Teoria krajobrazu (fūkeiron)Masao Matsudy jako narzędzie krytyki politycznej w japońskim filmie i fotografii

Krzysztof Loska

doi:10.21697/zk.2025.12.08

Published: 2025-12-15

No. 12 (2025)

Teoria krajobrazu (fūkeiron)Masao Matsudy jako narzędzie krytyki politycznej w japońskim filmie i fotografii

Krzysztof Loska

Cultural Studies Appendix

Section: Artykuły

https://doi.org/10.21697/zk.2025.12.08

Abstract

The subject of the paper is Japanese landscape theory (fūkeiron) viewed in the broad context of humanities. Starting from the concept presented by Masao Matsuda in the collection of essays Fūkei no shimetsu, the author of the article moves on to discuss artistic practices at the turn of the 1960s and 1970s (Masao Adachi, Nagisa Ōshima, Takuma Nakahira), and then draws attention to philosophical considerations on disciplinary power, especially to the importance of spatial order and governmentality, understood as managing the behavior of the community with the use of techniques and institutions ensuring dominance and security. The primary goal is to suggest such a view of landscape that will reveal its ideological dimensions and make visible the process of appropriation of territory employed by the state and its apparatuses. The aim is to change the way of thinking about landscape so as to recognize that it is not only a symbol of political and economic power relations but also its direct tool.

Keywords:

Japanese film, photography, landscape war, Masao Matsuda, Nagisa Ōshima, Masao Adachi

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Loska, K. (2025). Teoria krajobrazu (fūkeiron)Masao Matsudy jako narzędzie krytyki politycznej w japońskim filmie i fotografii. Cultural Studies Appendix, (12), 141–156. https://doi.org/10.21697/zk.2025.12.08

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