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  1. A100 文学部/人文学研究科・文学研究科・国際言語文化研究科
  2. A100b 紀要
  3. JunCture : 超域的日本文化研究
  4. 12

男性アイドル映画になった村上春樹 : 『アコースティック』におけるスター表象と韓国ポピュラー文化

https://doi.org/10.18999/juncture.12.112
https://doi.org/10.18999/juncture.12.112
83669a8e-d0e9-4b39-839b-3285aeab2e47
名前 / ファイル ライセンス アクション
juncture_12_112.pdf juncture_12_112.pdf (1.4 MB)
Item type itemtype_ver1(1)
公開日 2021-05-19
タイトル
タイトル 男性アイドル映画になった村上春樹 : 『アコースティック』におけるスター表象と韓国ポピュラー文化
言語 ja
その他のタイトル
その他のタイトル Murakami Haruki as a Vehicle for K-Pop Male Idols : The Representation of Stars in Acoustic and South Korean Popular Culture
言語 en
著者 藤城, 孝輔

× 藤城, 孝輔

ja 藤城, 孝輔

en FUJIKI, Kosuke

Search repository
アクセス権
アクセス権 open access
アクセス権URI http://purl.org/coar/access_right/c_abf2
キーワード
主題Scheme Other
主題 アダプテーション
キーワード
主題Scheme Other
主題 流用
キーワード
主題Scheme Other
主題 超国籍
キーワード
主題Scheme Other
主題 グローバル化
キーワード
主題Scheme Other
主題 スターの乗り物
キーワード
主題Scheme Other
主題 CNBLUE adaptation
キーワード
主題Scheme Other
主題 appropriation
キーワード
主題Scheme Other
主題 transnationality
キーワード
主題Scheme Other
主題 globalization
キーワード
主題Scheme Other
主題 star image
キーワード
主題Scheme Other
主題 CNBLUE
内容記述
内容記述 Since early in the first decade of the twenty-first century, the works of Japanese novelist Murakami Haruki have been adapted for film by various international filmmakers. Most of their adaptations have been classified as “arthouse films” because of their having been directed by celebrated auteurs with subsequent circulation in international film festivals. However, what tends to be unrecognized, owing principally to the excessive focus of previous scholarship on art cinema, is the significance of Murakami within global popular culture. While giving close examination of Murakami adaptations and elevating them to the level of high art, the scholars are unable to address how Murakami successfully crosses national borders to permeate the everyday life of people across diverse cultures. This essay examines Acoustic (Eokuseutig, Yoo Sang-hun, 2010), a South Korean omnibus film, restricting analysis here to the second episode, “Bakery Attack,” which draws on Murakami’s 1981 short story “Pan’ya shūgeki.” The episode serves as a star vehicle for its two leading performers, Lee Jong-hyun and Kang Min-hyuk, both of whom were at the time members of the South Korean idol rock band, CNBLUE. Murakami’s story has undergone significant modifications not only for relocating the 1980s Japanese narrative to fit a Korean setting in the 2010s, but also for effectively conveying the star image of the male idols as appropriate for transnational audiences. Examples of such changes include those affecting the characterization and interrelationship of the protagonists, elimination of the vagueness which colored the original story, and insertion of a reference to the history of South Korean popular music. Through the unambiguous, transculturally accessible narrative with the characters each exhibiting their performers’ public image, the film establishes the rising stars’ position within the South Korean entertainment scene as well as in the international market. Murakami’s story is used not as a signifier of Japanese culture, but rather as a culturally transferable medium which enables the film and its stars to reach both domestic and global audiences.
言語 en
内容記述タイプ Abstract
出版者
言語 ja
出版者 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
言語
言語 jpn
資源タイプ
資源タイプresource http://purl.org/coar/resource_type/c_6501
タイプ departmental bulletin paper
出版タイプ
出版タイプ VoR
出版タイプResource http://purl.org/coar/version/c_970fb48d4fbd8a85
ID登録
ID登録 10.18999/juncture.12.112
ID登録タイプ JaLC
収録物識別子
収録物識別子タイプ PISSN
収録物識別子 1884-4766
書誌情報 ja : JunCture : 超域的日本文化研究

巻 12, p. 112-124, 発行日 2021-03-26
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