Kyoto Film Festival

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FUJII Jinshi wrote
> Hey, Fumiaki! You should make some comments on your paper.

The following is a simple summary of my paper.

     The paper attempts to investigate how various politics gave an
influence on the film of _Kuramatengu_(ITO Daisuke, 1942, daiei kyoto)
through the process of the production, by comparing the film-text with the
non-film materials such as manuscript, yellow script, and white
script(before discussing _Kuramatengu_, I analyzed "ITO wajyutsu" and 
"rekishi eiga". _Kuramatengu_ was a ITO's resistance against "rekishi
eiga").It also attempts to find an opportunity to affirm the plurality of
film-text. _Kuramatengu_ was shown in 1942 and another version was shown as
a re-edited one of the 1942 version later in 1953 during the
post-Occupation
period. 
     How was it possible for a propaganda film such as _Kuramatengu_ to be
re-run during the post-war "democratic" period? First, in the early 1950's,
the double-feature bill became very popular. However, major film studios
were not well prepared for mass production just after the end of the war.
Therefore old films, which had been made during the war, attracted the
leading studios. Secondly, the dialogues of Tenzen KURATA(Kuramatengu)
concerning "self-sacrifice" were deleted in the process of the production.
Moreover, the ambiguity of the heroine's action of extinguishing the fire
on the fuse made the action both ultra-nationalistic and democratic. That
would be the reason why the independent commission called "Eirin" did not
demand the filmmaker to delete any scenes or shots except for only two
minor dialogues, when the film was re-run after the WW$B-6(J.


I would like to thank all Kinejapaners who came all the way to Kyoto. It
was a great time when we discussed after symposium. I hope there would be a
next "meeting" in Yamagata!

ITAKURA Fumiaki