Feature films are fictional. Even if the film is realistic, we cannot accept it uncritically as the film reflects reality. However, it is inevitable that the temporality and regionality where the film is produced and released are reflected on the feature film (especially commercial films). For this reason, we explore the stories that society has entrusted to local films by deciphering them. This article discusses family styles through films in Malaysia and Indonesia. Both countries are multiethnic, multi-religious and multi-lingual, and the majority religion, Islam, has a major impact on society, while Islam is positioned in society as one of several religions. In Malaysia, characterized by ethnic ranks and Islamic authority, love and companionship across ethnic and religious differences becomes an issue. However, Yasmin Ahmad’s films appeal that the problem to be solved is not the difference in ethnicity or religion but the power relationship between parent and child or between married couple. There have been more Indonesian films featuring polygamy with women playing a leading role in foreign countries, which can be understood as an attempt to create a family based on the value of Islam. We interpret it as showing that women who are trying to live away from the interference of their parents and the community are finding it difficult to balance their career with a good mother.

【要旨】

　本稿の目的は、占領期のスターダムのなかでなぜ原節子の価値が最も高まり、どのような大衆の欲望によって彼女のペルソナが構築されたのかを、敗戦後の社会・文化的条件に即して実証的に明らかにすることにある。これまでスターを対象とする研究は

　原節子は、敗戦後に求められる理想的な女性像としての「理知的」で「意志」の強い主体的なイメージを戦中から準備し、戦前と戦後の連続性を引き受けることで、占領期に最も人気の高いスターとなった。彼女の