映像学
Online ISSN : 2189-6542
Print ISSN : 0286-0279
ISSN-L : 0286-0279
65 巻
選択された号の論文の2件中1~2を表示しています
論文
  • 藤木 秀朗
    2000 年 65 巻 p. 5-24,61
    発行日: 2000/11/25
    公開日: 2023/03/31
    ジャーナル フリー

    The permeation of American film star images in Japan since the mid-Taisho era has been largely ignored in cinema history. This is partly because film scholars in Western countries and Japan have made an a-priori distinction between Japanese cinema and Western cinema, and partly because both have subordinated non-filmic discourses to privileged filmic texts. In this essay I discuss how American films are at once commodities and meanings, circulated and related to other types of discourses in a specific historical context. ‘Film star’ is significant in that it mediates between the industry and consumers as a complex representation of actor, character, and persona in filmic and non-filmic discourses in the capitalist system. The first section of this essay presents an overview of the situation in which star images played a role in changing the form of communication and cultural values and meanings in the 1920s. This follows with discussion of how the circulation of Clara Bow as a progressive but ambivalent image, produced by the Hollywood system, de-stabilized aesthetics, knowledge, and morality in relation to so-called “modan” while invoking forces to fix cultural meanings.

  • 笹川 慶子
    2000 年 65 巻 p. 40-54,62-63
    発行日: 2000/11/25
    公開日: 2023/03/31
    ジャーナル フリー

    The Musical is not only escapism nor mere entertainment as many film scholars have written. It is also ideological operations. This paper focuses on the narrative analysis of the Hollywood Musical genre during World War II, suggesting how it produces the ideological effects of ”utopian vision” on the spectator through its structure, style, and theme. To this end, I first proceed to clarify the difference between the Musical and the classical narrative. I then explore the historical development of the Musical narrative, with relation to the technological innovations and the ideological shifts.

    The Musical narrative contains the classical narrative and the spectacular song and dance numbers, which provide the spectator with the images of “real” and “utopia”. This dual structure is frequently concluded with a big production number, emphasizing the American brotherhood and unity. Through these examinations, I suggest that the Musical narrative helps to bring to the spectator, more or less, the progressive utopian sensibility, the anticipation of the better world, and the faith in American Democracy.

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