RESEARCH ON THE POSITIONING OF LANDSCAPE IN THE FILM PRODUCTION PROCESS

－Discourse analysis on film director Wim Wenders with M-GTA－

Abstract

 Artists draw the conceptual perception of the landscape in poetry and paintings from a long time ago, in Film these days. The landscape existed at the moment of the shooting is captured in the film, and the artist's conceptual perception of the landscape is depicted in the background.

 However, as a result of viewers relying on the objective information of the film, evaluation aiming at visual similarity has occurred. As a result of this biased evaluation, the conceptual perception of the landscape is lost, and there is a risk that the landscape may be modified based on the surface of the works.

 In order to avoid the danger of landscape modification based on the viewer's biased perception, it is necessary to methodically understand the landscape perception of the filmmaker. Therefore, I paid attention to the possibility of reading the thoughts and methodology to percept behind the production from the interviews and writings. The purpose of this study is to clarify the position of the landscape of film director in the production process from their discourse.

 The subject in this study is a German film director, Wim Wenders. The reason for the selection was that many references showed interest in places and landscapes, sufficient texts were already available to analysis, and it was already known that many of his works had been filmed at locations, so it was judged that he is one of appropriate directors to clarify their landscapes perception in the production process.

 The analysis was carried out with M-GTA, which is an interview analysis method in the field of human services. The reason for the selection was that it was consistent with the purpose of this study to enable the generation of a practical theory to explain and predict phenomena in the actual field.

 In order to determine the target documents, we surveyed the websites and the catalogues. As a result, I obtained 48 Japanese books and 29 foreign books. Among them, 46 discourses were obtained from four references.

 Analysis of the four references yielded 18 concepts, including five categories (Table 2). These are arranged in line with the flow of film production, and illustrated as a landscape perception process (Fig. 2).

 The director's landscape perception in the production process went through three categories and a core category. First, while sorting out various preconditions, it was a stage to search the locations and to start production with an idea 〈Surroundings is the theme〉. Next, in order to capture the Surroundings, the structural form was selected in the antagonistic relationship between the image and the story 〈Lying on the form〉. A Shooting posture oriented toward conscious unconsciousness to landscape with the form《Einstellung》. In the end, 〈Embodiment of sense of place〉 appeared as the act of visualizing the sense obtained by shooting.

 Finally, the landscape perception process in the production process of all works until 2000 has reconstructed to re- experience. Finally, the whole film production process inspired by the surroundings was regarded as the practice to visualize the story of the place, and we have positioned the landscape as the medium of the practice. As a result, it was shown the viewer's landscape evaluation based on the objective information was only a part of the director's landscape perception.