„Ozu à la japonaise”. Interferencje japońskiej myśli filmowej w XX w.
“Ozu à la japonaise”: 20th-Century Interferences of Japanese Film Theory

Summary/Abstract: The aim of the article is to present Yasujirō Ozu’s oeuvre as a point of reference for the formation of Japanese film theory in the 20th century. Based on postcolonial studies, the analysis explores the relations between Ozu’s movies and the theoretical discourse ( Japanese and Western). The author challenges orientalist approaches to Ozu’s cinema, dominant in Western scholarship, arguing that beyond being interpreted through various theoretical paradigms, his films also compel those paradigms to reconsider their own assumptions. According to the central thesis, Ozu’s cinema is not only an object of analysis but also a practice that exposes the limitations of theoretical approaches. The author discusses the most prominent texts on Ozu’s work in Japanese film theory (notably by Tadao Satō, Kijū Yoshida, Shiguéhiko Hasumi) and depicts its pivotal points and development. Ozu, as a filmmaker, emerges here as an epistemological figure: not the “most Japanese director,” but a medium through which the tensions between theory and its limits become apparent.

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