1930 1 SMPE SMPTE 1 aspect ratio 35mm 4 1 1.33 1 1.37 1932 1 2.35 1950 1960 2 1 1.66 1 1.85 1970 Film Style & Technolog y: History & Analysis early sound aperture 3 1 1.19 4 47
1 1.19 5 3 4 1 1.33 6 1930 1 7 8 1932 1 1.37 9 1.8m 10 1920 1930 City Lights 1931 DIE 3 GROSCHEN-OPER G.W. 1931 Blackmail 1929 DVD M M 1931Vampyr 1932 48
11 VHS DVD 12 fps 13 DVD 14 1926 18 15 1971 24 18 24 49
16 4 4 4 4 4 4 4 4 4 4 4 4 4 4 4 1971 1975 1 17 1 18mm 1938 15.75mm 18 1970 1 1928 1942 50
1 1 1928 2 1930.12 3 1930 4 1931.8 5 1932.12 6 1932.4 7 1932.5 8 1932.7 R1 9 1932 10 1933.1 11 1933.1 12 1933.11 1 13 1933.2 14 1933.2 15 1933.7 16 1933.8 PCL 17 1934.2 18 1934.5 19 1934.6 20 1935.1 [ ] 21 1935.1 22 1935.3 23 1935 24 1937 25 1942 19 35mm 35mm 35mm 35mm 16mm 9.5mm 16mm 9.5mm 1928 19301930 3 3 2 51
1 19311 1 1 1933 2 1930 1 2 1932 1 1932 1 1933 3 1934 1935 1938 60 1935 20 1940 1930 1930 1938 52
3 3 21 3 1938 1942 3 1942 1942 1950 1920 1933 1934 1935 2-3 1 1935 1934 1935 1940 22 3 1 1933 23 53
24 2 1 1 191 4 196 14 25 2 1932 1934 26 2 27 2 DVD 28 29 8 30 31 1952 32 33 54
IMAGICA 1 Lester Cowan, Camera and Projector Apertures in relation to sound-on-film pictures, in Journal of the Society of Motion Picture Engineer, 14, No.1 (January 1930), p.108. 2 John Belton. Widescreen Cinema. (Cambridge, Massachusetts: Harvard University Press, 1992) 3 Barry Salt, Film Style & Technology: History & Analysis. 2nd. ed. (London: Starword, 1992), p.211. 4 Torkell Saetervadet, The Advanced Projection Manual. (Oslo, Brussels: Norwegian Film Institute, FIAF, 2006), pp.69 70. 2 5 Cowan, op. cit., pp.246 247. 1 1.3 1 1.28 MGM 1 1.15 1 1.3 1 1.34 1 1.15 6 Belton, op. cit., p.44. 1932 77 5 1932 10 1930 7 6 1980 219 233 7 Loyd A. Jones, Rectangle Proportions in pictorial Compositions in Journal of the Society of Motion Picture Engineer, 14, No.1(January 1930), pp.32 49. 8 Cowan, op. cit., pp.109 113. 9 1932 1932 55
10 10 11 1986 70mm 1930 FC 86 1914 1939 1986 37 12 authentic original 13 : ( ) 28 NFC 28 1999 11 12 : 29 NFC 29 2000 1 2 14 VHS DVD D C 2007 21 23 3. 15 1977 73 74 16 17 / 8 1975 33 39 18 15 30 1932 1934 19 1930 1930 1939 5089 543 10.7% 1930 5 1961 1931 1939 1945 20 56
2 1 1934.1 2 1934.1 3 1934.6 4 1934.11 5 1934.11 NFC 6 1934.11 7 1935.1 8 1935.1 9 1935.3 10 1935.3 PCL 11 1935.3 PCL 12 1935.4 13 1935.5 14 1935.6 15 1935.6 16 1935.8 PCL 17 1935.10 18 1935.10 PCL 19 1935.11 20 1935.12 21 1935.12 PCL 22 1935-1936 23 1936.1 24 1936.2 25 1936.5 26 1936.10 27 1937.10 28 1939.10 29 1937 30 1935.10 1931 1937 1932 1935 21 1938 57
22 1931 1930 23 32 20 2008 97 1 2010 227 249 24 55 16 1985 1933 1 31 25 1933 26 69 16 1985 303 18 1985 27 2003 1952 44 45 90 9 10 64 163 72 183 28 1933 DVD 29 2 3 1932.11.24 1933.02.09 1933.04.27 1933.09.07 1934.05.11 1934.11.23 1935.01.20 1935.11.21 16mm 1935 1936.03.19 1936.09.15 30 1952 6 58
21 1946 38 1963 1989 126 127 31 32 1989 127 33 1989 441 59
Aspect Ratio in Early Japanese Talkie Films Itakura Fumiaki Through a verification survey of the films in the National Film Center (NFC) s collection, this paper ascertains the facts concerning aspect ratio, called the early talkie frame, which existed for the period of time of the first half of the 1930s, and considers the way of authentic film screening. As a result of examining over 60 films, it became apparent that there were numerous films which have early talkie frame among Japanese cinema. For example, Madamu to Nyobo (1931), which is known to be the first Japanese talkie feature film, has an early talkie frame. In addition, Tangesazen Daiippen (1933), Ito Daisuke s first talkie, has also an early talkie frame. Furthermore, the existing films using the Mina Talkie system have all early talkie frame. In Japan, feature films which have early talkie frame were produced from the end of the 1920s to around 1933. Thereafter, from 1934 on, the standerd (academy) frame became the mainstream. However, some documentary films were produced using the early talkie frame until the first half of the 1940s. It should be noted that Eisha Gijutsu Kyokasho, (Nikkan Kogyo Shimbun, 1942), a manual for projectionists written by Kaeriyama Norimasa and published in 1942, includes a technical explanation of the early talkie frame. This indicates that even in 1942, technical information concerning the early talkie frame would have been useful to his readers, projectionists. This indirectly proves that early talkie frame works were still being shown then. 87