Dekadraż a kino Yoshishige Yoshidy z lat 1965-1973
“Décadrage” and the Cinema of Yoshishige Yoshida (1965-1973)

Summary/Abstract: The article examines the relationship between Pascal Bonitzer’s concept of décadrage and Yoshishige Yoshida’s films produced between 1965 and 1973. The author compares Bonitzer’s framework with that of autonegation, which is central to Yoshida’s film theory, emphasising their shared rejection of narrativisation, subversion of established filmmaking conventions, and disruption of viewing habits. He argues that the Japanese director does not impose on the audience a closed mode of viewing screen representations, but, by withdrawing from the work, affords the viewer interpretive freedom. Similarly, the concept of décadrage, a visual (and occasionally auditory) shift, entails cognitive indeterminacy, thereby leaving room for the viewer’s interpretation. The analysis of selected examples from Yoshida’s filmography demonstrates how classical methods of filmmaking, as well as the relationship between the filmmaker, his work, and the audience, are reconsidered in the director’s work.

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