2024-03-29T02:25:57Z
https://nagoya.repo.nii.ac.jp/oai
oai:nagoya.repo.nii.ac.jp:02002392
2023-01-16T05:03:05Z
326:521:2363:1650244603274
戦後台湾映画における「二重の連続性」に関する試論 : 白克と林摶秋の足跡から
Dual continuities in postwar Taiwanese cinema : A case study of two filmmakers, Bai Ke and Lin Tuanqiu
三澤, 真美恵
MISAWA, Mamie
open access
戦後台湾映画
白克
林摶秋
二重の連続性
オルタナティブな公共圏
Taiwanese cinema
Bai Ke
Lin Tuanqiu
Two kinds of continuities
Alternative public sphere
In post-World War Ⅱ, Taiwanese cinema had dual continuities: local society’s continuity from the colonial period and the KMT government’s policy continuity from the Mainland period. Such as “segmented distribution channels” and “hybridized localization on the spot” were pre-existing cinema perception characteristics from the colonial period. When they encountered the KMT’s film regulations for the national integration, Taiwanese cinema might have provided the “alternative public sphere” which different ethnic groups with each background and language could enjoy respectively at the intersection of the dual continuities. Along with this hypothesis, this article examines the activities of two filmmakers: Bai Ke (1914–1964) from mainland China and Lin Tuanqiu (1920–1998) from Taiwan, who represent the two different continuities mentioned above and produced widely successful films in the late 1950s and early 1960s.
名古屋大学大学院人文学研究科附属超域文化社会センター
2022-03-30
jpn
departmental bulletin paper
VoR
https://doi.org/10.18999/juncture.13.24
http://hdl.handle.net/2237/0002002392
https://nagoya.repo.nii.ac.jp/records/2002392
10.18999/juncture.13.24
1884-4766
JunCture : 超域的日本文化研究
13
24
40
https://nagoya.repo.nii.ac.jp/record/2002392/files/juncture_13_24.pdf
application/pdf
1.7 MB
2022-04-18