Napoleon(1927)におけるトリプルエクランの試み : 実験的マルチ映像の意義

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  • 脇山 真治
    九州大学大学院芸術工学研究院視覚情報部門

書誌事項

タイトル別名
  • Attempt of triple-ecran in "Napoleon (1927)" : Meaning of experimental Multiple-Image
  • Napoleon 1927 ニ オケル トリプルエクラン ノ ココロミ ジッケンテキ マルチ エイゾウ ノ イギ

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抄録

Abel Gance's movie 'Napoleon(l927)' used three screens called "triple-ecran" in the final sequence of the work. What is the epoch making that the extension in respect joins the montage of the movie? What are technical feature and experimental meaning? To clarify these is just to arrange a basic requirement to compose the multiple-image. The meaning of this research is in these points. In the sequence of "triple-ecran", some expression techniques are used. The typical one uses three different images at the same time, and is a composition so-called "Montage of the space". This is a feature expression of the multiple-image. It is general that the movie assembles the flow of one time on one screen. It is a challenge of the movie to common sense to use three images at the same time. The multiple-image is used in various places such as exhibition and museum today. So "triple-ecran" in Napoleon is a starting point of the multiple-image m conception, technology and expression. The movie was entering the age of Talkie at time when this work was made. Napoleon with a special style was buried in the charm of Talkie, and forgotten for long time. It was paid attention again by editing the film that got scattered and lost by Kevin Brownlow after that again, and having screened it again in 1981. It is this re-edition version that was the analytic object by this research.

収録刊行物

  • 芸術工学研究

    芸術工学研究 4 33-43, 2005-12-20

    九州大学大学院芸術工学研究院

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