<Articles>Examining the grassroot promotion campaign for Dokkoi Ikiteru (Still I Live On) through Materials in the Yamamoto Akira Collection

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  • <論文>山本明コレクション資料にみる『どっこい生きてる』(1951)上映促進運動の実態
  • 山本明コレクション資料にみる『どっこい生きてる』(1951)上映促進運動の実態
  • ヤマモトメイコレクション シリョウ ニ ミル 『 ドッコイ イキテル 』(1951)ジョウエイ ソクシン ウンドウ ノ ジッタイ

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The change of direction of economic and labor policies by GHQ/SCAP in the last years of the Japanese occupation prompted the expulsion of Japanese Communist Party members and sympathizers from their workplaces. On the other hand, the JCP took a hard-line confrontation stance against the occupation authorities and the Japanese government and called for "cultural struggles" among cultural workers and cultural circles ("bunka-saakuru") under the leadership of the Party. As part of this "cultural struggle, " a film Dokokoi Ikiteru (Still I Live On) was produced between the end of 1950 and the spring of 1951. This film was made with the goal of establishing an independent production and distribution system outside the existing commercial film industry. Dokkoi Ikiteru depicts lives of people commonly known as "nikoyon, " who were working in the Unemployment Relief Public Works Program (URPW) which started to provide the unemployment with daily outdoor jobs since 1949. URPW workers union cooperated systematically in the production of Dokkoi Ikiteru. Film circles (eiga-saakuru) across the country also cooperated in fund-raising and promotion campaigns for Dokkoi Ikiteru. Previously, there have been scarce documentations about the involvement of film circles However, the Yamamoto Akira Collection includes materials related to the activities of film circles in the production and distribution of Dokkoi Ikiteru, such as fundraising, negotiations with local movie theaters, and publicity campaigns. It was also confirmed that a "gentô" (lantern-slide) version of Dokokoi Ikiteru was made and used for publicity activities by film circles and labor unions around the country. The Yamamoto Akira Collection provides several important clues to the missing link in the history of Japanese film culture such as a role of gentô in the independent film production movement.

Journal

  • 人文學報

    人文學報 116 37-51, 2021-03-31

    THE INSTITUTE FOR RESEARCH IN HUMANITIES, KYOTO UNIVERSITY

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