2012東近美_紀要_表紙第17号

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しまなしもね
5 years ago
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5 Eric Hobsbawm

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12 , NFC pp Keene, Donald. Japanese writers and East Asian war, The journal of Asian studies. Vol.23, 1964, pp p

13 p.9. 7 p p p p Vol die Ästhetisierung der Politik CINETIC No p p Hobsbawm, Eric John Ernest. And Ranger, Terence. The Invention of Tradition. Cambridge University Press, p p p pp vol.1 pp p p ) p p p

14 From Tsuchi to Ie Changes in Political Function Asari Hiroyuki When Kuratani Isamu made Ie (Family), a Shochiku film released in 1943, he had Uchida Tomu s Tsuchi (Soil) a Nikkatsu film released in 1939, in mind. This essay discusses Ie in terms of two issues. First, it clarifies the differences in the political situations when the two films were made: Tsuchi was made as nativist nationalism was rearing its head; Ie was made four years later, when fascism was in full control of Japanese politics. Second, through an analysis of Ie, I will show how that film, made to conform to official policy, reflects fascist thinking. Tsuchi is based on a novel by Nagatsuka Takashi that was also the basis for a stage performance by the Shin Tsukiji Gekidan theatrical troupe in the latter half of the 1930s and a radio drama directed by Mizuguchi Kenji. In turning it into a film, Uchida Tomu was followed the line laid down by these predecessors. The Tsuchi boom resonated with the rising nativist nationalism of the times. Following the outbreak of the Great Depression in 1929, Japan s economy was in bad shape and its society unsettled by repeated terrorist acts. With a growing demand for reunification of the nation, nationalism rose. In contrast, Ie was made in 1943, at a time when fascism had full control of Japan. Laws governing film required censorship and other restrictions to ensure that audiences were properly trained in their duties as citizens. Under fascism, the relationship between the citizen and the sacred emperor (Tenno) / state was directly connected with the idea of family, seen as the foundation for building an ideal nation. Diversity of ideas was prohibited; all thought was to be directed towards a purer collaboration with the nation. The protagonist of Ie is the head of a branch household desperate to save the family s main household, which has fallen into dire straits. The conflict centers on the resistance of his eldest son to pressure to sacrifice for the sake of the main household. In the end the eldest son comes to a deeper understanding of the meaning of family when he reads his father s diary, and proclaims that he will cooperate in whatever has to be done. The eldest son s change of heart restores the proper authority of the household head. Here we see the desire to build a hierarchy to support a purified fascism and national solidarity. When Ie was released it was not a box-office success. In the end, it was just an research with something not tried before. There is need to examine the reasons for its failure and how it was viewed, which will require not only analyzing the film itself but also considering various aspects of its social context. 113

Kyoto University * Filipino Students in Japan and International Relations in the 1930s: An Aspect of Soft Power Policies in Imperial Japan

Kyoto University * Filipino Students in Japan and International Relations in the 1930s: An Aspect of Soft Power Policies in Imperial Japan 47 2 2009 9 * Filipino Students in Japan and International Relations in the 1930s: An Aspect of Soft Power Policies in Imperial Japan KINOSHITA Akira* Abstract The purpose of this paper is to look into