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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. JunCture : 超域的日本文化研究
  4. 7

作者としての出演女性 : ドキュメンタリー映画『極私的エロス・恋歌1974』とウーマン・リブ

https://doi.org/10.18999/juncture.7.138
https://doi.org/10.18999/juncture.7.138
09142cee-546b-4aa2-a60e-549767a434c1
名前 / ファイル ライセンス アクション
JunCture7_15.pdf JunCture7_15.pdf (2.1 MB)
Item type 紀要論文 / Departmental Bulletin Paper(1)
公開日 2020-01-22
タイトル
タイトル 作者としての出演女性 : ドキュメンタリー映画『極私的エロス・恋歌1974』とウーマン・リブ
言語 ja
その他のタイトル
その他のタイトル Female Performers as Authors: Extreme Private Eros : Love Song 1974 and the Women’s Liberation Movement
言語 en
著者 中根, 若恵

× 中根, 若恵

WEKO 95400

ja 中根, 若恵

Search repository
Nakane, Wakae

× Nakane, Wakae

WEKO 95401

en Nakane, Wakae

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 Female Authorship
キーワード
主題Scheme Other
主題 Women’s Liberation Movement
キーワード
主題Scheme Other
主題 Female Body
キーワード
主題Scheme Other
主題 Feminism Film Studies
キーワード
主題Scheme Other
主題 Extreme Private Eros: Love Song 1974
抄録
内容記述 This paper focuses on a documentary film Extreme Private Eros: Love Song 1974 (Kyokushiteki Erosu: Renka 1974), which was produced in the era of the Women’s Liberation Movement (Uman Rib) in the early 1970s in Japan. By situating Extreme Private Eros in both the context of film history, especially documentary film history, and the surrounding social context at that time, this paper deconstructs the conventional way of criticizing and researching this film as a work by “sole author”, director Hara Kazuo. Instead, by considering female subjects Takeda Miyuki and Kobayashi Sachiko as leading figures of this film that show strong leadership in both the filmmaking process and the representational aspect, this paper explores the feminist politics in this film in relation to the Japanese Women’s Liberation Movement. In doing so, two issues could be investigated. First, reconsidering and extending the concept of “authorship” in film could develop discussions on female authorship. Also, this will lead to the second aim of this paper, which is to reveal that female authors in Japan created the feminist practice of filmmaking which many thought was non-existent. In doing so, this paper argues that Takeda and Kobayashi, as leading figures, show their bodies in various ways as following: sexual bodies, bodies giving birth to children, and bodies raising their children. Those various representations of their bodies with the feminist politics can show a resistance to both conventional female representation constructed by male gaze and social norms concerning modern family relationships.
言語 en
内容記述タイプ Abstract
出版者
言語 ja
出版者 名古屋大学大学院文学研究科附属「アジアの中の日本文化」研究センター
出版者
言語 en
出版者 Japanese-in-Asia Cultural Research Center, Graduate School of Letters, 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
ID登録
ID登録 10.18999/juncture.7.138
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 1884-4766
書誌情報 ja : JunCture : 超域的日本文化研究

巻 7, p. 138-151, 発行日 2016-03-28
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