堀野正雄とグラフ・モンタージュ : 再構築されるメディア的現実 Masao Hori & Graph Montage : Reconstituted reality of media
In the magazine "Hanzai Kagaku", Masao Horino who practiced the "Graph Montage" which newly appeared in 1930's, Nobuo Ina and Takaho Itagaki, active critics of photographs defined the position of the "Graph Montage" in the stream of new arts in Western Europe. That is to say, in the history of expression, it was regarded as introduced from Western Europe and translated into Japanese. However, a survey of a series of works named "Graph Montage" made, us know that it had gradually acquired a style of expression of its own through trial and error, though it looked like a literal translation at the early stage of the introduction. There, the desires of the masses to peep excitingly and safely the dark or back side of the society through the sight of media were symbolized, and the composition and the form which required a "scenario" might have been a new expression that bridged over the photograph news and the movies. Basically, the photographs used in the "Graph Montage" were "real photos". But, the composition consisted of a set of continuous photographs was ingeniously controlled by the intention of the producer. If I dare to cite a similar work, it would be the film "Man with a movie camera" by Dziga-Vertov (1929, Russia). They have both objectivity and reality acquired through the "camera-eye" and narratives structured by the organizer, and they are persuasive enough as a means of expressing the complicated aspects of large cities. In this report, I singled out the "Graph Montage" which won popularity in the magazine "Hanzai Kagakus" of 1930's and I investigated the relevancy with the art of reproduction of movies or printings.
- 甲南女子大学研究紀要. 文学・文化編
甲南女子大学研究紀要. 文学・文化編 44, A75-A82, 2007