Costume as Film Text: In the Case of Koreyoshi Kurahara’s <i>I Hate But Love</i>

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  • TATSUMI Chihiro
    Kyoto University Graduate School of Human and Environmental Studies

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  • テクストとしての映画衣裳――『憎いあﾝちくしょう』を事例に
  • テクスト ト シテ ノ エイガ イショウ : 『 ニクイ アンチク ショウ 』 オ ジレイ ニ

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Abstract

<p>Since 1954, Hanae Mori has contributed greatly to the film industry as a costume designer. Costumes require a high level of skill in production and play an important role in defining the impression of a film. This article discusses Koreyoshi Kurahara’s I Hate But Love (1962, Nikkatsu) focusing on costumes designed by Mori and worn by Ruriko Asaoka. The article incorporates Erving Goffman’s dramaturgical analysis to point out how “performance” and costumes are closely related in the way Asaoka generates the character. In the early 1960s, the majority of women’s costumes centered on styles that strongly emphasized femininity, and played a role in serving the narrative premised on the binary opposition between male and female. On the other hand, both male and female characters “act” in order to obtain what they want through “performance” in I Hate But Love, which can be seen as an alternative to the action epics that Nikkatsu mainly produced at that time.</p><p>In addition, the article looks at the nuances that Asaoka brings to the multi-layered female image by analyzing the camera work as well as the costumes. Lastly, Asaoka’s career is reviewed to consider the transition of female representations in Nikkatsu productions in the context of Japanese cinema.</p>

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  • eizogaku

    eizogaku 106 (0), 98-119, 2021-07-25

    Japan Society of Image Arts and Sciences

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