小津安二郎の初のトーキー『一人息子』における音・音楽の用法

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  • 中村 滋延
    九州大学大学院芸術工学研究院コンテンツ・クリエーティブデザイン部門

書誌事項

タイトル別名
  • Usage of Sound and Music in the first Talkie The Only Son of Yasujiro Ozu
  • ショウツアンジロウ ノ ハツ ノ トーキー 『 ヒトリ ムスコ 』 ニ オケル オト ・ オンガク ノ ヨウホウ

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抄録

The purpose of this report is to outline the characteristics of the usage of sound and music in The Only Son (Hitori Musuko), Yasujiro Ozu's first talkie, which he directed before the war. This will serve as the premise for research conducted to understand the usage of sound and music in all his talkies, including his later masterpieces such as Late Spring (Banshun), Early Summer (Bakushu), Tokyo Story (Tokyo Monogatari), and An Autumn Afternoon (Sanma no aji). In this report, as with the author's past research reports, sound and music are considered as factors that characterize the narrative structures of movies. Keeping this in mind, the narrative structure of the subject talkie is analyzed. The analysis was mainly founded on the theory of Bremond. First, the narrative structure was extracted through analysis, after which the sound and music were analyzed in detail in the context of the narrative structures. Additionally, the music pieces used in the movies were transcribed into musical notations and analyzed to determine the structures of these pieces. Based on these analyses, the functions of the sound and music in these talkies were deduced. They are indicated as below: (I) Clarification of narrative structure itself, (2) Indication of passage of time and change of space, (3) Accentuation of on-screen movements, (4) Specification of objects that the audience is suposed to empathize with.

収録刊行物

  • 芸術工学研究

    芸術工学研究 17 69-82, 2012-11-28

    九州大学大学院芸術工学研究院

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