1950년대 일본의 여성 문예영화와 남자들 (Rethinking the Postwar Japanese Literary Melodrama -Woman’s Film and Male Dominance-)

서지정보

· 발행기관 : 한국일본언어문화학회
· 수록지 정보 : 일본언어문화 / 49호 / 307 ~ 328페이지
· 저자명 : 김보경

초록

本稿では、1950年代に流行した既婚女性の「不倫」や「姦通」を描いた女性文芸映画ジャンルを、二つの代表作を中心に、上原謙が扮した男性主人公の人物設定と男性中心の批評空間に焦点を当てて分析した。両方とも、男性主人公は30年代から女性メロドラマ映画を通して構築された上原の二枚目としてのスター･イメージ、すなわち「フェミニン」な男性像を踏襲しながらも、同時代の性的規範に影響され、「(性的)不能」ともいうべき男性人物として作り上げられていた。次に本稿は、これまで映画史において、女性をターゲットにし、彼女たちの内面や欲望を代弁するジャンルとして語られてきたこれらの映画が、実際には男性観客をも念頭に置いて宣伝･流通された可能性があることを確認した。また、ホモソーシャルな批評空間のなかで、これらの「女性映画」は男たちによって評価され、彼らの言葉によって語られ続けてきたことを明らかにした。

영어초록

This paper analyzes the two typical 1950’s Japanese literary melodrama, The Munekata Sisters and Portrait of Madame Yuki which deal with the heroine’s adultery, focusing on their male protagonists and the film criticism dominated by male critics. The male protagonists show the stereotypical “the feminine man” in Japanese melodrama of the 1930s, established by Ken Uehara who himself played leading roles in both films. However, their excessive feminization, influenced by Christian sexual morality under the American occupation, made them virtually “impotent” which led them to be criticized by male critics. Additionally, this paper argues that although both films have been categorized as women’s genre and thought to represent the inner minds of the women they targeted, they were possibly advertised and distributed aiming at male audiences simultaneously. Apparently, not only that they enjoyed these so-called women’s genre, they owned the rights to define and historicize the genre itself.

참고자료

· 없음