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  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. IVY
  4. 35

アメリカ映画が小津を模倣するとき : 補足の政治性

http://hdl.handle.net/2237/00030181
http://hdl.handle.net/2237/00030181
dfad12f6-b9a3-4ceb-b5be-13ecd015be96
名前 / ファイル ライセンス アクション
ivy_35_1.pdf ivy_35_1.pdf (1.0 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2019-05-13
タイトル
タイトル アメリカ映画が小津を模倣するとき : 補足の政治性
言語 ja
その他のタイトル
その他のタイトル Ozu Cited in American Cinema : The Dangerous Supplement of Politics
言語 en
著者 岩田, 和男

× 岩田, 和男

WEKO 91159

ja 岩田, 和男

Search repository
Iwata, Kazuo

× Iwata, Kazuo

WEKO 91160

en Iwata, Kazuo

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
抄録
内容記述 The Japanese cinema has always been conscious about its American counterpart. This consciousness could be considered the naïve 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's Know Your Enemy: Japan (1945) is a good example. Kurosawa's 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, Noël 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's Kramer vs. Kramer (1979). The intertextual relations between Ozu films and Kramer vs. Kramer are investigated through comparing their mise-en-scènes: 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' 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's 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's opinion, it must be considered, in Jacques Derrida's 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 différance may have to be changed.
言語 en
内容記述タイプ Abstract
内容記述
内容記述 本論文は、2001年4月21日に開かれた第40回名古屋大学英文学会において、「アメリカ映画が小津を模倣するとき : 補足の政治性をカルスタする」と題しておこなった研究発表に基づいている。
言語 ja
内容記述タイプ Other
出版者
言語 ja
出版者 名古屋大学英文学会
出版者
言語 en
出版者 The society of english literature and linguistics Nagoya University
言語
言語 jpn
資源タイプ
資源 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
ISSN(print)
収録物識別子タイプ PISSN
収録物識別子 0914-2266
書誌情報 en : IVY

巻 35, p. 1-29, 発行日 2002-10-31
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