The purpose of this study is to clarify the Olympism of the filmmakers by reviewing the dispute between "artistic" or "documentary" film with an interpretation of the represented contents of "Tokyo Olympiad." In order to interpret these messages, it is important to note the film's context and metatext. First, as a social context, it is said that the 1964 Tokyo Olympic Games played a strong role in uplifting the national prestige of Japan. Thus, it was natural that politicians, the officials of the JOC, and sport world in Japan asserted from nationalism that the IOC's official film of the Tokyo Olympic Games should be recorded mainly in terms of the periormances of Japanese athletes. Nevertheless, it was said that the director Kon Ichikawa insisted upon his belief from internationalism that the spirit on the Olympic Games must be a peaceful festival, so he tried to create an artistic documentary film. Here the conflict between nationalism and internationalism, which led to the dispute regarding the "artistic or documentary film," arose. Second, it can be considered that the gap between artistic representation and documentary recording are clarified by considering the metatext of the film. The frame of reference of film viewers, which is comprehension of the film itself, are as follows: "This is an official film of the Olympic Games," and "this is a documentary film." Therefore people regard this film with an understanding that "all that is represented in this film must be true." Then, the frame of understanding of the film associated with its recording as a documentary should be reinforced. On the other hand, there is also a premise of the filmmakers that "this film is not just a documentary film but an artistic one." Even in a documentary film, a director can alter the representation in the editing room. This could be said to be 'creative recording" of a documentary film. In conclusion, it can be said that this great and excellent film tried to represent not only the peaceful world as internationalism but also the universal equality of humans. The images in the film have no connection with race and class because of the representations of the universal solemnity of athletes, and the human possibilities of performance excellence by winners and losers from trans-nationalism. This is really an authentic representafion of the Olympism of the filmmakers, and this is the reason why the film was acclaimed as a great film worldwide.

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シナリオ学習は、映像のことばと活字のことばの往復運動という所に最大の特徴がある。映画のシナリオを読み、併行してそのVTRを見て、活字のことばが映像のことばとしてどのように変化していくかを考えることによって、ことばの様々な位相をとらえていく学習である。本稿では、『ビルマの竪琴』の実践から、シナリオ学習の諸問題を考えてみようとした。

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植民地朝鮮で生まれた小林勝の文学は、植民地人の恥、痛み、貧しさを鋭敏に感じ取る感受性を通して、支配・被支配の不平等関係にあった他者同士の「交通」の可能性を探っている。同時に、加害の記憶を持たない加害者の被害-精神的傷にも拘泥したが、そのような傷の治癒をもまた「交通」の実現には必要なものであるという意味では、小林の文学は真の「交通」を目指すものであった。戦後日本において小林が忘却されてきたことには、戦後日本の植民地に対する忘却願望が示されている。

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