But there is also a strange intimacy. Araki often includes himself in the frame, or at least his shadow. He places himself in the pile of bodies, acknowledging his complicity. He is not hiding behind the lens; he is getting dirty with the rest of them. The women, for their part, often gaze back with defiance, amusement, or resignation. They are complicit too. In the world of the Lucky Hole, everyone is on display.
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