著者

笹川 慶子

出版者

関西大学大阪都市遺産研究センター

雑誌

大阪都市遺産研究

巻号頁・発行日

no.3, pp.19-31, 2013-03-31

著者

笹川 慶子

出版者

関西大学大阪都市遺産研究センター

雑誌

大阪都市遺産研究

巻号頁・発行日

vol.3, pp.19-31, 2013-03-31

著者

笹川 慶子

出版者

関西大学大阪都市遺産研究センター

雑誌

大阪都市遺産研究

巻号頁・発行日

vol.3, pp.19-31, 2013-03-30

著者

笹川 慶子

雑誌

演劇研究センター紀要I 早稲田大学21世紀COEプログラム 〈演劇の総合的研究と演劇学の確立〉

巻号頁・発行日

vol.1, pp.175-196, 2003-03-31

著者

笹川 慶子

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

no.65, pp.40-54, 2000

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The Musical is not only escapism nor mere entertainment as many film scholars have written. It is also ideological operations. This paper focuses on the narrative analysis of the Hollywood Musical genre during World War Ⅱ, suggesting how it produces the ideological effects of "utopian vision" on the spectator through its structure,style,and theme. To this end,I first proceed to clarify the difference between the Musical and the classical narrative. I then explore the historical development of the Musical narrative, with relation to the technological innovations and the ideological shifts. The Musical narrative contains the classical narrative and the spectacular song and dance numbers, which provide the spectator with the images of "real" and "utopia". This dual structure is frequently concluded with a big production number, emphasizing the American brotherhood and unity. Through these examinations, I suggest that the Musical narrative helps to bring to the spectator, more or less, the progressive utopian sensibility, the anticipation of the better world,and the faith in American Democracy.

著者

笹川 慶子

出版者

關西大學文學會

雑誌

關西大學文學論集 (ISSN:04214706)

巻号頁・発行日

vol.71, no.3, pp.19-47, 2021-12

著者

笹川 慶子

出版者

早稲田大学映画学研究会

雑誌

映画学 (ISSN:09154558)

巻号頁・発行日

no.14, pp.109-120, 2000

著者

笹川 慶子

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

no.63, pp.38-54, 1999-11

---

This paper focuses on how the wartime conditions in Hollywood influenced the development of Hollywood musicals and other films during 1939-1945. The goal is to foreground a historical process in which the musicals had been incorporating the different ideologies of the times,by tracting the relationships between the studios and the political and the economical situations. Under the strong influence of the F.D.Roosevelt's Administration, the Office of War Information attempted to imbue the movies with its political ideas by distributing the Govenment Information Manual for the Motion Picture Industry to the studios. Since the OWI had no power over censorship,the studios ignored the manual. However after mid-1943 when the OWI established a coalition with the Office of Censorship, the studios suddenly became compliant, and more films were molded into what the OWI required: the propaganda of Americanism. In such a circumstance,the musicals had been considered as a mere-trivial-escapist-entertainment among the OWI and the studios. Nonetheless, it is impossible to disregard the changes of the wartime musicals. The musicals also interwove the politically different ideologies with their conventional formars, and could be functioning as the powerful propaganda during the war by reproducting the utopian images of Americanism.

著者

笹川 慶子

出版者

早稲田大学大学院文学研究科

雑誌

早稲田大学大学院文学研究科紀要. 第3分冊 (ISSN:13417533)

巻号頁・発行日

vol.46, pp.25-35, 2001-02

著者

笹川 慶子

出版者

關西大學文學會

雑誌

關西大學文學論集 (ISSN:04214706)

巻号頁・発行日

vol.57, no.1, pp.69-92, 2007-07

著者

笹川 慶子 SASAGAWA Keiko

出版者

早稲田大学映画学研究会

雑誌

映画学 (ISSN:09154558)

巻号頁・発行日

no.13, pp.59-74, 1999

著者

笹川 慶子 小島 智章

出版者

関西大学大阪都市遺産研究センター

雑誌

大阪都市遺産研究

巻号頁・発行日

vol.3, pp.75-94, 2013-03-31

著者

笹川 慶子

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

vol.63, pp.38-54, 1999-11-25

---

This paper focuses on how the wartime conditions in Hollywood influenced the development of Hollywood musicals and other films during 1939-1945. The goal is to foreground a historical process in which the musicals had been incorporating the different ideologies of the times,by tracting the relationships between the studios and the political and the economical situations. Under the strong influence of the F.D.Roosevelt's Administration, the Office of War Information attempted to imbue the movies with its political ideas by distributing the Govenment Information Manual for the Motion Picture Industry to the studios. Since the OWI had no power over censorship,the studios ignored the manual. However after mid-1943 when the OWI established a coalition with the Office of Censorship, the studios suddenly became compliant, and more films were molded into what the OWI required: the propaganda of Americanism. In such a circumstance,the musicals had been considered as a mere-trivial-escapist-entertainment among the OWI and the studios. Nonetheless, it is impossible to disregard the changes of the wartime musicals. The musicals also interwove the politically different ideologies with their conventional formars, and could be functioning as the powerful propaganda during the war by reproducting the utopian images of Americanism.

著者

笹川 慶子

出版者

早稲田大学映画学研究会

雑誌

映画学 = Film studies (ISSN:09154558)

巻号頁・発行日

no.13, pp.59-74, 1999

著者

笹川 慶子

出版者

早稲田大学映画学研究会

雑誌

映画学 (ISSN:09154558)

巻号頁・発行日

vol.13, pp.59-74, 1999

著者

笹川 慶子

出版者

関西大学大学院東アジア文化研究科

雑誌

東アジア文化交渉研究 = Journal of East Asian cultural interaction studies (ISSN:18827748)

巻号頁・発行日

no.11, pp.195-210, 2018-03

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The purpose of this paper is to relate Taiwan to other Asian film markets, which were going through dynamic changes in the beginning of the 20th century. The characteristics of the Taiwan film market will be clarified in relation to other Asian markets (Singapore, Shanghai, Manila, and Japan) just connected to the U.K.-centric global film distribution network of Pathé Frères in 1907. To achieve this aim, the paper specifically focuses on the interaction between Taiwan and Japan through the circulation of films, as well as on the historical research on movie theaters after the Sino-Japan War (1894-1985). This study is mainly based on the research and analysis of Taiwan Nichinichi Shimpou (Taiwan Daily News) and other daily papers issued in the places under review.文部科学省グローバルCOEプログラム 関西大学文化交渉学教育研究拠点[東アジアの言語と表象]

著者

笹川 慶子

出版者

関西大学大阪都市遺産研究センター

雑誌

織田作之助と大阪

巻号頁・発行日

pp.28-39, 2013-03-31

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文部科学省私立大学戦略的研究基盤支援事業 : 平成22年度-26年度「大阪都市遺産の史的検証と継承・発展・発信を目指す総合的研究拠点の形成」

著者

北村 洋 笹川 慶子 KITAMURA Hiroshi SASAGAWA Keiko

出版者

名古屋大学大学院人文学研究科附属「アジアの中の日本文化」研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.9, pp.132-146, 2018-03-23

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Since the 1890s, Japanese movie-goers have engaged American cinema in a wide consumer marketplace shaped by intense media competition. Early fandom grew around educated urban audiences, who avidly patronized action-packed serials and Universal’s freshly imported films in the 1910s. During the 1920s and 1930s, U.S. cinema continued to attract metropolitan consumers but struggled in the face of Japan’s soaring narrative output. In the years following World War II, movie-goers encountered American films in big cities as well as provincial communities through the Occupationbacked Central Motion Picture Exchange. After the Occupation, U.S. film consumption began to slow down in theaters because of Japanese cinematic competition, but the sites of reception extended into television. The momentum of American cinema revived on the big screen with the rise of the blockbuster, though the years after the 1970s witnessed an intense segmentation of consumer taste. While U.S. cinema culture has become widely available via television, amusement parks, consumer merchandise, and the Internet, the contemporary era has seen renewed challenges mounted by domestic productions and alternative sources of popular entertainment.

著者

笹川 慶子

出版者

關西大學文學會

雑誌

關西大學文學論集 (ISSN:04214706)

巻号頁・発行日

vol.69, no.1, pp.1-27, 2019-07-30

著者

笹川 慶子

出版者

關西大學文學會

雑誌

關西大學文學論集 (ISSN:04214706)

巻号頁・発行日

vol.66, no.1, pp.63-91, 2016-07-31