This essay probes the understudied relationship between the hypermediated urban environment and the coding of femininity in the late 1960s and 1970s Japan. Through reading Ōshima Nagisa's Man Who Left His Will on Film (1970), this essay explores the unique gender dynamics remapped in the avant‐garde media practice in an era when “urban” and “media” became interconnected and filmic medium was redefined in relation to the vibrant media milieu. This essay is motivated by “the imperishables,” a prevalent trope that can be located in a wide array of literary and filmic works in the 1960s and 1970s: the vanishing men and the “plastic” women. Resilient, enduring, prone to violations but always “failing” to disappear from the screen, women's bodies occupy central roles in reorienting the epistemic structures in many prominent radical works that investigate the opaque urban network during Japan's Cold War restructuring. This essay reads cinema as a contentious site where articulations of sociopolitical sentiments and concerns with film's medium specificity find catalytic convergence with the continuous coding of gender. Rather than simply viewing female bodies as representations of social reality or fetishized objects, this article traces how femininity, constructed as both cultural artifact and techno‐aesthetic device, showcases internal dissidence in the leftist urban critique and the emergent somatic politics in the avant‐garde imaginaries of alterity.

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