Shiori Itō (director and writer of the film) is being pulled across the pavement and into the lobby of a hotel by a male who is arguably drunk or heavily high and is sexually assaulting said journalist woman. This man is Noriyuki Yamaguchi, who has served simultaneously as the chief of the Tokyo broadcasting system in Washington, he had strong connections with the police and was a Political supporter of Shinzo Abe, Japan’s ex-Prime Minister.
Now, let’s skip to the ending, where damages against Yamaguchi have been awarded, and Macron Supports Shiori who gives what appears to be an acute expressionless look at the cameras, however, that was ruled in her favor. But at first, she’s highly overjoyed, the song “I Will Survive” rings out from her cell phone.
Zita from the film ‘Carlos Goes Shopping’ lets out a subdued smile at the end of the movie when the ambient atmosphere of the film is starting to feel intimidating. It leaves one pondering, how can the audience act in this situation. To better comprehend her feelings: perhaps a sense of resentment flows through her alongside a feeling of at least a little reassurance after all the suffering she had to go through when she was assaulted. Or maybe even a feeling of relief after all the chaos she had to endure in order to finally gain even a slight glimpse of achievement in her quest for justice. Most likely all these feelings could combine into something greater than she could experience which possibly explains the weakened expression on her face.
Another moment that could assist in understanding Itô’s state of mind as well. In the conference, Yamaguchi admits that while he does attempt to make his narrative sound more appealing and claims to assist incoherent girls at times for example; he employs a more passive language claiming it sad yet acceptable for desiring physical contact. insert rephrased text. For defamation, she sued him.
The film depicts the trauma that Yamaguchi experienced, as a form of punishment, this was done to emphasize that the attack was part of a larger societal issue. As Yamaguchi puts it, the incident was covered by the media and the country, she recounts her life being treated as an episode of War in Japan. It’s one thing to be a victim of an assault and another thing is to be denied justice for it Yamaguchi does not realize that at that time in Japan there were provisions that prevented a woman from commencing a case of ‘rape’ without proof that there was an intention of violence. Which, in essence, placed the male understanding of gender instead of affirmation.
“The evidence, unfortunately, doesn’t exist, “The police Case studies told to her,” There is no semen. A man’s DNA can be traced on her bra although she was cautioned that “it is merely evidence that another person has touched him, and no more. Unless there is very strong evidence your chances of accomplishing whatsoever are poor”. They first insisted she couldn’t make a report because of a narrow definition of sex crime that they were investigating.
She was later informed that there was a reversed and canceled warrant put out for her arrest. The taxi driver alleges that Yamaguchi asked him to leave the vehicle and take her back to her hotel.
Taking her campaign into account, she can also invoke her dates with the #metoo movement that followed the Harvey Weinstein abuse scandal all around the globe.
“I discovered how ignored we are:’ she told us, ‘We were reminded how violent it was She spoke of difficulties where Ito was unable to achieve her set goal’. There is no way imprisoning me is healthy, the kind of work I do, in fact, the true meaning of a black hole a black star.” It was expected and quite predictable that she would address the media to explain her version, however doing so invites strong condemnation. “People will look at me and “I will be cast as a victim. ” This indeed will be true irrefutably regardless of how popular and successful she is ‘How could anyone show their face,’ they say. Her advisers tell her that as soon as you speak out, the happiness of being married and having children will not happen. She quotes a woman who sent her a message “You know it’s great, what you are saying and what you believe, yes, you are right, but have you thought about the man you are trying to destroy?”.
For what Ikuto Izumi really needed was to have been Ikumi which arguably was the one thing that set this case apart from others but she exploited it fully for the reason that any other man for instance, who would have narrated the case would have appeared incredibly dumb. This lady deserves to be vindicated, her story needed to be told and she did that through her art.
As a journalist, I dedicated all my efforts to reporting the truth to the best of my abilities, and I had to do it. As one can see from these words, she has quite a different self-pitying image of a woman than the world would expect like a victim a coward who would be crying in self-hate and trying to hide her face which is customary in society, Rather so.
Talking about the film, its initial shots present a greater cautious visual than that of the rest of the feature.
Throughout the filming, no editing is performed to exclude the scenes where the position of the camera shakes during the filming of the movie. It becomes confident and polished with outstanding practice which is exactly synonymous with Itō at this stage. In the first few scenes, she gives the impression that she is rather removed from the situation, even allowing herself a grin on occasion when she is irritated but chooses not to address her emotions directly. Later, however, we see her more when she is moved by something gentle that is totally unanticipated, for example. This film is simply deep, gentle, and heart-wrenching all at the same time. At some moments, she talks into the camera while she seems to be alone in a room and shooting herself with her own mobile phone and Itō is more or less the same. One of the women’s group members remarks that it is like the words of her outgrowing woman’s group that surrounds her, in wrap-like layers.
Now she feels deeply sad, the hotel’s doorman agrees to testify under the threat of losing his job. He recalls the time Yamaguchi escorted her out of the talking lobby. The recent events from this perspective he sits talking over the phone with her, without the opportunity to see them both. He reverently bows for the first time, having to reminiscence because he was at work that night.
What she stands for is that she should be seen when she is indeed weak and she is the one who is ill. But at the same time, this film serves as evidence of her profound heroism. The lawyer’s comment, lacking the evidence, which would fit in this archaic notion of rape as contained in the law over centuries ago, gave birth to this movie’s title. Nevertheless, the word seems more appropriate if we recognize this film as a technology that processes essential data after the crash of an aircraft. Just like that black box, It is very important that Itô experiences the survivor and journalist angle as this is the heartless reality that happens after experiencing such deep trauma.
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