著者

栗田 秀法 KURITA Hidenori

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

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.8, pp.223-225, 2017-03-17

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恩地孝四郎展 (東京国立近代美術館 2016年1月13日-2月28日, 和歌山県立近代美術館 2016年4月29日-6月12日)

著者

畑 あゆみ Hata Ayumi

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.1, pp.182-194, 2010-01-01

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This paper will examine how Japanese committed documentary films of the late 1960s were particularly associated with the realism shared in the contemporary society of their time, due to their representation of individual bodies and spontaneous speech. I will especially focus on the student strike documentary Forest of Oppression, filmed by Ogawa Shinsuke and his crew in 1967. Intensive agitation against the revision of the 1951 U.S.-Japan Security Treaty (known as the 1960 Anpo tôsô) marked the height of the postwar leftist movement in Japan, mobilizing not only activist-students but also a large number of workers and city dwellers of all ages. The collective move towards repenting the past, and thereby of wishing to become active agents of history, also influenced the younger generation to go on a quest for an existential 'self' with autonomous individual subjectivity. New Left student-militants were in the thick of a struggle, not only against the policies of the current government or the authoritarianism which permeated the entire society, but also against a persistent anxiety about their equivocal selves due to the socio-political upheaval of the time and the rapid infiltration of a high-consumption culture into their everyday lives. Taking into consideration this historical context, I will show how Forest of Oppression caught moments that induced its viewers to understand the stagnant, problematic reality of postwar subjectivity through the use of an ensemble of close-up shots of bodies accompanied by quasi-synched speech. In fact, the contrast between unanchored words and solid-textured physical images reveals the fundamental inappropriateness of the impractical Marxist slogans the students repeated, and hence, evokes much speculation about how those students' insecure inner lives contrasted with their passionate words. While the historical significance of Ogawa Productions has been chiefly discussed in terms of their radical methodology, including their independent filmmaking-screening practice and their policy of shooting one subject over a long period of time, I will argue that Ogawa's early film precisely presented the symptoms of contemporary social problems and the intricate realities of people's lived experiences through formal experimentation.

著者

加島 正浩 KASHIMA Masahiro

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

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

vol.8, pp.180-193, 2017-03-17

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The purpose of this article is to determine the significance of literature on the Great East Japan Earthquake written by authors who do not belong to one of the affected parties. It does so by analyzing a novel depicting the Great East Japan Earthquake, focusing on the relationship between Tokyo and the affected area. Immediately after the earthquake, when the threat of radioactive substances spreading to Tokyo loomed large, the author of this novel was able to write as one of the affected. However, later it became difficult for the author to write about the disaster as the impact of such first-hand accounts began to wear thin. This was due to consideration for the affected parties, who continued to live in Fukushima after the disaster. However, as this article argues, excessive consideration for the affected parties distracts people from realizing the true state of affairs in Japan, and when those other than the affected parties are discouraged from speaking out, it causes feelings of indifference and accelerates the “wearing thin” of the impact, ultimately forcing the affected area to take care of the problem on its own. The affected parties, who had to focus on restoring their everyday lives after the disaster, could not fight against this “wearing thin” of the impact. However, others could. Thus, writers who write about the earthquake disaster with due care are fulfilling their part.

著者

飯田 祐子 IIDA Yuko

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.10, pp.48-63, 2019-03-25

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In this paper, I examine Murata Sayaka's works with a special focus on the concept of "genderqueer." Genderqueer is a term born from Transgender theory, which criticizes the gender binary norm. Murata wrote about transgender characters who try to transcend gender, as well as, cisgender women, who deviate from the gender norm in extreme ways. Murata created these people to show her intolerance of the gender binary system, and by doing that, her trials resonate with the concept of genderqueer. In Convenience Store Woman, Murata reveals that "normal" is constructed with the exclusion of the others. Part of her focus is on the family system that she considers to be the most repressive. It is the basis of society and strongly gendered. The protagonist Keiko Furukura escapes from gender norms by identifying herself as a part of a convenience store. Convenience Human, the identity Furukura creates, is an allegorical non-gendered existence. In Murata's other works, she continues to invent alternative sexuality in order to free sexual desire from the gender system. For instance, she features several types of sex with things practiced by girls, and she extends this idea and describes with enthusiasm having sex with the Earth. Her ideas are in the same direction as post-human or non-human ontology. In her most recent work, Earthian, she seeks a way to survive as an alternative post-human creature. She describes the binary confrontation "normal/abnormal" as "Earthian/alien." The protagonists survive as aliens in the repressively gendered society, the Earth. In this paper, I demonstrate the concrete gender queerness in order to criticize the binary gender system, through Murata's works created with her explosive imagination.

著者

松下 千雅子 高島 亜理沙 TANIMOTO Matsushita Chikako TAKASHIMA Alisa

出版者

名古屋大学大学院人文学研究科附属超域文化社会センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.10, pp.64-75, 2019-03-25

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本研究はJSPS科研費 JP16K13136の助成を受けたものである。

著者

大木 龍之介

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.8, pp.194-208, 2017-03

著者

秦 剛 Gin Gang

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

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.6, pp.70-85, 2015-03

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To review the origin and development of China's proletarian artistic style, Yanase Masamu, who has fallen into oblivion in China, has to be referred to. Promoted by Uchiyama Kanzo's bookstore, Yanase's political caricatures began to circulate in Shanghai and gained in popularity in the early 1930s. Lu Xun did not only collect his works, but recommend them to numerous young artists. The artistic style represented by Yanase's work profoundly influenced Chinese Leftists' art creation. During the Sino-Japanese war, his works were regarded as the paradigm for anti-war comics and were widely imitated. Based on abundant historical materials, this paper intends to reenact the dissemination and influence of Yanase Masamu's masterpieces in 1930s China.

著者

王 静

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.7, pp.152-162, 2016-03

著者

ティアニー ロバート 大﨑 晴美

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.6, pp.28-40, 2015-03

著者

坪井 秀人

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.5, pp.130-153, 2014-03

著者

川口 潤

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture (ISSN:18844766)

巻号頁・発行日

no.2, pp.54-65, 2011-03

著者

溝渕 久美子 Mizobuchi Kumiko

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

JunCture : 超域的日本文化研究 (ISSN:18844766)

巻号頁・発行日

no.1, pp.158-169, 2010-01

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During the 1950s, Japanese Language Education in junior and senior high schools often included film-related topics. Even though this is an interesting phenomenon that calls for careful analysis, there has been no research into this topic in Japanese Film History up to now. The purpose of this paper is to show that this topic is important in Japanese Film History as well as a broader historical context. In Film Education that started in 1951, essays of film critics such as Iijima Tadashi, Tsumura Hideo, Imamura Tahei and Kitagawa Fuyuhiko were used. Narrative films and their screenplays were also used as course materials. Unlike science education films, this material was not specially created for educational purposes; these filmic and non-filmic texts were chosen and edited to adapt to the aims of Japanese Language Education. The aims of Japanese Education were twofold: the moral education as a citizen who can take part in the post-war democratic society, and the fostering of communication ability. In the context of moral education, films were regarded as a kind of art form useful for life, and emphasis was placed on the 'ideal' appreciation of films showing a suitable sensitivity based on the proper understanding of the characteristics of film as a medium. In the context of the fostering of communication skills, attention was paid not only to the visual aspects such as acting and expression, but also to the auditory aspects such as the spoken lines including their accents and tones. Cinema also played a role in proliferating standard Japanese to students all over Japan.

著者

溝渕 久美子

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture (ISSN:18844766)

巻号頁・発行日

no.1, pp.158-169, 2010-01

著者

三原 芳秋

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

雑誌

Juncture (ISSN:18844766)

巻号頁・発行日

no.2, pp.106-118, 2011-03

出版者

名古屋大学大学院文学研究科附属日本近現代文化研究センター

巻号頁・発行日

2010