ログイン
言語:

WEKO3

  • トップ
  • ランキング
To
lat lon distance
To

Field does not validate



インデックスリンク

インデックスツリー

メールアドレスを入力してください。

WEKO

One fine body…

WEKO

One fine body…

アイテム

{"_buckets": {"deposit": "e532f44d-00e3-4c20-bb83-7c29cfa1c8a2"}, "_deposit": {"id": "2002393", "owners": [1], "pid": {"revision_id": 0, "type": "depid", "value": "2002393"}, "status": "published"}, "_oai": {"id": "oai:nagoya.repo.nii.ac.jp:02002393", "sets": ["1650244603274"]}, "author_link": [], "control_number": "2002393", "item_1615768549627": {"attribute_name": "出版タイプ", "attribute_value_mlt": [{"subitem_version_resource": "http://purl.org/coar/version/c_970fb48d4fbd8a85", "subitem_version_type": "VoR"}]}, "item_9_alternative_title_19": {"attribute_name": "その他のタイトル", "attribute_value_mlt": [{"subitem_alternative_title": "A New Form of Orientalism : My Geisha and U.S.-Japan Relations during the Cold War", "subitem_alternative_title_language": "en"}]}, "item_9_biblio_info_6": {"attribute_name": "書誌情報", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2022-03-30", "bibliographicIssueDateType": "Issued"}, "bibliographicPageEnd": "54", "bibliographicPageStart": "42", "bibliographicVolumeNumber": "13", "bibliographic_titles": [{"bibliographic_title": "JunCture : 超域的日本文化研究", "bibliographic_titleLang": "ja"}]}]}, "item_9_description_4": {"attribute_name": "内容記述", "attribute_value_mlt": [{"subitem_description": "This article examines the ways in which Orientalism was reinvented during the Cold War through a case study of My Geisha (1962). This Paramount film was produced by Steve Parker and starred Shirley MacLaine—two Japanophiles who happened to be married at the time—and chronicled a U.S. production team’s efforts to make a film version of Madame Butterfly. Yet instead of presenting the “East” and the “West” as mutually exclusive and irreconcilable categories as seen in Puccini’s Orientalist opera, the film used the story about cross-cultural filmmaking to present the conver gence of the United States and Japan. And in contrast to traditional Orientalist narratives that masculinized the West, the film established a white woman (MacLaine) as a pivotal bridge figure across the Pacific. A “runaway production” that was shot in Japan and involved the participation of Japanese actors and staff, the filmmaking process itself represented the collaborative spirit that the on-screen characters strove to achieve. While critics did offer mixed reviews, the film, particularly MacLaine’s performance as a Japanese geisha, received positive marks on both sides of the Pacific. The production process and textual content of My Geisha ultimately reveal the changing geopolitics of the post-World War II years, as the U.S. strove to contain the Soviet Union while strengthening its alliances and partnerships with Japan as well as other non-communist countries. The film, then, did not emerge in a void, but exemplified the changes in cultural representation under what Christina Klein referred to as “Cold War Orientalism.”", "subitem_description_language": "en", "subitem_description_type": "Abstract"}]}, "item_9_identifier_registration": {"attribute_name": "ID登録", "attribute_value_mlt": [{"subitem_identifier_reg_text": "10.18999/juncture.13.42", "subitem_identifier_reg_type": "JaLC"}]}, "item_9_publisher_32": {"attribute_name": "出版者", "attribute_value_mlt": [{"subitem_publisher": "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", "subitem_publisher_language": "ja"}]}, "item_9_source_id_7": {"attribute_name": "収録物識別子", "attribute_value_mlt": [{"subitem_source_identifier": "1884-4766", "subitem_source_identifier_type": "PISSN"}]}, "item_access_right": {"attribute_name": "アクセス権", "attribute_value_mlt": [{"subitem_access_right": "open access", "subitem_access_right_uri": "http://purl.org/coar/access_right/c_abf2"}]}, "item_creator": {"attribute_name": "著者", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "北村, 洋", "creatorNameLang": "ja"}, {"creatorName": "KITAMURA, Hiroshi", "creatorNameLang": "en"}]}]}, "item_files": {"attribute_name": "ファイル情報", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_access", "date": [{"dateType": "Available", "dateValue": "2022-04-18"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "juncture_13_42.pdf", "filesize": [{"value": "1.6 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "mimetype": "application/pdf", "size": 1600000.0, "url": {"objectType": "fulltext", "url": "https://nagoya.repo.nii.ac.jp/record/2002393/files/juncture_13_42.pdf"}, "version_id": "8b104e0a-2f6a-4a0f-973a-28f7bde9c854"}]}, "item_keyword": {"attribute_name": "キーワード", "attribute_value_mlt": [{"subitem_subject": "ハリウッド", "subitem_subject_scheme": "Other"}, {"subitem_subject": "オリエンタリズム", "subitem_subject_scheme": "Other"}, {"subitem_subject": "ジェンダー", "subitem_subject_scheme": "Other"}, {"subitem_subject": "日本", "subitem_subject_scheme": "Other"}, {"subitem_subject": "アメリカ", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Hollywood", "subitem_subject_scheme": "Other"}, {"subitem_subject": "orientalism", "subitem_subject_scheme": "Other"}, {"subitem_subject": "gender", "subitem_subject_scheme": "Other"}, {"subitem_subject": "Japan", "subitem_subject_scheme": "Other"}, {"subitem_subject": "America", "subitem_subject_scheme": "Other"}]}, "item_language": {"attribute_name": "言語", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "資源タイプ", "attribute_value_mlt": [{"resourcetype": "departmental bulletin paper", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "オリエンタリズムの新しい形 : 『青い目の蝶々さん』と冷戦期の日米関係について", "item_titles": {"attribute_name": "タイトル", "attribute_value_mlt": [{"subitem_title": "オリエンタリズムの新しい形 : 『青い目の蝶々さん』と冷戦期の日米関係について", "subitem_title_language": "ja"}]}, "item_type_id": "40001", "owner": "1", "path": ["1650244603274"], "permalink_uri": "https://doi.org/10.18999/juncture.13.42", "pubdate": {"attribute_name": "PubDate", "attribute_value": "2022-04-18"}, "publish_date": "2022-04-18", "publish_status": "0", "recid": "2002393", "relation": {}, "relation_version_is_last": true, "title": ["オリエンタリズムの新しい形 : 『青い目の蝶々さん』と冷戦期の日米関係について"], "weko_shared_id": -1}
  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. 13

オリエンタリズムの新しい形 : 『青い目の蝶々さん』と冷戦期の日米関係について

https://doi.org/10.18999/juncture.13.42
https://doi.org/10.18999/juncture.13.42
860f8bb9-3635-4436-bf6d-8d6838b30973
名前 / ファイル ライセンス アクション
juncture_13_42.pdf juncture_13_42.pdf (1.6 MB)
Item type itemtype_ver1(1)
公開日 2022-04-18
タイトル
タイトル オリエンタリズムの新しい形 : 『青い目の蝶々さん』と冷戦期の日米関係について
言語 ja
その他のタイトル
その他のタイトル A New Form of Orientalism : My Geisha and U.S.-Japan Relations during the Cold War
言語 en
著者 北村, 洋

× 北村, 洋

ja 北村, 洋

en KITAMURA, Hiroshi

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 ハリウッド
キーワード
主題Scheme Other
主題 オリエンタリズム
キーワード
主題Scheme Other
主題 ジェンダー
キーワード
主題Scheme Other
主題 日本
キーワード
主題Scheme Other
主題 アメリカ
キーワード
主題Scheme Other
主題 Hollywood
キーワード
主題Scheme Other
主題 orientalism
キーワード
主題Scheme Other
主題 gender
キーワード
主題Scheme Other
主題 Japan
キーワード
主題Scheme Other
主題 America
内容記述
内容記述 This article examines the ways in which Orientalism was reinvented during the Cold War through a case study of My Geisha (1962). This Paramount film was produced by Steve Parker and starred Shirley MacLaine—two Japanophiles who happened to be married at the time—and chronicled a U.S. production team’s efforts to make a film version of Madame Butterfly. Yet instead of presenting the “East” and the “West” as mutually exclusive and irreconcilable categories as seen in Puccini’s Orientalist opera, the film used the story about cross-cultural filmmaking to present the conver gence of the United States and Japan. And in contrast to traditional Orientalist narratives that masculinized the West, the film established a white woman (MacLaine) as a pivotal bridge figure across the Pacific. A “runaway production” that was shot in Japan and involved the participation of Japanese actors and staff, the filmmaking process itself represented the collaborative spirit that the on-screen characters strove to achieve. While critics did offer mixed reviews, the film, particularly MacLaine’s performance as a Japanese geisha, received positive marks on both sides of the Pacific. The production process and textual content of My Geisha ultimately reveal the changing geopolitics of the post-World War II years, as the U.S. strove to contain the Soviet Union while strengthening its alliances and partnerships with Japan as well as other non-communist countries. The film, then, did not emerge in a void, but exemplified the changes in cultural representation under what Christina Klein referred to as “Cold War Orientalism.”
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.13.42
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 13, p. 42-54, 発行日 2022-03-30
戻る
0
views
See details
Views

Versions

Ver.1 2022-04-18 01:39:51.250941
Show All versions

Share

Mendeley Twitter Facebook Print Addthis

Cite as

エクスポート

OAI-PMH
  • OAI-PMH JPCOAR
  • OAI-PMH DublinCore
  • OAI-PMH DDI
Other Formats
  • JSON
  • BIBTEX

Confirm


Powered by WEKO3


Powered by WEKO3