著者

堀 潤之

出版者

関西大学東西学術研究所

雑誌

関西大学東西学術研究所紀要 (ISSN:02878151)

巻号頁・発行日

vol.45, pp.163-177, 2012-04

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This paper examines the history of the distribution and criticism of Jean-Luc Godard's films in Japan, covering half a century and concentrating on the years 1967–1971, when almost 16 of his films were released in succession. Today, we forget the fact that the discourse of Shigehiko Hasumi emerged at this time as a counterattack against the dominant critical trend that emphasized the political dimension of a film. I suggest that one of the consequences of this amnesia is the widespread acceptance in the years following the 1980s of a simple aesthetic view that it is sufficient to appreciate Godard's films as if they were music, seen particularly in the statements of several famous musicians. Finally, this paper advocates the necessity of a semantic exegesis of his films that lacks in the recent Japanese reception of Godard's oeuvre.