@article{oai:nagoya.repo.nii.ac.jp:02002392,
 author = {三澤, 真美恵 and MISAWA, Mamie},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {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.},
 pages = {24--40},
 title = {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},
 volume = {13},
 year = {2022}
}