Controlling the　“Ephemerality”　of Screens

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Other Title
  • スクリーンの「移ろいやすさ」を制御する
  • スクリーンの「移ろいやすさ」を制御する : 戦時下日本の映画上映をめぐる規格化の諸相
  • スクリーン ノ 「 ウツロイ ヤスサ 」 オ セイギョ スル : センジカ ニホン ノ エイガ ジョウエイ オ メグル キカクカ ノ ショソウ
  • On the Standardization Practices of Film Showing During World War Ⅱ in Japan
  • 戦時下日本の映画上映をめぐる規格化の諸相

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Abstract

This paper focuses on the standardization process implemented by the nation on film exhibition practices during World War Ⅱ in Japan and examines how the viewing experience was regarded as a controllable object. This research is important because previous studies on wartime film reception assumed that viewing practices could be revealed by analyzing the film text itself and neglected that such practices were conditioned by various technical/technological logics. Focusing on discursive/material practices about the showing environment, this paper outlines the overlooked aspects and new perspective of Japanese screen culture.<br>From the perspective of discursive analysis, this paper first explores how the nation discovered/refigured showing conditions as a problematic site after the enforcement of Eiga-hou, 1939. Second, focusing on the practices by which the site was regulated — especially on budgetary control, showing program, number of showing times, projectionists’ techniques, and projector technologies regulations — this paper analyzes how experiences within the theater were standardized across cinemas. Third, through analyzing the exhibition conditions of marginal areas, this paper reveals that the ephemerality of film forced the project of establishing uniform showing environments across the nation to end in failure. Finally, summing up the analysis, several implications of this perspective are described.

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