Issues of Body Representation in Japanese New Wave Cinema

One of the most revolutionary moments in the history of cinema is the post-war period - society faced a great crisis and a rethinking of history and what is happening in the world. This rethinking is most clearly expressed in the movement of the "new wave" in 1950 - 1960. She, like most cultural phenomena in Japan, was distinguished by her vision of protests, politics and eroticism. A distinctive feature of the Japanese New Wave is a sharp rejection of the traditional aspects of classical Japanese cinema in favor of more complex and provocative works. The purpose of this work was to determine the features of the representation of the human body in the cinema, as well as the study of ways to demonstrate the body as a tool for directors for a clearer understanding of copyright ideas by the audience. For this purpose, the main range of tasks that were solved during the study was established: the main means of expression in the films of the Japanese New Wave were determined; the direct role of the human body in the narrative and how it was played out by different directors were studied; similarities or differences in approaches of directors of a new wave to physicality and eroticism are revealed. Films of such directors as Nagisa Oshima (The History of Cruel Youth (1960), The Diary of a Thief from Shinjuku (1969)), Yoshishige Yoshida (Eros + Murder (1969)) and Masahiro Shinoda (Suicide Suicide of Lovers on the island of Heavenly nets (1969)) were selected for analysis. lovers on the island of Heavenly nets "(1969)).