This research explores the use of Cantilever chairs as seen in Japanese films between 1945 and 1952. These chairs were used in 19 out of 107 selected films. Several conclusions may be drawn from a comparison of the types of chairs and the scenes in which they were used in, in their respective films during World War II: 1) Two films in 1946 and 1947 depict scenes featuring Cantilever chairs in pre-war and wartime periods. 2) One may conjecture that the Cantilever chairs used in films after 1947 ware manufactured after the war; however, bamboo plywood chairs emulating pre-war design appeared more frequently than expected in post-war films. 3) When compared to films from the pre-war period, the chairs are mostly depicted in scenes within commercial establishments, especially downtown entertainment venues such as cabaret clubs and dance halls. There is, however, just one instance of the use of Cantilever chairs in wealthy family’s private residence. 4) The use of Cantilever chairs in films reached its peak in 1949 and subsequently dwindled. From this information, we can surmise that the pre-war sense of modernism prevailed until around the 1950s.

韓国映画『赤いマフラー』（申相玉、1964年）は1964年第11回アジア映画祭で監督賞、編集賞、主演男優賞を受賞し、ほぼアジア全域で大ヒットを飛ばした。本稿は、この現象に焦点を当てながら、トランスナショナルな視点から『赤いマフラー』の創出のあり方と海外進出のありようを明らかにすることを目的とする。第1節では、監督である申相玉のフィルモグラフィーとアジア映画祭における相互交渉を見ることにより、本作が、申相玉のそれまでの作品の特徴を生かしつつ、アジア映画祭で形成したネットワークを積極的に利用した成果であったことを明らかにする。第2節では、映像分析を行い、とくに視点、物語の構造および西洋的な空間の再創造に焦点を当て、本作が戦争スペクタクルを構築するさまを考察する。第3節では、アジア地域での流通と受容を検討した上で、本作の成功の理由が、映画技術だけでなく、人情味や愛という要素を映画に入れることで、戦争映画というジャンルに新しい風を吹き込んだ点にあったことを解明する。また、本作に反映された韓国の現実と反共主義の価値観に対するアジア地域の認識の違いが、「自由アジア」の亀裂を示唆していることを論じる。以上の考察を踏まえ、韓国映画の構築における、ナショナル・シネマとしての韓国映画という枠組みに包摂されないトランスナショナルな要素の重要性と、それを論じる際の注意点を指摘する。

At one time, Toei’s plain period films were very popular. Those films were supported by the star system. But this system became too old, and the novelty of Kurosawa Akira’s Yozinbo (1961) and Tsubaki Sanjuro (1962) disclosed the fiction of Toei’s period films. After that, Toei’s plain period films became unpopular.

Around that time, the “Yagyu Books of Military Arts” series started. Until the fourth installment, they were plain period films. But from the fifth work, the stories became serious and the sword fights became realistic. And group fights were emphasized. This series revealed various experiments in period cinema.

Seventeen Ninja (1963) and Thirteen Assassins (1963) were epoch-making because of the many nameless people that fight desperately in those films. But the stars still hardly became dirty.

Konoe Jushiro starred in Ninja Hunting (1964) and Jubei’s Assassinative Sword (1964). In those films the group fights finished in the middle stage, and in the climax Konoe fought desperately against the powerful enemies. Especially in Jubei’s Assassinative Sword the fight between Jubei and his enemy Makuya Daikyu is one never found in previous period films. Because Konoe was a second-class star, he was active in the group period films.