Abstract and Keywords
This article examines symptomatic discourses of the body valorized in the postwar popular cultural imagination. Discussions of the contradictory representation of liberated women on screen as one of the most illuminating visual icons of the reformed postwar Japan include Kinoshita Keisuke’s 1951 Karumen kokyo ni kaeru [Carmen Comes Home] and 1952 Karumen junjo su [Carmen Falls in Love/Carmen’s Pure Love], as well as some films by Suzuki Seijun, demonstrating that the female body, as privileged signifier of postwar liberation and defeat, continued to haunt the cinematic imagination and memory in the years to come.
Keywords: postwar Japan, Japanese cinema, representation, woman, body dicourse, Kinoshita Keisuke, Suzuki Seijun, occupation, memories, defeat, Kawachi Karumen, Carmen Comes Home, Carmen Falls in Love/Carmen's Pure Love
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