溝口健二の「上」と「下」 : カメラワークの意味論的構造について(<特集>映像の意味について)
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概要
- 論文の詳細を見る
Kenji Mizoguchi was very fond of using the crane in his shooting i.e. he was extremely fond of shooting by downward angle. On the other hand, he often filmed very effectively by making a ditch and a dug-out in his set, and tried to shoot the scenes by upward angle from the position lower then the surface of the ground. In his works of the 1920s when the crane had not as yet been used, Mizoguchi liked very much to use downward and upward angle, and there was recognized the rule in his shooting. The majority of Mizoguchi's films portray the complications of love between a man and a woman. And in the scene in which a man has an awful feeling toward a woman, upward angle is used, in the mean time when a man gets a superiority over a woman, downward angle is effectively used. This was because Mizoguchi caught the complications between a man and a woman as the subject of governing and being governed.
- 日本映像学会の論文
- 1975-05-01
日本映像学会 | 論文
- レヴュー アン・ウィルクス・タッカー、デーナ・フリース=ハンセン、金子隆一、竹葉丈編『The History of Japanese Photography』Ann Wilkes Tucker, Dana Friis-Hansen, Kaneko Ryuichi, Takeba Joe, eds
- レヴュー スラヴォイ・ジジェク編、鈴木晶+内田樹訳『ヒッチコック×ジジェク』
- レヴュー ドゥルーズ『シネマ』の英米圏における受容(2)新たな映画論の基礎付けに向けて バーバラ・M・ケネディ『Deleuze and Cinema』 グレゴリー・フラックスマン編『The Brain Is the Screen』
- レヴュー ドゥルーズ『シネマ』の英米圏における受容(1)哲学的理解から映画論の再考に向けて スティーヴン・シャヴィロ『The Cinematic Body』 D.N.ロドウィック『Gilles Deleuze's Time Machine』
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