著者

水野 勝仁 Mizuno Masanori

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.4, pp.166-168, 2013-03-11

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

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

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