“Décadrage” and the Cinema of Yoshishige Yoshida (1965-1973)
Kacper Słodki
kacslo1@st.amu.edu.plAdam Mickiewicz University in Poznań (Poland)
https://orcid.org/0009-0005-7213-1792
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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Keywords:
Yoshishige Yoshida, décadrage, Pascal Bonitzer, Japanese New WaveReferences
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Authors
Kacper Słodkikacslo1@st.amu.edu.pl
Adam Mickiewicz University in Poznań Poland
https://orcid.org/0009-0005-7213-1792
MA student in film studies and media culture at the Faculty of Polish and Classical Philology, Adam Mickiewicz University in Poznań. His BA thesis was concerned with the problems of consciousness, film modernism, and Gilles Deleuze’s theory of cinema in the context of Diamonds of the Night by Jan Němec. It was awarded in the 50th Best Student Paper and Best BA Thesis Faculty Contest in Honour of Stanisław Dobrzycki. He is a laureate of the 2024 Study@research grant contest. He is interested in the matters of film aesthetics and narration. His favourite ciemna cultures are Central- and Eastern- European and Japanese.
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