The process of modernization in Japan appeared as a separation of
the senses and remapping of the body, particularly privileging the sense of
vision. How did the filmmakers, critics, and novelists in the 1920s and 1930s
respond to such a reorganization of the body and the elevation of vision in the
context of film culture? How did they formulate a cinematic discourse on remapping
the body when the status of cinema was still in flux and its definition
was debated? Focusing on cinematic commentary made by different writers,
this article tackles these questions. Sato Haruo, Ozu Yasujiro, and Iwasaki Akira
questioned the separation of the senses, which was often enforced by state.
Inspired by German cinema released in Japan at that time, they explored the
notion of the haptic in cinema and problematized the privileged sense of
vision in this new visual medium.