Title: AUTONOMIA E SUJEIÇÃO NA APORIA DA MODERNIDADE JAPONESA: REPRESENTAÇÕES DO CORPO VIOLADO COMO EXPRESSÃO POLÍTICA
Abstract: This thesis relates the debates about modernity, culture and revolution in the perspective of the depictions of the violated and sexualized body, and explores the repercussions of such debates in what became known as the "political season" of Japan after World War II.Specifically, the analysis focuses on the problematization of the revolutionary left factions by the films of Oshima Nagisa , recognized as mentor of the Nuberu Bagu (Japanese New Wave), of Wakamatsu Koji (1936-2012) and of Adachi Masao (1939-), from the Pinku eiga (Pink Film) genre, which dealt with the erotic and the pornographic.Filmmakers whose production was driven by the fusion of politics, sex and violence, and marked by the activism of pro-democracy movements beginning in the 1950ssupplanted in the early 1970s, when the country became a world economic power.The debate about the aporia of Japanese modernity, based on the persistence of agonizing precapitalist vestiges in a capitalist society, produced several antagonistic narratives throughout the twentieth century.Among them, that which refuted the cultural subordination to the West gave support to the ultranationalist imperialism in the war that squandered the country.As a result of the process of democratization and demilitarization during the US occupation of Japan (1945)(1946)(1947)(1948)(1949)(1950)(1951)(1952), and the conflicts that came with its subsequent reversal, discussions of modernity multiplied in the troubled post-war period.The abolition of the political powers of the emperor Hirohito, who was led to publicly abdicate his divine condition and declare himself a mere mortal, was the most shocking of the changes made in the period.In declaring the defeat of the country and his carnality, the emperor imploded the power of the Kokutai, the nation-body, which organized the entire Japanese symbolic system.In the early years of the occupation, writers such as Sakaguchi Ango (