{"version":"1.0","provider_name":"TAIPEI","provider_url":"https:\/\/taipeirevista.com","author_name":"Taipei \/ Cr\u00edtica de cine","author_url":"https:\/\/taipeirevista.com\/index.php\/author\/taipei\/","title":"Cine, cineastas y Oshima (Seijun Suzuki) - TAIPEI","type":"rich","width":600,"height":338,"html":"<blockquote class=\"wp-embedded-content\" data-secret=\"SYVWm6dQ6g\"><a href=\"https:\/\/taipeirevista.com\/index.php\/2025\/10\/15\/cine-cineastas-y-oshima-seijun-suzuki\/\">Cine, cineastas y Oshima (Seijun Suzuki)<\/a><\/blockquote><iframe sandbox=\"allow-scripts\" security=\"restricted\" src=\"https:\/\/taipeirevista.com\/index.php\/2025\/10\/15\/cine-cineastas-y-oshima-seijun-suzuki\/embed\/#?secret=SYVWm6dQ6g\" width=\"600\" height=\"338\" title=\"&#8220;Cine, cineastas y Oshima (Seijun Suzuki)&#8221; &#8212; TAIPEI\" data-secret=\"SYVWm6dQ6g\" frameborder=\"0\" marginwidth=\"0\" marginheight=\"0\" scrolling=\"no\" class=\"wp-embedded-content\"><\/iframe><script>\n\/*! This file is auto-generated *\/\n!function(d,l){\"use strict\";l.querySelector&&d.addEventListener&&\"undefined\"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!\/[^a-zA-Z0-9]\/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret=\"'+t.secret+'\"]'),o=l.querySelectorAll('blockquote[data-secret=\"'+t.secret+'\"]'),c=new RegExp(\"^https?:$\",\"i\"),i=0;i<o.length;i++)o[i].style.display=\"none\";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute(\"style\"),\"height\"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):\"link\"===t.message&&(r=new URL(s.getAttribute(\"src\")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener(\"message\",d.wp.receiveEmbedMessage,!1),l.addEventListener(\"DOMContentLoaded\",function(){for(var e,t,s=l.querySelectorAll(\"iframe.wp-embedded-content\"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute(\"data-secret\"))||(t=Math.random().toString(36).substring(2,12),e.src+=\"#?secret=\"+t,e.setAttribute(\"data-secret\",t)),e.contentWindow.postMessage({message:\"ready\",secret:t},\"*\")},!1)))}(window,document);\n\/\/# sourceURL=https:\/\/taipeirevista.com\/wp-includes\/js\/wp-embed.min.js\n<\/script>\n","thumbnail_url":"https:\/\/taipeirevista.com\/wp-content\/uploads\/2025\/10\/suzuki8.webp","thumbnail_width":2560,"thumbnail_height":1794,"description":"\u201cEsta vez voy a hacer una pel\u00edcula entretenida\u201d, dijo antes de empezar \"El imperio de los sentidos\". En el pasado, sus pel\u00edculas generalmente eran consideradas pel\u00edculas pol\u00edticas, en las que los temas pol\u00edticos y sociales se abordaban desde un punto de vista extremadamente cr\u00edtico. La perspectiva de Oshima era que quienes miran sus pel\u00edculas comparten la responsabilidad por ellas. Esto est\u00e1 basado en la noci\u00f3n de que el espectador participa en la realizaci\u00f3n de una pel\u00edcula. Por eso, cuando uno mira sus pel\u00edculas, es tan acuciante la sensaci\u00f3n de tener que elegir entre verlas y dejar de verlas(...)"}