Approaching the national media strategy of "cultural films" in advertising : the discourse and production of Hiromu Hara and Takao Itagaki during the World War II era

Takeuchi Yukie

doi:10.14988/0002000140

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Other Title

国家メディア戦略「文化映画」への広告の接近 : 第二次世界大戦期の原弘と板垣鷹穂の言説と制作に着目して
コッカメディアセンリャクブンカエイガエノコウコクノセッキン : ダイニジセカイタイセンキノハラヒロムトイタガキタカオノゲンセツトセイサクニチャクモクシテ
コッカメディアセンリャク「ブンカエイガ」エノコウコクノセッキン : ダイニジセカイタイセンキノゲンヒロシトイタガキタカホノゲンセツトセイサクニチャクモクシテ
国家メディア戦略文化映画への広告の接近 : 第二次世界大戦期の原弘と板垣鷹穂の言説と制作に着目して

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This paper aims to explore the expansion of cinema as a medium for the transmission of visual information during the 1930s. Specifically, it focuses on the discourse and production of two leaders in the art field: Hiromu Hara, a graphic designer who created the photographic murals for the Japanese pavilion at the 1937 Paris World's Fair, and Takao Itagaki, an art critic and member of the national advisory committee. Hara, inspired by the national films of that era, was eager to produce advertising films. Itagaki included "advertising films" in the category of "cultural films" that were required to be screened under the 1939 film law. Both Hara and Itagaki viewed films as a means of artistic expression, akin to paintings and photographs. They recognized the potential of film as a medium to convey visual information, as opposed to the entertainment-focused films that had gained popularity. The inclusion of advertising films into the national media strategy of cultural films stimulated discussions about advertising and promotional films around 1940 and represented attempts to link the experience of advertising film production in the earlier traveling film exhibition to the production of television advertisements in the postwar period.

Journal

評論・社会科学

評論・社会科学 (146), 1-42, 2023-09-30

The Association of Social Studies, Doshisha University

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