Reproduction Without End: The Gendered Labor of Japanese High Growth Cinema
Reproduction Without End: The Gendered Labor of Japanese High Growth Cinema
复制标题
无尽的复制：日本高增长电影的性别劳动
DOI：
10.1080/10371397.2017.1373015
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发表时间：
2015
期刊：
影响因子：
0.5
通讯作者：
Kimberly Icreverzi
中科院分区：
文献类型：
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作者：
Kimberly Icreverzi
作者：Icreverzi，Kimberly|顾问：寺田丽、利皮、水田晃|摘要：指日本战后将多个战后国家瓦解为一个整体。本文旨在通过倡导对“高成长电影”的关注，进一步区分战后日本电影。高增长的政治经济学，特别是在昭和元禄时代的顶峰，重组了日本的社会生活，在劳动范式中尤为如此。我认为，复制的模式，其中复制被理解为社会技术和电影技术，在高增长的电影激增牵连劳动的性别分工不是次要的或补充，但作为根本的重组生活在日本在这一刻。正是这些复制表达了“生命”本身概念化的转变，从生物学上的生存概念转向了对“美好生活”的社会投资。论文的四章分别阐述了高增长的繁殖技术。在讨论了战后及其结局之后，成濑干雄的《当一个女人登上楼梯》（1960）模拟了电影回归Ascension场景的排练中所表达的生殖劳动。第二章着眼于粉红色的电影导演滨野幸，其中色情和自传的能见度的愿望合作，以再现她的问题，作为一个女人在日本电影业。第三章论述东映的忍术电影，探讨其系列化手法，特别是高仓健中的系列星星形象，作为一种为男性劳动辩护的机制。最后一章转向艺术电影导演吉田喜子和他的女演员妻子冈田真理子的合作，以绘制贯穿论文的线索，将方向与男性权威联系起来，暗示吉田的辩证法的再现，以及他在肯定男性劳动力时与“转变”的联系，甚至在否定男性劳动力的积极再现中。
Author(s): Icreverzi, Kimberly | Advisor(s): Terada, Rei; Lippit, Akira Mizuta | Abstract: To refer to the Japanese postwar collapses multiple postwars into a single entity. This dissertation works to further distinguish Japanese cinema’s postwars by advocating for attention to “high growth cinema.” High growth’s political economy, especially at its peak in the Shōwa Genroku, reorganized Japanese social life, nowhere more so than within the labor paradigm. I argue that the patterns of reproduction—where reproduction is understood both as a social technology and a cinematic technique—that proliferate in high growth cinema implicate the sexual division of labor not as secondary or supplemental, but as fundamental to the reorganization of life in Japan at this moment. It is these reproductions that articulate a shift in conceptualizations of “life” itself, which move from a biological notion of survival toward a social investment in the “good life.” Each of the dissertation’s four chapters develops high growth’s reproductive techniques. Following a discussion of the postwar and the fixation on its ends, Mikio Naruse’s When a Woman Ascends the Stairs (1960) models the reproductive labor articulated in the rehearsals of the film’s returns to the scene of ascension. The second chapter looks at pink film director Hamano Sachi, in whom pornography and autobiography’s desire for visibility collaborate to reproduce her problem of being woman in the Japanese film industry. A third chapter on Tōei’s ninkyō films attends to their technique of seriality, and the serial star figure in Takakura Ken in particular, as a mechanism to stage a defense of male labor. The final chapter turns to the collaborations of art film director Yoshida Kijū and his actress-wife Okada Mariko to draw together the threads across the dissertation that link direction to male authority, implicating the reproduction of Yoshida’s dialectics and his associations with “transformation” in the affirmation of a male labor force, even in the active reproduction of its disavowal.