ETHNOMETHODOLOGY OF "HIROSHIMA" : ANATOMY OF EXPESSIONS OF "HIROSHIMA" IN MOVIES

我分析了“广岛”在流行电影、动画和纪录片中的表达特点。我发现电影中有两个特点，那就是缺乏“广岛”的具体性，而过多的是常见的核影像。前者的特点是“广岛”的原型形象，因此我选取了三部电影，新藤PTO导演的《原巴库野子》（1952），关川秀夫导演的《广岛》（1953），马森正木导演的《哈达西野根》（1983），从民族方法学上分析了这三部电影中“广岛”的表达，证明这三部电影都具有独特的“广岛”形象和原创的表达。的确，这些电影是大约50年前拍摄的，但它们从来不是“老而死”的电影。通过看这些电影，我们可以认识到“广岛”原子弹现在的影响，我坚持我们应该更积极地使用这些电影，以启发非核形象，并发现我应该进一步分析关于“广岛”的电视纪录片的民族方法论

I analyzed the characteristics of expressions of "HIROSHIMA" in popular movies, animations, and documentaries. And I found the fact that there are two characteristics in movies, that is, the lack of the concreteness of "HIROSHIMA" and the excess of the common nuclear images. The former characteristic is the proto-image of "HIROSHIMA", so I selected three movies, 【triple bond】 "GENBAKU NO KO" directed by SHINDO PTO, 1952, "HIROSHIMA" directed by SEKIKAWA HIDEO, 1953, "HADASHI NO GEN" directed by MASAKI MAMORU, 1983 【triple bond】, and analyzed them ethnomethodologically about the expressions of "HIROSHIMA" in these moviesI demonstrated that these three movies have unique images and original expressions of "HIROSHIMA". It is indeed these movies were made about fifty years ago, but they are never "old and dead" films. By seeing these movies, we can realize the impact of the A-bomb of "HIROSHIMA" nowI insisted that we should use more positively these movies in order to enlighten the unti-nuclear image, and found that I should further analyze TV documentaries about "HIROSHIMA" ethnomethodologically