Obraz a ciało, obraz ciała — konsternacja: cielesność kina Yoshishige Yoshidy a filozofia Gilles’a Deleuze’a

Abstract

This article explores the convergence of Yoshishige (Kijū) Yoshida’s cinema and Gilles Deleuze’s philosophy, delving into their respective bodies of work and their implications for the understanding of corporeality in Japanese cinema, particularly within the context of the Japanese New Wave—Yoshida is a prominent figure of the movement. The author argues that Deleuze’s philosophy provides a framework to analyze Yoshida’s films, particularly regarding the portrayal of corporeality and the feminist themes within them. By applying Deleuzian concepts, such as the body without organs, the thesis challenges prevailing Western interpretations of Japanese cinema, especially regarding the representation of sexuality and politics. Through an analysis of Yoshida’s films, especially Woman of the Lake (Onna no mizûmi, 1966) and Eros Plus Massacre (Eros Plus Gyakusatsu, 1969), the author demonstrates how Yoshida’s perspective diverges from Western scholarly discourse, offering a more nuanced understanding of corporeality and gender dynamics in Japanese cinema. Furthermore, the article examines the possibility of enriching Deleuze’s philosophy through Yoshida’s insights, particularly concerning the role of the female body as a subject-object in cinematic representation. By exploring the relationship between Yoshida’s cinematic legacy and Deleuze’s philosophical framework, the thesis aims to contribute to a broader understanding of Japanese cinema and its intersection with Western theoretical discourse.

Keywords

• yoshishige yoshida
• gilles deleuze
• body