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『箱入り娘』から『晩春』へ
https://doi.org/10.15020/00001882
https://doi.org/10.15020/000018820b2cc026-04ca-4e0e-9fe0-39fd53db0852
| 名前 / ファイル | ライセンス | アクション |
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『箱入り娘』から『晩春』へ (1.1 MB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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| 公開日 | 2020-11-03 | |||||
| タイトル | ||||||
| タイトル | 『箱入り娘』から『晩春』へ | |||||
| タイトル | ||||||
| タイトル | Comparative Studies of the Pattern of Developing a Theme of “Lie” Between Yasujiro Ozu’s Hakoiri-Musume and Late Spring | |||||
| 言語 | en | |||||
| 言語 | ||||||
| 言語 | jpn | |||||
| 資源タイプ | ||||||
| 資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||
| 資源タイプ | departmental bulletin paper | |||||
| ID登録 | ||||||
| ID登録 | 10.15020/00001882 | |||||
| ID登録タイプ | JaLC | |||||
| 著者 |
宮本, 明子
× 宮本, 明子× MIYAMOTO, Akiko |
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| 著者 所属 | ||||||
| 値 | 同志社女子大学・表象文化学部・日本語日本文学科・助教（有期） | |||||
| 著者所属(翻訳) | ||||||
| 値 | Department of Japanese Language and Literature, Faculty of Culture and Representation, Doshisha Women’s College of Liberal Arts, Assistant professor（contract） | |||||
| 著者 外部リンク | ||||||
| 表示名 | 同志社女子大学研究者データベース - 宮本 明子 | |||||
| URL | https://research-db.dwc.doshisha.ac.jp/rd/html/japanese/researchersHtml/4201/4201_Researcher.html | |||||
| 抄録 | ||||||
| 内容記述タイプ | Abstract | |||||
| 内容記述 | Director Yasujiro Ozu’s Late Spring (1949) has been referred to as Ozu’s perfect work. As the title was credited on the film, it was borrowed from Kazuo Hirotsu’s short story, Chichi to Musume. However, as Ozu clearly stated, the conclusion in the film is different to Hirotsu’s story. If so, what are the main themes of Late Spring? Compared to Hirotsu’s short story and Ozu’s other work, this study examines the main themes of Late Spring. First, one of the themes in Late Spring develops around the expression of the “lie.” In Hirotsu’s story, readers are made aware of the father’s “lie,” and his motive is described in detail. While a novel may communicate its characters’ inner discourse through narration or a narrator, it is impossible for a film to do the same without the support of a voice-over or subtitles. However, without resorting to any of these techniques, Late Spring deliberately withholds the truth from its audience. The final scene where the father confesses that he had “lied” to his daughter is far more powerful than just a final revelation. The facial expression of Chishu Ryu, who portrays the father, when he first “lied” is also worth noting. Presenting a stern face without a twitch or a smile, he simply answers “un” when his daughter asks him if he was really getting remarried. Chishu Ryu’s “expressionless face” is instrumental to the success of this film. Second, in Ozu’s works before Late Spring, the pattern of developing a “lie” theme can also be seen in Hakoiri-Musume (1935). Here, we can see the same pattern of deception in the girl’s “lie.” Worthy of attention here is Kogo Noda, the screenwriter, who had participated in both films. Late Spring was their first collaboration in 14 years since Hakoiri-Musume, after which, they continued to co-write film scripts. In this way, we can see the themes of Late Spring based on and borrowed from Kazuo Hirotsu’s short story; however, Ozu and Noda created an additional “lie” theme in Late Spring. |
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| 内容記述 | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | 論文 | |||||
| 書誌情報 |
総合文化研究所紀要 en : Bulletin of Institute for Interdisciplinary Studies of Culture Doshisha Women’s College of Liberal Arts 巻 37, p. 121-132, 発行日 2020-07-29 |
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| 出版地 | ||||||
| 出版者 | 京都 | |||||
| 出版者 | ||||||
| 出版者 | 同志社女子大学総合文化研究所 (学術研究支援課) | |||||
| ISSN | ||||||
| 収録物識別子タイプ | ISSN | |||||
| 収録物識別子 | 09100105 | |||||
| 書誌レコードID | ||||||
| 収録物識別子タイプ | NCID | |||||
| 収録物識別子 | AN10052143 | |||||
| 資源タイプ | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | application/pdf | |||||
| ID | ||||||
| 内容記述タイプ | Other | |||||
| 内容記述 | AN10052143-20200817-121 | |||||
