Melodrama Interrupted: Kawashima Yūzō's Interventions in Genre and Gender

Earl Jackson

《Concentric： Literary and Cultural Studies》 46卷2期 (2020/09) Pp. 161-193

https://doi.org/10.6240/concentric.lit.202009_46(2).0008

摘要

Kawashima Yūzō (1918-63) directed 51 films between 1944 and 1963. Although he began as a ＂program director＂ for Shochiku Studios, his subsequent films for Nikkatsu, Toho, and Daiei are among the most innovative and at times daring in popular cinema of those years. Although highly regarded for his complex comedies, Kawashima's melodramas are not only hallmarks of eloquent filmmaking, but at times venues for formal experimentation. This essay will consider four instances in which the formal experimentation constitutes interventions in the genre itself, especially in terms of the relation of melodrama to gender.

關鍵字

Kawashima Yūzō ； melodrama ； Shochiku ； Japanese cinema ； gender representation ； popular culture ； Japanese nationalism and film ； Kido Shirō

參考文獻

Abe Tsuyako, and Kawashima Yūzō, “Kinō to Ashita no Aida no Taidan.” Hana ni Arashi no Eiga mo aru zo, edited by Kawashima Yūzō, Kawade Shobo, 2001, pp. 93-96.

Doak, Kevin M. A History of Nationalism in Modern Japan: Placing the People. Brill, 2007.

Gu Mina. “Ofuna Merodorama to Kawashima Yūzō no Itsudatsu: Kinō to Ashita no Aida wo Chushin ni.” Gizen e no Chosen: Eiga Kantoku Kawashima Yūzō, edited by Kawashima Kurabu, Waizu Shuppan, 2018, 306-16.

Hata Sahoko, and Eto Fumio. “Kishi Keiko Ron.” Eiga Hyoron, Jan. 1, 1962, pp. 26-31.

Inoue Yasushi. Kinō to Ashita no Aida. Shincho Sha, 1962.