WEKO3
アイテム
THE REVISIONING OF THE REAL: FILM DIRECTOR SHINODA MASAHIRO’S EMPHATIC USE OF KUROGO IN SHINJ? TEN NO AMIJIMA
http://hdl.handle.net/10271/24
http://hdl.handle.net/10271/2480642fff-e239-4660-9e4a-5d0946a8f9d7
| 名前 / ファイル | ライセンス | アクション |
|---|---|---|
kiyo20_3.pdf (525.6 kB)
|
|
| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
|---|---|---|---|---|---|---|---|---|
| 公開日 | 2013-08-27 | |||||||
| タイトル | ||||||||
| タイトル | THE REVISIONING OF THE REAL: FILM DIRECTOR SHINODA MASAHIRO’S EMPHATIC USE OF KUROGO IN SHINJ? TEN NO AMIJIMA | |||||||
| 言語 | ||||||||
| 言語 | eng | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | kurogo | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | film | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | bunraku | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | kekkai (sacred barrier) | |||||||
| キーワード | ||||||||
| 主題Scheme | Other | |||||||
| 主題 | Shinoda Masahiro | |||||||
| 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 | |||||||
| 著者 |
遠藤, 幸英
× 遠藤, 幸英
|
|||||||
| 書誌情報 |
浜松医科大学紀要. 一般教育 巻 20, p. 37-53, 発行日 2006-03-24 |
|||||||
| 出版者 | ||||||||
| 出版者 | 浜松医科大学 | |||||||
| 抄録 | ||||||||
| 内容記述タイプ | Abstract | |||||||
| 内容記述 | As argued in my previous paper (“Terayama Sh?ji’s Theatre work: His Experimental Use of the Traditional Kurogo”), a new type of kurogo stagehand emerged in the late 1960s alternative theatre of Japan. Unlike the traditional type, these kurogo were so conspicuous as to impress an audience with their strong presence. The similar experimentation that Terayama carried out in Inugami (Dog God) was done by film director Shinoda Masahiro in Shinj? ten no amijima (Love Suicide at Amijima) independently but almost at the same time (1969). Shinoda brings to the fore kurogo puppeteers who viciously pave the way to the central characters’ tragic end. This paper inquires into the ways in which Shinoda’s filmic depiction of kurogo emphasizes the kurogo’s interference in the couple’s life, even their manipulation of it. It also clarifies what his provocative treatment of the kurogo suggests. By doing so, it shows that like Terayama, Shinoda disapproves of a realistic representation of life and acutely aware that life needs art to delve behind the fa?ade of real life. | |||||||
| ISSN | ||||||||
| 収録物識別子タイプ | ISSN | |||||||
| 収録物識別子 | 09140174 | |||||||
| NII書誌ID | ||||||||
| 収録物識別子タイプ | NCID | |||||||
| 収録物識別子 | AN10032827 | |||||||
| フォーマット | ||||||||
| 内容記述タイプ | Other | |||||||
| 内容記述 | application/pdf | |||||||
| 著者版フラグ | ||||||||
| 出版タイプ | VoR | |||||||
| 出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 | |||||||
