Critics like Hideo Tsumura, Akira Iwasaki and Jun Izawa suggest that the works of Kenji Mizoguchi have an affinity with the literary works of Kafu Nagai. Kaneto Shindo and Jun-ichiro Tomoda maintain in an article that Mizoguchi was, to some extent, influenced by Kafu Nagai. However, nobody has ever studied their relationship closely. It has been generally understood that Mizoguchi, in producing ‘Naniwa Erezi’ (Osaka Elegy) 1936, imitated ‘Mieko’, a story by Saburo Okada. Later Yoshikata Yoda, one of his closest colleagues, proclaims that Mizoguchi imitated ‘Tsuyu-no Atosaki’, a story by Nagai, as well as ‘Mieko’. Actually we find that a sequence in ‘Gion-no Shimai’ (Sisters of the Gion) 1936, is based on a scene in ‘Tsuyu-no Atosaki’. A close study gives us an evidence that the two works of Mizoguchi are influenced by ‘Tsuyu-no Atosaki’ in terms of their purpose, backgrounds and methods. The style Mizoguchi adopted in creating films did not change for the remaining 20 years until his death in 1956 when his last film, ‘Akasen Chitai’ was presented, which means Mizoguchi was under the influence of Kafu throughout the latter half of his life as a film director.

抄録全体を表示

本論は、阿部豊監督作品（1950年、新東宝）、島耕二監督作品（1959年、大映）、市川崑監督作品（1983年、東宝）の三作の『細雪』を、『アダプテーションの理論』（ハッチオン）、『映画リメイク』（Verevis）による「リメイク／翻案」の概念拡大を参照しつつ検討することを目的とする。阿部作品は原作への忠実を旨としながら妙子に焦点を当て、島作品は阿部作品の基本構造を採用してメロドラマ化しつつ雪子と妙子にトラウマの主題を導入し、市川作品は原作からの新たな翻案を試みて貞之助の雪子への欲望の描写と四姉妹の描き分けを行った。三作の製作の中に、「リメイク／翻案」の両者を含む『細雪』＝「美しい四姉妹の物語」の図式の生成過程を見ることができる。「リメイク」および「翻案」の概念は、近年の概念拡大によって、それぞれを「メディア内」「メディア間」の現象として理解することが困難になっているが、産業、受容の側面も含めた三作の検討の結果、多様な現象の総合的な運動として見る 「リメイク」と翻案者の動機を含む製作過程を重視する「翻案」という視点の相違が重要と結論づけられた。

抄録全体を表示

  Although Eisenstein's 'montage' has been treated almost exhaustively at home as well as abroad, these seems to be still open for further discussion a question how the artist's assimilation, with the insight of a genius, of Western and Russian arts conduced to the innovation of the film art at its early stage.

  The subject to be discussed here is on the process of his analysis and assimilation of literature, drama and fine arts which extends over the days of "The Battleship Potemkin" and those of "Ivan the Terrible". Two of his writings, " Montage of Cuttings" will be treated with particular attention to 'physical expression' in these arts, which seems to have had no little influence on Eisenstein in his invention of the visual devices so full of power.

抄録全体を表示

Based on J. Gaines’ discussion of “political mimesis,” this paper examines

how Japanese television documentaries in the 60s handled the provocative

power communicated by images of struggles arising from protest movements.

Gaines’ theory is often mentioned as an independent documentary methodology

that encourages viewers to take political action. In contrast, this paper focuses

on TV documentaries’ specific treatment of provocative political mimesis

among the various broadcasting circumstances. In this media environment, this

type of biased approach was not easily allowed due to the existence of ethical

regulations such as the “equal time” rule. Consequently, this prompted filmmakers

of the time to create alternative methods for representing political images

in their works. Through this argument, this paper aims to illustrate a historical

change to the 60s documentary media environment under the emergence of

television culture and a new way for documentaries to address political issues.

　　This paper mostly addresses two themes. The first theme is related to a

dispute concerning NHK documentaries that displayed protests over the Treaty

of Mutual Cooperation and Security between the United States and Japan

（known as the ANPO protests） in 1960. Foreshadowing Gaines’ argument, the

disputers indeed confronted the provocation of these images to manage its

impact within the broadcasting media environment. The second theme is

related to the audio-visual methodologies that were used in a few TV documentaries

with respect to such protest issues around that time. Introducing R. Williams’

view of the history of media, which reveals a socio-technological shift in

communication, this analysis investigates how far the documentary producers

and their approaches inclined toward a broadcasting-style concept and method ology.

　　The results of this analysis show that almost all of the TV documentaries

that addressed protest issues were commonly produced in accordance with

broadcasting circumstances that put more weight on information distribution

than political agitation. However, these documentaries did not dispel political

mimesis from their representation at all. They used it alternatively together

with dexterous methodologies aimed at spontaneously fostering an understanding

of social issues and political awareness inside the minds of the viewers.

抄録全体を表示