敗戦から1950年代にかけて, 大衆娯楽として最も隆盛していた映画は, 多くの国民的スターを輩出した. この時代のスターダムにおけるスターイメージの変遷とそれを価値づける言説に, 大衆の欲望モードの変化がみられるのが1955年頃である. 本稿は, 原節子と高峰三枝子に代表される占領期的な欲望を体現する‹理想化の時代›から, 1955年以降の若尾文子を代表とする‹日常性の時代›への推移を見取り図として, 映画スターに対する大衆の欲望モードの偏差を浮上させることを目的とする.

この転換期, 大衆の集合的欲望を最も引き受けていたのは若尾文子であった. 超俗的な美貌をもった占領期のスター女優とは異なり, 若尾文子を価値づける言説は, 「庶民的」「親近感」「平凡」であり, 大衆の‹日常性›を体現するペルソナを呈示していたからこそ彼女はスターダムの頂点にのぼりつめることができた. 本稿は, 娯楽雑誌におけるスターの語られ方を分析することによって, 経済発展だけでは説明できない言説空間の変容を捉える. そこで見出されるのは, 占領期の‹理想化›された社会を象徴するスターへの反動として, 大衆文化を具現する‹日常›の体現者を称揚する言説構成である. スターを媒介にして自己を見つめ返すようなまなざしの構造が生成する1950年代中頃, 若尾文子は「平均的」であることによって大衆の‹日常性›を演じ, 若者の「リアリティ」を体現したのである.

 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.

　Our task here is to analyse the remarks of Iwasaki Akira（ 1903-81）, a film

critic, as a case study of the historical investigations into the problem of how

the images of ‘mass’ were formed and what role aspects of media like films

played in the course of formation of mass society in Japan.

　　In Chapter 1, we point out that Iwasaki was a person who had been working

on the ‘mass’ problems throughout his life, who had also been regarded as a

man of resistance from wartime to the period of occupation.

　　In Chapter 2, we analyse Iwasaki’s pre-war view of ‘mass’ and made it

clear that he recognized mass as a target capable of enlightenment for social

reform.

　　Chapter 3 throws light on the early post-war views of Iwasaki’s ‘mass’ and

made his sense of enlightened obligation clear.

　　Section 1 of Chapter 4 treats Imamura Taihei’s critical comments on the

proposals of Iwasaki to enlighten the ‘mass’, which can be seen as a transitional

view to the phrase ‘mass as the core’ by Tsurumi Shunsuke and Matsumoto

Toshio. In Section 2, we compare Tsurumi’s thought of the mass （neither passive

nor monolithic） with Iwasaki’s pre-war sense of obligation towards mass

enlightenment. In Section 3, we make a comparison of Iwasaki with Matsumoto,

who talked of the possibility of anti-establishment movement among mass society,

and pointed out that Iwasaki saw negative inclinations towards Fascism in it.

　　To conclude: Iwasaki never stopped talking about the ‘mass’, the images of

which were successively questioned and revised by succeeding generations of

polemicists like Imamura, Tsurumi, Matsumoto. Iwasaki’s works thus performed

should be one of the factors in developing the image of the responsible

mass at the time of the advent of Japanese mass society.