{"_buckets": {"deposit": "03f6179a-7a91-47cc-828d-5d33c08310c2"}, "_deposit": {"id": "27983", "owners": [], "pid": {"revision_id": 0, "type": "depid", "value": "27983"}, "status": "published"}, "_oai": {"id": "oai:nagoya.repo.nii.ac.jp:00027983"}, "item_9_alternative_title_19": {"attribute_name": "\u305d\u306e\u4ed6\u306e\u8a00\u8a9e\u306e\u30bf\u30a4\u30c8\u30eb", "attribute_value_mlt": [{"subitem_alternative_title": "Ozu Cited in American Cinema : The Dangerous Supplement of Politics"}]}, "item_9_biblio_info_6": {"attribute_name": "\u66f8\u8a8c\u60c5\u5831", "attribute_value_mlt": [{"bibliographicIssueDates": {"bibliographicIssueDate": "2002-10-31", "bibliographicIssueDateType": "Issued"}, "bibliographicPageEnd": "29", "bibliographicPageStart": "1", "bibliographicVolumeNumber": "35", "bibliographic_titles": [{"bibliographic_title": "IVY"}]}]}, "item_9_description_4": {"attribute_name": "\u6284\u9332", "attribute_value_mlt": [{"subitem_description": "The Japanese cinema has always been conscious about its American counterpart. This consciousness could be considered the na\u00efve longings of local adolescents for the bright city life. On the other hand, the beginnings of the relationship between the American and Japanese cinema did not escape the political situation between the US and Japan before the Pacific War. The American cinema did not look at the Japanese cinema as such, but at Japan as a nation. Their gaze was doomed to be so political and strategic that its objective was just the same as that of Japanologists: to beat Japan in the war and govern it effectively. Frank Capra\u0027s Know Your Enemy: Japan (1945) is a good example. Kurosawa\u0027s Rashomon (1950) changed the scene. It is when this monumental film won the Grand Prix at the Venice International Film Festival that the world realized the quality of Japanese cinema. American cinema was no exception. It seems that American filmmakers decided to learn how to make films from the people who they governed from GHQ. This tendency was accelerated by the plenitudinous development of film studies in universities. This is also said to be the main cause for the classification of movie fans by creating intellectual cineasts. Then the critics of the Japanese films, such as Donald Richie, No\u00ebl Burch and Paul Schrader, appeared. It is in this context that Ozu Yasujiro was discovered. However it did not mean a revolutionary change of the structure at all. The structural relationship between the two cultures remained unchanged, the Althusserian ideology, the Gramscian political hegemony as the consented cultural effect, or the cultural hegemony that regulates our daily life through commodities. Kurosawa appeared, Ozu was discovered, and the same cultural map was simply reinforced. The aim of the present paper is to affirm this reinforcement of the status quo through tracing the Ozu-like features in American cinema, especially in Robert Benton\u0027s Kramer vs. Kramer (1979). The intertextual relations between Ozu films and Kramer vs. Kramer are investigated through comparing their mise-en-sc\u00e8nes: the corridors where persons pass quarreling and admonishing; and the scenes where they sit or stand side by side, watching or eating; and the connection between these devices and the films\u0027 themes. They reveal differences, and of course similarities. The most decisive difference lies in their attitudes toward feminism. This remark seems ridiculous, because the anti-feminism is so overt in Kramer vs. Kramer, and Ozu films, since they were made before the movement of feminism was socially accepted, do not have any of its consciousness at all. But the intertextual relationship between them entices us to analyze why Joanna decides to leave Billy with Ted in spite of her success in winning his custody in court. Consequently it can be said that the recurring image of Japanese ambiguity is reinforced here. In other words, Joanna\u0027s ambiguous decision can be considered a filmic result of Japonism assisted by Ozu-like features. And this recurring image might not be simply a repetition. In the writer\u0027s opinion, it must be considered, in Jacques Derrida\u0027s terminology, a \"dangerous supplement.\" The supplement is dangerous because it alters the original or nature. It may be true that the peripheral culture has to alter itself completely when it exerts some influence on the hegemonic culture. In this sense Japanese cinema might be called a page in the history of cinema, like a trace of an error from a palimpsest. The influence here then implies that American cinema can renew Japanese cinema by adding another page to itself. It is certainly the alteration of Hollywood cinema, but in another way that altered American cinema may be richer and the Japanese \"nature\" as diff\u00e9rance may have to be changed.", "subitem_description_type": "Abstract"}]}, "item_9_description_5": {"attribute_name": "\u5185\u5bb9\u8a18\u8ff0", "attribute_value_mlt": [{"subitem_description": "\u672c\u8ad6\u6587\u306f\u30012001\u5e744\u670821\u65e5\u306b\u958b\u304b\u308c\u305f\u7b2c40\u56de\u540d\u53e4\u5c4b\u5927\u5b66\u82f1\u6587\u5b66\u4f1a\u306b\u304a\u3044\u3066\u3001\u300c\u30a2\u30e1\u30ea\u30ab\u6620\u753b\u304c\u5c0f\u6d25\u3092\u6a21\u5023\u3059\u308b\u3068\u304d : \u88dc\u8db3\u306e\u653f\u6cbb\u6027\u3092\u30ab\u30eb\u30b9\u30bf\u3059\u308b\u300d\u3068\u984c\u3057\u3066\u304a\u3053\u306a\u3063\u305f\u7814\u7a76\u767a\u8868\u306b\u57fa\u3065\u3044\u3066\u3044\u308b\u3002", "subitem_description_type": "Other"}]}, "item_9_publisher_32": {"attribute_name": "\u51fa\u7248\u8005", "attribute_value_mlt": [{"subitem_publisher": "\u540d\u53e4\u5c4b\u5927\u5b66\u82f1\u6587\u5b66\u4f1a"}]}, "item_9_select_15": {"attribute_name": "\u8457\u8005\u7248\u30d5\u30e9\u30b0", "attribute_value_mlt": [{"subitem_select_item": "publisher"}]}, "item_9_source_id_7": {"attribute_name": "ISSN\uff08print\uff09", "attribute_value_mlt": [{"subitem_source_identifier": "0914-2266", "subitem_source_identifier_type": "ISSN"}]}, "item_creator": {"attribute_name": "\u8457\u8005", "attribute_type": "creator", "attribute_value_mlt": [{"creatorNames": [{"creatorName": "\u5ca9\u7530, \u548c\u7537"}], "nameIdentifiers": [{"nameIdentifier": "91159", "nameIdentifierScheme": "WEKO"}]}, {"creatorNames": [{"creatorName": "Iwata, Kazuo"}], "nameIdentifiers": [{"nameIdentifier": "91160", "nameIdentifierScheme": "WEKO"}]}]}, "item_files": {"attribute_name": "\u30d5\u30a1\u30a4\u30eb\u60c5\u5831", "attribute_type": "file", "attribute_value_mlt": [{"accessrole": "open_date", "date": [{"dateType": "Available", "dateValue": "2019-05-13"}], "displaytype": "detail", "download_preview_message": "", "file_order": 0, "filename": "ivy_35_1.pdf", "filesize": [{"value": "1.0 MB"}], "format": "application/pdf", "future_date_message": "", "is_thumbnail": false, "licensetype": "license_free", "mimetype": "application/pdf", "size": 1000000.0, "url": {"label": "ivy_35_1.pdf", "url": "https://nagoya.repo.nii.ac.jp/record/27983/files/ivy_35_1.pdf"}, "version_id": "9e3e3262-b72d-4665-ad7b-d24dd4f163ca"}]}, "item_language": {"attribute_name": "\u8a00\u8a9e", "attribute_value_mlt": [{"subitem_language": "jpn"}]}, "item_resource_type": {"attribute_name": "\u8cc7\u6e90\u30bf\u30a4\u30d7", "attribute_value_mlt": [{"resourcetype": "departmental bulletin paper", "resourceuri": "http://purl.org/coar/resource_type/c_6501"}]}, "item_title": "\u30a2\u30e1\u30ea\u30ab\u6620\u753b\u304c\u5c0f\u6d25\u3092\u6a21\u5023\u3059\u308b\u3068\u304d : \u88dc\u8db3\u306e\u653f\u6cbb\u6027", "item_titles": {"attribute_name": "\u30bf\u30a4\u30c8\u30eb", "attribute_value_mlt": [{"subitem_title": "\u30a2\u30e1\u30ea\u30ab\u6620\u753b\u304c\u5c0f\u6d25\u3092\u6a21\u5023\u3059\u308b\u3068\u304d : \u88dc\u8db3\u306e\u653f\u6cbb\u6027"}]}, "item_type_id": "9", "owner": "1", "path": ["326/521/2321/2393"], "permalink_uri": "http://hdl.handle.net/2237/00030181", "pubdate": {"attribute_name": "\u516c\u958b\u65e5", "attribute_value": "2019-05-13"}, "publish_date": "2019-05-13", "publish_status": "0", "recid": "27983", "relation": {}, "relation_version_is_last": true, "title": ["\u30a2\u30e1\u30ea\u30ab\u6620\u753b\u304c\u5c0f\u6d25\u3092\u6a21\u5023\u3059\u308b\u3068\u304d : \u88dc\u8db3\u306e\u653f\u6cbb\u6027"], "weko_shared_id": 3}