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
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

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
関西大学
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

http://ci.nii.ac.jp/naid/110007152979