WEKO3
アイテム
戦後の『旗本退屈男』におけるバロック性について
https://doi.org/10.15083/0002003239
https://doi.org/10.15083/00020032390880597f-5e5f-47b5-a496-de02ff2c2626
| 名前 / ファイル | ライセンス | アクション |
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phantastopia_01_08.pdf (899 KB)
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| Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||||
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| 公開日 | 2022-02-18 | |||||||||
| タイトル | ||||||||||
| タイトル | 戦後の『旗本退屈男』におけるバロック性について | |||||||||
| 言語 | ja | |||||||||
| タイトル | ||||||||||
| タイトル | The Baroque Elements in Postwar Bored Hatamoto | |||||||||
| 言語 | en | |||||||||
| 言語 | ||||||||||
| 言語 | jpn | |||||||||
| 資源タイプ | ||||||||||
| 資源 | http://purl.org/coar/resource_type/c_6501 | |||||||||
| タイプ | departmental bulletin paper | |||||||||
| ID登録 | ||||||||||
| ID登録 | 10.15083/0002003239 | |||||||||
| ID登録タイプ | JaLC | |||||||||
| 著者 |
藤田, 奈比古
× 藤田, 奈比古
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| 抄録 | ||||||||||
| 内容記述タイプ | Abstract | |||||||||
| 内容記述 | This paper deals with the jidaigeki film series Bored Hatamoto (“Hatamoto Taikutsu Otoko”) produced in the 1950s and 60s. Utaemon Ichikawa, one of the most famous jidaigeki stars, had starred in the series for about 30 years, and we show the development of the baroque style in the series. The film series is known for the gorgeous costumes of Mondonosuke, the main character played by Ichikawa, the rapidly changing story and the showy atmosphere. First, in order to consider such features, we point out the baroqueness in Bored Hatamoto’s narrative patterns and character development. By reviewing Ichikawa’s retrospection and show that that derives from Kabuki, we refer to Toshio Kawatake’s research which argues the resemblance between Kabuki and baroque theater in Europe. Second, we scrutinize the function of costumes in the films by analyzing the shots. In the process of producing these films, costumes were designed before scriptwriting. We will discuss that costume designs determined Ichikawa’s performance and the composition of scenes in some cases and that gave characteristic visual patterns to the series. Third, we will call the spectacle sequences composed of dancing and singing a “show”, and then we sort such sequences into a number of patterns by discussing the relationship between the shows and sword fighting scenes in the climax of the films. From that perspective, we focus on the characteristics of the film director Yasushi Sasaki who directed 10 films of the series. We clarify how prominently showy Sasaki’s style is and its strong tendency toward baroque pursuing the visual and absurd. We discuss the set designs and lack of unity of the narrative in Bored Hatamoto: The Cave of the Vampire Bats (1961), directed by Sasaki, as a case study. We regard this film as an extremely baroque one in the series discussing that various baroque motifs give many sequences splendid, mysterious, exaggerated and even uncanny atmosphere effectively. |
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| 言語 | en | |||||||||
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| 内容記述タイプ | Other | |||||||||
| 内容記述 | 論文 | |||||||||
| 言語 | ja | |||||||||
| 書誌情報 |
en : Phantastopia 巻 1, p. 136-155, 発行日 2022 |
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| ISSN | ||||||||||
| 収録物識別子タイプ | ISSN | |||||||||
| 収録物識別子 | 2436-6692 | |||||||||
| 出版者 | ||||||||||
| 出版者 | Phantastopia編集委員会 | |||||||||
| 言語 | ja | |||||||||
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| 関連タイプ | isReferencedBy | |||||||||
| 識別子タイプ | URI | |||||||||
| 関連識別子 | https://phantastopia.com/ | |||||||||
