@article{oai:nagoya.repo.nii.ac.jp:02002393,
 author = {北村, 洋 and KITAMURA, Hiroshi},
 journal = {JunCture : 超域的日本文化研究},
 month = {Mar},
 note = {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.”},
 pages = {42--54},
 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},
 volume = {13},
 year = {2022}
}