著者
木村 建哉
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.20, pp.1-18, 2014-03

The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.
著者
木村 建哉
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.20, pp.1-18, 2014-03

The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.
著者
木村 建哉
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.20, pp.1-18, 2014-03

The Castle of Cagliostro (1979) is the first feature film (long film) by MIYAZAKI Hayao, the most famous Japanese anime director. In this article I will show that this animation film is a typical swashbuckler very much influenced by classical Hollywood ones. For that purpose, I first argue what classical Hollywood swashbucklers are, and briefly explain the history of this genre (or subgenre of adventure movies). Second I clarify typical traits of narratives and ways of directing of classical Hollywood swashbucklers. Then I show not only that The Castle of Cagliostro is a typical swashbuckler but also that it is one of the best swashbucklers in the film history, and I suggest that influences of classical Hollywood movies should be more taken into account in thinking about and analyzing MIYAZAKI's films.
著者
小倉 健太郎
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.21, pp.37-59, 2015-03
著者
小倉 健太郎
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.19, pp.63-81, 2013-03

American philosopher Charles Sanders Peirce (1839-1914) categorized the various classes of signs, one of which is the index. Peirce insists that photographs "belong to the second class of signs, those by physical connection." In other words, photographs belong to the index. In the 1970s, American art critic Rosalind Krauss (b. 1941) introduced Peirce's idea about photographs in an article. Since then, this idea has resulted in many arguments among photography critics. Until now, these arguments have fallen into a blind alley. It appears as though the term "index" is useless in describing the twenty-first century notions about photography. However, is Peirce's idea true? In this article, I contend that the index is still relevant in the digital age. According to Peirce, the fact that a photograph "is known to be the effect of the radiations from the object renders it an index." Therefore, the important factor necessary for a photograph to function as an index is that, as Jean-Marie Schaeffer (b. 1953) said, "We know that it is a photograph and know what this fact entails." According to this knowledge, a photograph functions as an index. In the digital age, the function of a photograph as an index is fading. There are two reasons for this. First, in the digital age, the flood of images prevents our efforts to reach the origin of the images. Second, CGI (Computer Generated Image) is indistinguishable from the photographic image, and we know that these CGIs are widely used. Thus, in the digital age, we may not be able to distinguish that it is a photograph.American philosopher Charles Sanders Peirce (1839-1914) categorized the various classes of signs, one of which is the index. Peirce insists that photographs "belong to the second class of signs, those by physical connection." In other words, photographs belong to the index. In the 1970s, American art critic Rosalind Krauss (b. 1941) introduced Peirce's idea about photographs in an article. Since then, this idea has resulted in many arguments among photography critics. Until now, these arguments have fallen into a blind alley. It appears as though the term "index" is useless in describing the twenty-first century notions about photography. However, is Peirce's idea true? In this article, I contend that the index is still relevant in the digital age. According to Peirce, the fact that a photograph "is known to be the effect of the radiations from the object renders it an index." Therefore, the important factor necessary for a photograph to function as an index is that, as Jean-Marie Schaeffer (b. 1953) said, "We know that it is a photograph and know what this fact entails." According to this knowledge, a photograph functions as an index. In the digital age, the function of a photograph as an index is fading. There are two reasons for this. First, in the digital age, the flood of images prevents our efforts to reach the origin of the images. Second, CGI (Computer Generated Image) is indistinguishable from the photographic image, and we know that these CGIs are widely used. Thus, in the digital age, we may not be able to distinguish that it is a photograph.
著者
喜多崎 親
出版者
成城大学大学院文学研究科美学・美術史研究室
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.22, pp.59-79, 2016-03

Redon's lithographic album la Maison hantée, inspired by the English ghost story, Haunted and the Haunters: or, The House and the Brain (1859) by Edward George Bulwer-Lytton, has been critisised for being too illustrational and lacking originality. Yet, when the images are compared with the captions and the French translation of the original text of the novel by René Philipon, who orderd the album to Rodin, it becomes evident that the painter selected the objects that the narrator actually saw in the haunted house—the parts that do not describe story elements. To achieve an effect of ambiguity, Redon avoided narrative depictions of the scenes and in fact rejected illustrating the story.
著者
津上 英輔
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.17, pp.1-15, 2012-03

R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.R. G. Collingwood in The Principles of Art (1938) discusses Plato's theory of poetry in Republic 10, coming to the general conclusion that not poetry as a whole but only the representative part of it was banished from his ideal state. The three footnotes (pages 46 and 48) given in this connection on grammatical interpretation of specific passages in the original Greek text catch the reader's eye with their disproportionate minuteness. This paper attempts to make clear his motive for this by examining his reading of the original passages as well as the framework in which the subject is dealt with in The Principles of Art, by comparing it with his earlier essay "Plato's Philosophy of Art", to which he expressly refers in one of the three notes, and by matching his theory of art and representation with that of Plato's. These investigations show that Collingwood, while mostly keeping sound in philological terms, wanted to interpret Plato's criticism of representation to conform to his own conception of it. According to Collingwood, Plato failed to distinguish between magical representation and amusement representation, with the result that Plato attacked representation at large, instead, as he should, of amusement representation only. It was under such a scheme that the modern philosopher gave the seemingly superfluous philological notes.
著者
小河原 アヤ
出版者
成城大学
雑誌
成城美学美術史 = Studies in aesthetics & art history (ISSN:13405861)
巻号頁・発行日
no.17, pp.133-140, 2012-03

2010年夏の北海道夕張市にて、映像と記憶に関するワークショップが行われた。このワークショップは、財政破綻以来変わりつつあるこの街の現在の様子を記録し、それを過去の夕張市の映像と共に編集して、そうしてできた作品を住民に見てもらうことによって、映画映像をきっかけに住民の記憶を呼び起こすことを目的とした。しかし、夕張市の歴史的状況を念頭に入れたこのワークショップ映画は、繁栄した過去/荒廃しつつある現在という紋切り型、既成のナラティヴに当てはめてこの街を表象する結果となり、個人的な記憶を呼び起こすのは難しかったと考えられる。夕張についての紋切り型の表象、既成のナラティヴは、映画『幸福の黄色いハンカチ』(山田洋次監督、1977年)に顕著である。この映画の中で夕張は、高度経済成長に取り残された「古き良き日本」の紋切り型で表象されている。またこの映画はフラッシュバックの技法を用いて登場人物の過去の回想を表すのだが、これは過去を、紋切り型と同様に、それが起った時の状態のまま変化しないもの、事物が或る時点の状態にとどまっているものとして理解し、記憶を、過去の振り返りとして表している。このような記憶理解は、過去の夕張を紋切り型、既成のナラティヴに当てはめて表した我々のワークショップ映画に共通する。ダミアン・サットン著Photography, Cinema, Memoryによれば、記憶の概念には二種類ある。一方は、過去に作られた記憶を現在の時点から振り返るというものであり、これはクロノロジカルな時間概念に基づいている。他方は、時間を現在と過去の「結晶」とする考えに基づく「創造的記憶」、すなわち、過去が現在と協働して、この現在の瞬間に新たな記憶を創造するというものである。サットンによれば、映画においては、線的な上映時間枠の中で複数の映像が次々に現れるゆえにクロノロジカルな時間表象がされやすいのに対して、写真においては、事物が一つの枠内で示され、撮影された時点(過去)とそれを見る時点(現在)とが不合理に結ばれるゆえに、時間の「結晶」において記憶が創造的になる。しかし、映画においても創造的記憶は可能である。例えば、上述のワークショップ映画には、或る夕張の風景の映像が突如として説明無しに現れるときがある。このような映像は、映画の線的な時間上に成立するナラティヴを拒み、映像そのものとして突出する。観客は、それを現在の瞬間に注視し、自ら新たなナラティヴを創造せざるを得なくなるだろう。このとき、映画映像において創造的記憶が働くと考えられる。
著者
瀧川 美生
出版者
成城大学
雑誌
成城美学美術史 (ISSN:13405861)
巻号頁・発行日
no.17/18, pp.103-119, 2012-03

オスマン帝国期に建設された大モスク群は、19世紀から20世紀にかけての西欧の研究者らによって、ハギア・ソフィアの模倣とみなされてきた。実際に、オスマン帝国を代表する16世紀の建築家シナンの手がけたイスタンブルのスレイマニェ・ジャーミィにおいても、ハギア・ソフィアの平面形式は意図的に採用されている。しかしながら、形式的な類似が認められるからこそ、両者を比較することにより、シナンのモスクにおける独自の空間性は明確になる。本論では、シナンの手がけた二つのモスクを取り扱い、彼がハギア・ソフィアの空間をいかにオスマン帝国化したかを明らかにしたい。 スレイマニェ・ジャーミィにおいては、ハギア・ソフィアの平面形式による広大なドーム空間を踏襲した上で、ビザンティン建築やイスラーム建築の建築語彙や装飾などから採用した建築的諸要素を結びつけることにより、キリスト教聖堂が持つアプシスへの方向性を解消し、集中と拡散と呼び得る視覚作用を堂内に出現させ、オスマン帝国モスクにおける理想空間の実現に寄与したと考えられる。 構造と装飾、双方の働きによって生じたこれらの視覚効果は、スレイマニェ・ジャーミィの約20年後に建設されたエディルネのセリミエ・ジャーミィにおいて、より洗練を増し、強調されている。八本に増やされたピアの配置や多数の開口部、ムカルナスなどの装飾により、訪問者が堂内で体験するであろう集中と拡散という相反する視覚への作用は、構造と装飾による美的空間の達成という同一目的への寄与のために、ハギア・ソフィアとはまったく異なるオスマン帝国モスクの独自表現における重要な一要素となったのである。 ハギア・ソフィア、あるいはビザンティン建築の諸要素がオスマン帝国建築に多大な影響を与えたことは事実である。しかし、それは単なる模倣にはとどまらない。シナンのモスクの独自性とは、異文化の影響を排除することで現れるものではなく、そこから取り入れた様々な要素をオスマン帝国化(トルコ化)し、再解釈することによって生み出された独自表現であり、それはまた、オスマン帝国の性質そのものを表しているのである。