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학제간연구 과학기술학 뇌인지과학 기술정책 기타 복합학

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논문 기본 정보

자료유형
학술저널
저자정보
저널정보
한양대학교 현대영화연구소 현대영화연구 현대영화연구 제6권 제1호
발행연도
2010.1
수록면
217 - 240 (24page)

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초록· 키워드

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Naruse Mikio is well known as a director who is good at making a film with a woman and a man. His “Marriage Trilogy” is a genre in which he showed his talent for it. He represented the new woman character and the new man character of postwar Japanese society in his marriage trilogy, <Meshi/Repast>, <Tsuma/Wife>,<Fufu/Husband and Wife>. Even his marriage trilogy focused on the conflicts of the married couple in their marriage life, the films were called in Japanese “Tsuma monogatari”, which means the story of wife. It means that the marriage trilogy is focusing on the story of woman/wife rather than the story of the marriage life. In postwar Japanese society, the state of the man weakened with the weakness of the patriarchism. The marriage trilogy represented the man as weak, the woman as strong to reflect of the postwar Japanese society. This weakness of the man in the films is explained by the “amae” which is the unique Japanese psychology to depend only on mother. In the film, man always does “amae” to ask the food and everything from his wife. The wife is tired of all this amae of the husband and become tired of the marriage itself. The childless of the marriage in the films also makes the husband to do amae to the wife instead of the child. The wife who was tired of all the amae of the husband run away from home to find her own happiness. Comparing the wife or the woman who always endured all the difficulties in the films which made before the war, the wife in the marriage trilogy seemed to be more independent. The independent or strong woman in marriage trilogy is represented more actively in films comparing to the man. She always works or moves while the husband always lies or does nothing. Even she always locates in the higher position than her husband. When he sits, she stands. When he lies, she sits. Even the marriage trilogy was successful in representing a new woman as a active wife, the films still have the limit to free the wife from the patriarchy by making her return to home in the end. But it is sure that Naruse Mikio was successful in making the new woman character in his marriage trilogy.
#Tsuma Monogatari #Marriage Trilogy #Melodrama #Amae #Nimaime #Strong Woman

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참고문헌 (19)

참고문헌 신청
"妻もの"映?の流行と"?或る夜ふたたび"?,????キネマ旬報???? / 1956 / 妻もの?映?の流行と in 或る夜ふたたび / キネマ旬報 google schola / 1953 / 成?巳喜男硏究 特輯 / キネマ旬報 google schola ?葉十三郞 / 1952 / めし / キネマ旬報 google schola Catherine Russell / 2008 / The Cinema of Naruse Mikio: Women and Japanese Modernity / Duke google schola Chris Fujiwara / 2008 / A Mirror for Mama-san: How the young Tatsuya Nakadai offered a crafty old director a new shade of maleness / Film Forum google schola

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