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渡辺,直紀(Watanabe Naoki) 고려대학교 글로벌일본연구원 2015 일본연구 Vol.24 No.-
山口淑子(李香蘭、1920-2014)は、アジア太平洋戦争の戦中から戦後にかけて活躍した映画女優である。特に、日本の大陸侵攻時には、中国人女優「李香蘭」として、日本の戦争政策に協力する作品に数多く出演した。また、満洲映画協会の専属女優として、｢支那の夜｣(1940)、｢萬世流芳｣(1943)、｢私の鶯｣(1943/44)のような作品に、また戦後も、日本のみならず、ハリウッドや香港などで｢暁の脱走｣(1950)や｢Japanese War Bride｣(1952)のような作品に出演した。これらの作品で彼女は、民族とジェンダーの境界におかれた役割を、ときに宣伝/煽動の役割を積極的に意識して演じた。女優引退後、彼女は日本でニュースキャスターや国会議員として活動し、中東問題や慰安婦問題の解決に奔走したが、そのときの彼女の役割は、政治家としてのみならず、映画女優としてのパフォーマンスを彷彿とされる面がうかがえる。本発表では、映画作品や政治活動における彼女の女優としてのキャリアの連続性について考察したい。 Yoshiko Yamaguchi (Lee Xianglan/Ri Kōran, 1920-2014) was a transnational movie star and a famous pop singer in East Asia during and after WWII. During the time when Japan invaded China, she presented herself as ethnic Chinese, using her Chinese name Lee Xianglan. During this time, she played roles in Japanese policy films such as Shina no yoru (China Nights, 1940), Wangshiliufang (Eternity, 1943), and Watashi no uguisu (My Nightingale, 1943/4), that were produced by the Manchukuo Film Association. Her film career continued after the war, appearing in Hollywood films and Hong Kong films such as Japanese War Bride (1952) and Akatsuki no dassō (Escape at dawn, 1950) respectively. In this series of films, she performed characters, whose identity was represented at the intersections of nation and gender; and at times, her characters promoted Japanese war propaganda, instigating people to contribute to the war materialistically and spiritually. After she had retired, she became a newscaster and a congresswoman in Japan involving in the comfort women issue and Japan’s diplomatic relations with the Middle East. Interestingly, however, she often displayed her ‘actress-like’ performances even when she was a politician. In this paper, I examine Yamaguchi’s career in cinema and politics in which she performed her gender and ethnic identity in the national context.
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