Tokyo Woman's Christian University Repository / 東京女子大学学術情報リポジトリ
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特撮映画技師 松井勇伝 : 日本映画界最初期の特撮技術の開拓者（一）
Get PDFMatsui Isamu（松井 勇1894～1946） who was an engineer of special effect（SFX）at first time mostly in Japan. He went to the United States in the Taisyo period, and learned cinematography technique from Roy. J. POMEROY who won Academy Award the 1st time. Matsui Isamu acquired the patents of a movie after he went back to Japan. He produced the movies of special effects.It wasn\u27t being studied about him because there was little related material, therefore it was unclear about his life and work. This paper aims to clearfy the following two points:first of all, I will write Matsui Isamu’s biography, secondly, I will consider about the role he achieved in a Japanese movie.松井 勇（1894 ～ 1946）は、日本映画界にあってほぼ最初期の特撮映画の技師である。彼は大正期にアメリカに留学をし、第1回アカデミー賞技術効果賞受賞者である R.ポメロイから映画技術を学んだ。日本に帰国してからは、映画に関する特許を取得し、特撮技術を活用した映画を発表した。だが、従来の映画史では、関連資料が少なかったことから、彼に関する研究はなされておらず、その人と作品については不明であった。そこで本稿では、松井勇の生涯を実証的に明らかにし、そのことをとおして、彼が日本映画史に果たした役割を考察することを目的とする
主婦と近代的個人：投稿誌『わいふ』における主婦論争の分析
Get PDF戦後日本社会では，第二波フェミニズムにおける主婦を問題として問うという流れの 中で，家族の中に埋没していた女性たちが近代的個人としての自己に目覚めていくプロセスがあった．主婦であることの意味をめぐっては多様なメディアでの積極的な議論があり，そうした議論は社会的に注目され女性たちに影響を与えてもきた．本稿は識者等ではなく主婦自身の主張で構成される投稿誌『わいふ』の主婦論争に着目し，主婦という生き方と近代的個人としての自己をめぐり何が語られたかを明らかにすると共に，こうした論争を可能にしたメディアとしての同誌について考察した．この主婦論争の焦点は，主婦であるために従属的な存在となる女性が近代的個人とし て自立できるかどうかだった．論争では自立の多様な側面への主張は論点とはなりえず，主婦は「稼いでいない＝養われる＝依存者」という理解が支配的になっていった．そのため議論は主婦が働く／働かないという点に集中し，近代的個人としての自立は経済的自立として語られた．その際に同誌編集者は主婦の現状に共感しながらも一定の方向へ議論を誘導し，その方向に沿って読者に生き方を考えるよう求めていた．同時にどのような主張も全否定せず考えることを促すという誌上コミュニケーションのあり方がこうした議論を可能にしていた．『わいふ』誌の規模は大きくはないが，この時代の社会を変える重要な動きの一翼を担ったとはいえるだろう． Owing largely to the second wave of feminism that problematized the role of the housewife, many women whose life paths have restricted them to the familial sphere have experienced a certain form of self-consciousness related to their status in contemporary society. This trend has also been evident in post-war Japan. Indeed, the meaning of being a housewife has been actively debated in diverse media, including the contribution magazine “Waihu (Wife)”, which is the focus of this paper. The “housewife debates” in this magazine are particularly interesting because it was the housewives themselves―rather than high-profile opinion leaders―who shared their views; moreover, they did so from the perspectives of their ordinary lives. This paper examines how women’s feelings and thoughts about being a housewife in modern society were expressed in the earliest of these debates, which took place in the late 1970s, and demonstrates how this discourse followed a particular trajectory that set the tone for the waves of similar media debates that followed. The focal point of this debate was whether being a housewife made women “dependent” and unable to embody the modern ideal of a self-sufficient individual. Although some contributors argued that the concept of independence could be interpreted in different ways, the view that equated independence with earning power and economic self-reliance gradually predominated, and the debate became centered on the question of whether wives should work outside the home. The magazine’s policies, both overt and covert, seem to have reinforced this controversy. The editors, who also called themselves housewives, stated that they had no intention of criticizing women who lived as housewives and asked readers/contributors to try to embrace and think about differing positions rather than dismiss them. However, they also subtly led the debate in a certain direction, rendering readers/contributors susceptible to the view the editors sought to advance. Although Waihu’s readership has never been comparable to that of the large-scale media, it played an interesting role in the larger movement for profound social change that occurred during this period
