| dc.contributor | 文山評論：文學與文化 | |
| dc.creator (作者) | Jackson, Earl | |
| dc.date (日期) | 2019-12 | |
| dc.date.accessioned | 12-Nov-2020 14:27:33 (UTC+8) | - |
| dc.date.available | 12-Nov-2020 14:27:33 (UTC+8) | - |
| dc.date.issued (上傳時間) | 12-Nov-2020 14:27:33 (UTC+8) | - |
| dc.identifier.uri (URI) | http://nccur.lib.nccu.edu.tw/handle/140.119/132514 | - |
| dc.description.abstract (摘要) | Although Masumura Yasuzo (1924-1986) worked within a commercial film studio (Daiei) his entire career, he was an intellectual and aesthetic maverick, having studied law and philosophy at Tokyo University and spent two years studying film making and film history in Italy. He left a substantial body of theoretical writings. This essay is an attempt to extrapolate his theory of a post-war Japanese subjectivity realized in cinema, reading his writings in the context of several of his early major films. | |
| dc.format.extent | 3180580 bytes | - |
| dc.format.mimetype | application/pdf | - |
| dc.relation (關聯) | 文山評論：文學與文化, 13(1), 151-179 | |
| dc.subject (關鍵詞) | Japanese cinema ; Masumura Yasuzo ; film theory ; subjectivity ; post-war Japan ; film history ; gender | |
| dc.title (題名) | The Cinematic Subject of Masumura Yasuzo | |
| dc.type (資料類型) | article | |
| dc.identifier.doi (DOI) | 10.30395/WSR.201912_13(1).0007 | |
| dc.doi.uri (DOI) | https://doi.org/10.30395/WSR.201912_13(1).0007 | |
