映像学
Online ISSN : 2189-6542
Print ISSN : 0286-0279
ISSN-L : 0286-0279
検索
詳細検索
OR
閲覧
検索
75 巻
選択された号の論文の8件中1～8を表示しています
すべての抄録を表示する
    • |<
    • <
    • 1
    • >
    • >|
論文
  • 華僑からチャイニーズ・アメリカンへ――太平洋戦争前後のアメリカにおける中国系移民の映画製作とその帰属意識の変容
    韓 燕麗
    2005 年 75 巻 p. 5-22,121
    発行日: 2005/11/25
    公開日: 2023/03/31
    DOIhttps://doi.org/10.18917/eizogaku.75.0_5
    ジャーナル フリー
    抄録を表示する抄録を非表示にする

    This paper examines the production conditions of Chinese language films in America between 1933 and 1948 by analyzing historical materials and available films belonging to that period.

    Over 30 Cantonese films were made in America between 1933 and 1948. Most of these films were produced by the Grandview Film Company, which was established by a Chinese immigrant, Joseph Chiu. Section one of this study traces the details of how Grandview Film Company began shooting Chinese language films in America and why it moved to Hong Kong soon after its foundation. Section two focuses on a film, The Light of Overseas Chinese (1940), and suggests that after the Sino-Japanese War broke out in 1937, this film, made in America, played an important role in constructing a unified overseas Chinese identity. Section three investigates the effect of the improvement in the status of Chinese immigrants after the Exclusion Act was abolished in 1943 and analyzes the symbolic structures in the film Eternal Love (1947). This investigation highlights the fact that these films, which were made in the process of identity transition, reflected the unsettled identity of Chinese immigrants.

    抄録全体を表示
    PDF形式でダウンロード (1228K)
  • 「文芸復興」としての「文芸映画」――1930年代日本における「文芸映画」ブームに関する再考察
    溝渕 久美子
    2005 年 75 巻 p. 65-81,123
    発行日: 2005/11/25
    公開日: 2023/03/31
    DOIhttps://doi.org/10.18917/eizogaku.75.0_65
    ジャーナル フリー
    抄録を表示する抄録を非表示にする

    The purpose of this paper is to cast new light on the so-called “bungei eiga” (literature film) boom and the critical discourses on the boom in 1930s. This boom has been understood in terms of the introduction of sound film, but such an understanding simplifies the matter too much. The boom can be better understood if we take into account the historical context of Japanese literature at the time. The “bungei fukkou” (revival of literature) movement of the time tried to revive “junbungaku” (pure literature) by creating more accessible works with a high standard. The film industry apparently tried to raise the status of films and attract new audiences by adapting such works, which resulted in the “bungei eiga” boom. The critical discourses on the films classified as “bungei eiga” can be seen in a new light by keeping such literary and industrial contexts in mind. Even the critics who criticized individual films seemed to accept that the original writings classified as “junbungaku” were valuable; the films were blamed because they failed to capture the value of the original works. This framework of criticism presupposed that movies could become valuable by adapting valuable literature, and this presupposition was in accordance with the purpose of the “bungei fukkou” movement and the intentions of the film industry.

    抄録全体を表示
    PDF形式でダウンロード (1090K)
報告
レヴュー
    • |<
    • <
    • 1
    • >
    • >|
feedback
 Top