Coexistent Narrative in Ozu Yasujiro's Film "Tokyo Story"

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  • 小津安二郎の映画『東京物語』にみる共存的ナラティヴ
  • 小津安二郎の映画『東京物語』にみる共存的ナラティヴ : 並ぶ身体・かさねの語り
  • オズアンジロウ ノ エイガ 『 トウキョウ モノガタリ 』 ニ ミル キョウソンテキ ナラティヴ : ナラブ シンタイ ・ カサネ ノ カタリ
  • Side-by-side Position and "Kasane (coordinate)" Conversation.
  • 並ぶ身体・かさねの語り

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Abstract

In this paper the theoretical relationships of my term "Coexistent Narratives" and side-by-side narrative positions are analyzed in three scenes from Ozu Yasujiro's film "Tokyo Story": 1) The narratives of the old couple at the Onomichi home, who sit beside each other, are compared to dialogic narratives that operate from opposite positions. 2) The processes of change that narratives undergo are analyzed in the scene where three old friends, at a Tokyo bar, shift their positions from being opposite to being beside each other. 3) The transitional processes by which the old couple change their narratives from dissonant to harmonious are analyzed in the scene where they occupy side-by-side positions at the Atami hotel and at the seashore. The following features in relation to three key concepts were identified through comparison of Coexistent Narratives and Dialogic Narratives: 1) The relationship with self and other: a common and mutual subjectivity is contrasted with the subject-object relationship. 2) The words, phrases and rhythms in the conversations: similarity and repetition are contrasted with dialogue and competition. 3) The changing process: a shift from tuning to harmony is contrasted with a shift from struggle to harmony. The concept of "Coexistent Narratives" is likened to "Kasane (coordinate) colors", which are associated with what is similar, with parallel repetition, and with coordinate matching, seasonal timing and transitional forms of movement.

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