WEKO3
アイテム
日本映画のトーキー移行期におけるヴォイス・オーヴァー : 1930年前後の「同時性」と「非同時性」をめぐって
https://doi.org/10.18999/humfnu.2.277
https://doi.org/10.18999/humfnu.2.277c9a13b92-0c1b-45e2-bae1-dc6629ed417c
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
humfnu_2_277.pdf (2.4 MB)
|
|
| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
|---|---|---|---|---|---|---|
| 公開日 | 2019-04-15 | |||||
| タイトル | ||||||
| タイトル | 日本映画のトーキー移行期におけるヴォイス・オーヴァー : 1930年前後の「同時性」と「非同時性」をめぐって | |||||
| 言語 | ja | |||||
| その他のタイトル | ||||||
| その他のタイトル | The Voice-Over of Japanese Films during the Talkies Transition Period : Evaluating Synchronicity and Asynchronicity around 1930 | |||||
| 言語 | en | |||||
| 著者 |
盧, 銀美
× 盧, 銀美× NO, EUNMI |
|||||
| 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 | ヴォイス・オーヴァー | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 日本映画 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | トーキー | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 同時性 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | 非同時性 | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Voice-Over | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Japanese Film | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | Talkies | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | dōjisei (Synchronicity/Simultaneity) | |||||
| キーワード | ||||||
| 主題Scheme | Other | |||||
| 主題 | hidōjisei (Asynchronicity/Non-Simultaneity) | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Around the year 1930, the word dōjisei [synchronicity, simultaneity] emerged as a fundamental principle that governed Japanese film's transition to the talkies. The term refers to the process of matching sound with image throughout the film. The task of maintaining dōjisei within the two sound-recording systems for film (sound-on-film and sound-on-disk) and the methods of sound recording (simultaneous recording, after-recording, pre-scoring, and dubbing) provided a constant problem for filmmakers. The technology of talkies took a long time to be realized. As a result, the talkie, which was introduced in 1929, did not cohere as a fully established form until 1935. Due to this unusual length, the Talkies in Transition Period (tōkī ikōki) which lasted from 1929 to 1935 fostered a unique film culture in Japan. Within this cultural climate, with the concept of dōjisei governing the norm, some voices began to propose the idea of hidōjisei [asynchronicity, non-simultaneity] which refers to the free use of the interplay between sound and image. One of the sites where the principles of hidōjisei were ironed out was the technique of voice-over. Voice-over, the most widely-used technique of hidōjisei, was seen during the Talkies in Transition Period as a polished technique that could exploit the limitless possibility of voice and image. | |||||
| 言語 | en | |||||
| 出版者 | ||||||
| 出版者 | 名古屋大学大学院人文学研究科図書・論集委員会 | |||||
| 言語 | ja | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | 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/humfnu.2.277 | |||||
| ID登録タイプ | JaLC | |||||
| ISSN（print） | ||||||
| 収録物識別子タイプ | PISSN | |||||
| 収録物識別子 | 2433-2321 | |||||
| 書誌情報 |
ja : 名古屋大学人文学フォーラム 巻 2, p. 277-294, 発行日 2019-03-31 |
|||||
| 著者版フラグ | ||||||
| 値 | publisher | |||||
