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슬픈 추억의 미학 : 영화 <들국화 같은 너(野菊の如き君なりき)>의 시공간 표상을 중심으로
노은미(No, Eun-Mi) 일본어문학회 2021 일본어문학 Vol.95 No.-
木下恵介監督の映画『野菊の如き君なりき』(1955年)は、主人公の斎藤政夫(笠智衆)が73歳の老人として登場し、自分の思い出を語るナラティブで構成されている。映画の現時点で物語を進行していく老人の政夫は、自分の過去に関する情報をヴォイスㆍオーヴァーを通じて観客に伝える。 本論文では、戦後を生きる老人の悲しい過去の物語が観客に共有され、共同の物語として形成されていくプロセスを考察していきたい。1950年代の観客にとって過去を感傷的に描いた映画はどのような意味があったのかという問題を念頭に入れつつ分析を進めていく。また、なぜ観客が悲しくなるのか、観客が悲しい過去の話に集中できるように、現時点の語り手である老人の政夫の時空間はどのような役割を果たしているのかを考える。そのために、映画『野菊の如き君なりき』に採用された老人の政夫のヴォイスㆍオーヴァーの特徴を提示し、映画の現時点として提示される川、野原、墓という特定の空間および現在と過去の時空間を複合的に分析する。これを通じて過去と現在を越える悲しみの美学が｢国民的映画｣の基盤となったことを明らかにしていく。 In the film She Was Like a Wild Chrysanthemum (1955), directed by Keisuke Kinoshita, the protagonist Masao Saito (Chishu Ryu) is a 73 year old elder, and the film is constructed as a narrative where he narrates his past stories. Masao, who narrates time-linearly in the world depicted by the film, conveys his past information to the viewers through voice-over. The present article analyses the ways in which the sad stories of the elder who lived in a war- time are shared with the viewers and a collaborative story between Masao and the viewers is gradually formed. The analysis is based on the issue of what meaning the film, which portrays the past sentimentally, delivers to the viewers in the 1950’s. The other related issues are why the viewers feel sad and what role Masao’s time/space plays in letting the viewers focus on the sad stories. For these purposes, the present study reveals the characteristics of Masao’s voice-over in the film She Was Like a Wild Chrysanthemum and analyses the specific spaces such as a river, a field, and a cemetery and the specific times such as the present and the past. The analysis points out that the aesthetics of sad stories beyond the past and the present forms a basis of the “nationally famous film.”
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노은미 ( Eun Mi No ),박영희 ( Young Hee Park ) 한국노인의료복지학회 2011 노인의료복지연구 Vol.3 No.1
The study of the elderly and poor oral status interpersonal relationships and smooth social life limited to give is the social alienation and isolation, promoting to having problems with a sense of the elderly subjective oral health status and Subjective oral health status of the elderly Effects of interpersonal relations affects whether analyzed. 1.Subjective oral health status authoring feel healthy food disorders, toothache, gum disease, temporomandibular disorders, dry mouth, bad breath and other symptoms ‘sometimes’‘often’ than the ‘no’ appears to be highly subjective interpersonal Oral health status affects interpersonal relationships were a lot. (p <0.01) 2. Subjective oral health status of the seven kinds of sub-variables oral health status, food author disorders, toothache, gum disease, temporomandibular disorders, dry mouth, bad breath, presence and look at the relationship between interpersonal oral health status (r =.349), Toothache (r =.194) than positive (+) was correlated.
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노인의 주관적 구강 건강상태와 사회적 효능감에 관한 연구
노은미 ( No Eun-mi ) 한국보건복지융합학회(구 한국노인의료복지학회) 2019 노인의료복지연구 Vol.11 No.1
This study intends to investigate the effect of subjective oral health status on the social efficacy of the elderly. It was conducted from September 1, 2019 to September 30, 2019 for elderly people over 60 years old in Ulsan, Busan, and Daegu. The final analysis of 329 data was conducted. Social efficacy was higher when males were 70-74 years old and high school graduates, and the social efficacy according to subjective oral health status felt good oral health condition, no food manipulation disorder, no toothache, no periodontal problem, And there was no bad breath, and there was a significant difference (p<0.001). Factors affecting social efficacy were most affected by jaw joint disorder (β= -0.152), oral health status (β= -0.114), bad breath (β= -0.112), and toothache (β= -0.093). , Food manipulation disorder (β= -0.085), dry mouth (β= 0.029), periodontal problem (β= 0.024). In other words, the subjective oral health status of the elderly affects the social efficacy, which is an important factor for the successful aging of the elderly.
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노은미(Eun-Mi No) 일본어문학회 2022 일본어문학 Vol.99 No.-
本論文では、1930年代のトーキー映画への転換期に新派悲劇という特定ジャンルで数多く採用されたヴォイス·オーヴァーという技法を以前のサイレント映画時代の文化的、歴史的文脈およびジャンルの特殊性と関連付けて考察していく。こうした姿勢は、サイレント映画とトーキー映画を技術的、文化的に断絶したものとして認識するのではなく、どのような技法が消滅あるいは規範化され継承されたのかを把握し、日本の新派悲劇ジャンルの特徴となったのかを有機的に分析しようとするものである。 そのために、初期日本映画と深く関連する他分野、特に「歌舞伎」と「新派劇」という演劇との交流や映画への流入あるいは影響を考えていく。このように日本映画史においてサイレント映画時代の特殊な形態を整理し、映画を取り巻くコンテキストとの関係の中で新派悲劇というジャンルの様式化された技法と特殊性を把握していく。これを基盤としながら1930年代の新派悲劇ジャンルの映画の特徴を考察し、このジャンルが日本独特の様式と技法によって形成され、トーキー映画へ継承されたことを明らかにしていていく。 In this paper, I analyse ‘Voice-Over’, a technique used in ‘Shinpa’ tragic films in 1930s, when sound films emerged and gained popularity, by discussing it in connection with the cultural and historical contexts in the era of silent films and their genre uniqueness. The present study does not treat silent films and sound films as those technically and culturally divergent, but it attempts to reveal the unique characteristics of ‘Shinpa’ tragic films in Japan by specifying what techniques ceased to be used and what techniques were standardised and inherited. For this purpose, I explore the relation between incipient Japanese films and other related domains, especially plays such as kabuki and ‘Shinpa’ plays. In this way, I point out the unique characteristics of the era of silent films in the history of Japanese films and uncover the standardised techniques and the unique properties of ‘Shinpa’ tragic films in connection with the film-related contexts. Based on this survey, I analyse the properties of ‘Shinpa’ tragic films in 1930s and argue that this film genre had been formed in a manner unique to Japan and by means of the techniques specific to Japan and that the genre was inherited to sound films.
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