THE ETERNAL RETURN AS AN AFFIRMATION OF LIFE IN MASAHISA FUKASE'S PHOTOGRAPHY
DOI:
https://doi.org/10.33871/sensorium.2025.12.10808Keywords:
Masahisa Fukase, Friedrich Nietzsche, Fotografia japonesa, Eterno Retorno, Amor FatiAbstract
This article examines the work of Japanese photographer Masahisa Fukase (1934–2012) in relation to Friedrich Nietzsche’s concepts of Eternal Recurrence and Amor Fati. We explore how his photographic practice can be understood as an aesthetic response to the tragic nature of existence. Focusing on the series Kazoku (Family), in which the photographer returns to his family’s old studio to document the transformations wrought by time. We analyze the obsessive repetition of photographic gestures that attempt to arrest the transient while simultaneously exposing its impossibility. Fukase’s photography is interpreted not as an overcoming of pain, but as an act of life-affirmation. Ultimately, we argue that his insistence on photographing until physical collapse—culminating in his final blurred and ghostly images—constitutes a tragic pathos: the acceptance of the ephemeral as the only possible eternity.
Keywords: Masahisa Fukase; Friedrich Nietzsche; Japanese photography; Eternal Return. Amor Fati.
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