Obraz a ciało, obraz ciała — konsternacja: cielesność kina Yoshishige Yoshidy a filozofia Gilles’a Deleuze’a
Image and body, image of body—consternation: The corporeality of Yoshishige Yoshida’s cinema and Gilles Deleuze’s philosophy

Summary/Abstract: This article explores the convergence of Yoshishige (Kijū) Yoshida’s cinemaand Gilles Deleuze’s philosophy, delving into their respective bodies of workand their implications for the understanding of corporeality in Japanesecinema, particularly within the context of the Japanese New Wave—Yoshidais a prominent figure of the movement. The author argues that Deleuze’sphilosophy provides a framework to analyze Yoshida’s films, particularlyregarding the portrayal of corporeality and the feminist themes withinthem. By applying Deleuzian concepts, such as the body without organs,the thesis challenges prevailing Western interpretations of Japanesecinema, 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 fromWestern scholarly discourse, offering a more nuanced understanding ofcorporeality and gender dynamics in Japanese cinema. Furthermore, thearticle examines the possibility of enriching Deleuze’s philosophy throughYoshida’s insights, particularly concerning the role of the female body asa 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 cinemaand its intersection with Western theoretical discourse.

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