東宝・キャセイの「香港三部作」とアメリカの影

DOI 機関リポジトリ 機関リポジトリ (HANDLE) Web Site オープンアクセス

書誌事項

タイトル別名
  • Toho-Cathay's "Hong Kong Trilogy" and the Shadow of America
  • トウホウ ・ キャセイ ノ 「 ホンコン サンブサク 」 ト アメリカ ノ カゲ

この論文をさがす

説明

This article explores the cultural politics of three films made by the Toho Studios in Japan and the Cathay Organization in Hong Kong: A Night in Hong Kong (1961), Star of Hong Kong (1962), and Honolulu, Tokyo, Hong Kong (1963). Dubbed the "Hong Kong Trilogy," these path-breaking co-productions not only helped usher co-stars Takarada Akira and Lucilla You Min into international stardom, but also illustrated the promises of cross-­cultural industrial practices among Asian film industries. However, the films themselves revealed the undoubtable influence of American cinematic and cultural formulas as well as the desire of the Japanese to establish a hegemonic order in Asia during the height of the Cold War. As a result, the trilogy exorcized Hong Kong as a "Pearl of the Orient" (and You Min as a "Pearl of Hong Kong") while diluting Japan's war responsibility toward its Asian neighbors. Yet the narratives also represented Cathay's initiatives and desires, as it strove to cleanse the image of Hong Kong by presenting it as a site of "pure love" and by representing You Min as a "modern" (and at times "Americanized") woman. In the end, this popular co-production demonstrates the uneven negotiation of power in East Asia involving Japan, Hong Kong, and the United States. It also reveals the agency of both dominant and subordinate forces that shaped and stratified power 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 5 14-23, 2014-03-28

    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

キーワード

詳細情報 詳細情報について

問題の指摘

ページトップへ