Although Masumura Yasuzo (1924-1986) worked within a commercial film studio (Daiei) his entire career, he was an intellectual and aesthetic maverick, having studied law and philosophy at Tokyo University and spent two years studying film making and film history in Italy. He left a substantial body of theoretical writings. This essay is an attempt to extrapolate his theory of a post-war Japanese subjectivity realized in cinema, reading his writings in the context of several of his early major films.  

KEYWORDS:apanese cinema, Masumura Yasuzo, film theory, subjectivity, post-war Japan, film history, gender