作者としての出演女性 : ドキュメンタリー映画『極私的エロス・恋歌1974』とウーマン・リブ

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書誌事項

タイトル別名
  • Female Performers as Authors: Extreme Private Eros : Love Song 1974 and the Women’s Liberation Movement
  • サクシャ ト シテ ノ シュツエン ジョセイ : ドキュメンタリー エイガ 『 ゴク シテキ エロス ・ コイウタ 1974 』 ト ウーマン ・ リブ

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説明

This paper focuses on a documentary film Extreme Private Eros: Love Song 1974 (Kyokushiteki Erosu: Renka 1974), which was produced in the era of the Women’s Liberation Movement (Uman Rib) in the early 1970s in Japan. By situating Extreme Private Eros in both the context of film history, especially documentary film history, and the surrounding social context at that time, this paper deconstructs the conventional way of criticizing and researching this film as a work by “sole author”, director Hara Kazuo. Instead, by considering female subjects Takeda Miyuki and Kobayashi Sachiko as leading figures of this film that show strong leadership in both the filmmaking process and the representational aspect, this paper explores the feminist politics in this film in relation to the Japanese Women’s Liberation Movement. In doing so, two issues could be investigated. First, reconsidering and extending the concept of “authorship” in film could develop discussions on female authorship. Also, this will lead to the second aim of this paper, which is to reveal that female authors in Japan created the feminist practice of filmmaking which many thought was non-existent. In doing so, this paper argues that Takeda and Kobayashi, as leading figures, show their bodies in various ways as following: sexual bodies, bodies giving birth to children, and bodies raising their children. Those various representations of their bodies with the feminist politics can show a resistance to both conventional female representation constructed by male gaze and social norms concerning modern family relationships.

収録刊行物

  • JunCture : 超域的日本文化研究

    JunCture : 超域的日本文化研究 7 138-151, 2016-03-28

    名古屋大学大学院文学研究科附属「アジアの中の日本文化」研究センター

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