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  • トーキー映画の開発と普及をめぐる文化環境
    篠儀 直子
    アメリカ研究
    2000年 2000 巻 34 号 177-192
    発行日: 2000/03/25
    公開日: 2010/11/26
    ジャーナル フリー
  • フランス · パテ社・蓄音機 = 映画・フィルム · ダール
    大傍 正規
    映画研究
    2010年 5 巻 4-19
    発行日: 2010年
    公開日: 2019/11/01
    ジャーナル オープンアクセス
  • 笹川 慶子
    映像学
    2000年 65 巻 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.

  • 仁井田 千絵
    映像学
    2008年 81 巻 22-38,105
    発行日: 2008/11/25
    公開日: 2023/03/31
    ジャーナル フリー

    With the corning of sound, the American film industry converted silent films into talkies, and produced many “all talking, all singing, all dancing” films in the late 1920s. In the early 1930s, however, such musical films lost public favor and were rarely produced between 1931 and 1932, until the revival of the genre beginning with 42nd Street (1933). This temporary demise of musicals, which some historians call “musical moratorium” has been generally accounted for by the change of public taste and economical difficulty of filmmaking during the Great Depression.

    This article examines this musical moratorium by focusing on the contemporary growth of radio, and pointing out that the extended radio network at the time absorbed all the important elements to make musical entertainment programmes of its own. American radio broadcasting began in 1920, but it is in the early 1930s that radio began to produce variety shows for their programme and became the major entertainment industry equal to screen and stage. Radio absorbed the artists from vaudeville and became the central supplier of popular music. It attracted millions of audience that were either staying home listening to radio or going theatres for radio free shows. This popularity of radio damaged the box office of movie theatres, and there were some conflicts between radio and film industries. But by 1933, when radio reached the saturation point, the film industry began to capture this popularity of radio, bringing out the revival of musical genre in the motion picture.

  • 木下 千花
    映像学
    2012年 89 巻 22-40,58-59
    発行日: 2012/11/25
    公開日: 2023/03/31
    ジャーナル フリー

    In an interview, Mizoguchi Kenji stated that he began experimenting with the long take, his signature style, in Tôjin Okichi (The Foreigner’s Okichi, 1930). This essay locates the lost film within an intermedial network of mass culture at the time of the Great Depression, on the eve of a revolution that never came. Tôjin Okichi, set in the Shimoda port in the mid 1850s, tells a story of Okichi, a geisha the Tokugawa Shogunate government offered to Townsend Harris, the first US consul general to Japan, as a mistress. My archival research into contemporary media discourse and production memos suggests that the film participated in the “Okichi boom,” a web of tie-ins and adaptations comprised of modernist literature, theater, radio, the phonograph, and, most notably, tourism. Produced and consumed at the time of crisis in modem Japanese history, the Okichi boom played out a number of polarities and tensions, such as Americanism and the Leftist politics, and center and periphery, superimposing the contemporary moga onto Okichi. Furthermore, the film Tôjin Okichi, originally planned to be a talkie and eventually released as a silent film accompanied by popular songs, enables us to reexamine the “talkie” at its mass cultural and intermedial genesis in which its identity as a medium had not yet been settled. Through historicizing both the “talkie” and Mizoguchi’s style within the contemporary media culture, this essay proposes to see continuity between Mizoguchi’s avant-garde montage and his long take, as both styles demand a “distracted” ― intensified, tactile, and bodily ― mode of perception specific to modernity.

  • 常石 史子
    映像学
    2024年 111 巻 47-71
    発行日: 2024/02/25
    公開日: 2024/03/25
    ジャーナル フリー

    音声の再生装置である蓄音機と映像の再生装置である映写機とを組み合わせ、音つきの映画を実現しようとするディスク式トーキーには、映画史上数多くのシステムが存在した。本論文はそうした中でも1903年から1910年代初頭にかけてドイツ語圏で隆盛を誇ったトーンビルダーTonbilder(音=画)と呼ばれる作品群を考察の対象とする。

    まず、蓄音機と映写機が結びつき、新しいメディウムが生まれるに至った過程を、ドイツ映画のパイオニアと見なされるオスカー・メスターの功績に着目しつつ概観したうえで、鍵となる音声と映像の「同期」に焦点を当て、その困難と重要性、具体的なメカニズムについて分析する。続いてトーンビルダーの現存・公開状況につき整理したうえで、ドイツ映画協会=映画博物館(DFF)のコレクションを参照し、このメディウムが扱った主題、撮影・編集技法につき検討する。さらに、筆者がフィルムアルヒーフ・オーストリアで復元した三つの事例をもとに、レコードとフィルムを組み合わせる復元に特有の諸問題についても考察する。

    最後に、トーンビルダーの流行が一時的にせよ通常の無声映画を凌駕するほどに勢いのあるものであったことを示したうえで、その急激な凋落の要因につき検討する。映画というメディウムが、いったん獲得された「同期する音」を手放すことで、演劇から自立した固有のメディウムとして重要な一歩を踏み出したことをもって結論とする。

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