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『檻の中』(1957)における単純さの追求 : 和田勉と飯島正によるテレビの〈発明〉
https://doi.org/10.15083/00076844
https://doi.org/10.15083/0007684468bfa844-9562-47f7-8ba1-057c9e5bb357
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96_3.pdf (962.2 kB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||
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公開日 | 2019-03-29 | |||||
タイトル | ||||||
タイトル | 『檻の中』(1957)における単純さの追求 : 和田勉と飯島正によるテレビの〈発明〉 | |||||
言語 | ||||||
言語 | jpn | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 和田勉 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | 飯島正 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | テレビドラマ | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | NHK | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | テレビ論 | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Ben Wada | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Tadashi Iijima | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Television Works | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | NHK | |||||
キーワード | ||||||
主題Scheme | Other | |||||
主題 | Television Theory | |||||
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 | 10.15083/00076844 | |||||
ID登録タイプ | JaLC | |||||
その他のタイトル | ||||||
その他のタイトル | The Simplicity in the Inside of a Cage(1957) : the “Invention” of Television by Ben Wada and Tadashi Iijima | |||||
著者 |
木原, 圭翔
× 木原, 圭翔 |
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著者別名 | ||||||
識別子Scheme | WEKO | |||||
識別子 | 162517 | |||||
姓名 | Kihara, Keisho | |||||
著者所属 | ||||||
値 | 東京大学大学院情報学環 | |||||
抄録 | ||||||
内容記述タイプ | Abstract | |||||
内容記述 | Just after NHK (Japan Broadcasting Corporation) started to television broadcasting in February 1953, Ben Wada, one of the most acclaimed Japanese television directors, also began to make a number of unique television works. Although his early works have often been criticized for being esoteric, its uses of ingenious close-ups have brought him great fame. This article analyzes one of the Wada’s earliest television works, The Inside of a Cage (Ori no Naka, 1957, considered a lost work) to investigate his vision of Japanese television. According to Wada, the whole story was not essential for this work because the main theme was a man’s escape from the “cage” in the middle of the story just like Robert Bresson’s masterpiece A Man Escaped (1956), which made deep impression on him. However, the scriptwriter Tadashi Iijima, who was a famous film critic, put a high priority on the story which includes Hitchcockian twist ending and main character’s change of feeling toward ex-girlfriend. Although they both pursued the simplicity in this work which only television could accomplish, there was a subtle difference between their viewpoints on storytelling of television. In investigating the existing scripts and other materials of the work, we can find some traces of their conflict. |
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内容記述 | ||||||
内容記述タイプ | Other | |||||
内容記述 | 教員研究論文 | |||||
内容記述 | ||||||
内容記述タイプ | Other | |||||
内容記述 | Faculty Papers | |||||
書誌情報 |
情報学研究 : 学環 : 東京大学大学院情報学環紀要 巻 96, p. 27-43, 発行日 2019-03-29 |
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ISSN | ||||||
収録物識別子タイプ | ISSN | |||||
収録物識別子 | 1880697X | |||||
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収録物識別子タイプ | ISSN | |||||
収録物識別子 | 21878056 | |||||
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収録物識別子タイプ | NCID | |||||
収録物識別子 | AA12032633 | |||||
著者版フラグ | ||||||
値 | publisher | |||||
出版者 | ||||||
出版者 | 東京大学大学院情報学環 |