일본 프롤레타리아 영화 운동의 기원: 사사 겐주의 소형영화론과 이동영화론 고찰

Abstract

This study aims at exploring the origin of the Nihon Proletaria film movement and its development during mid-1920s. In 1927-8, there were leftist film critics group published film magazines such as Eiga Kojo and Eiga Kaiho. They actively exchange Marx-Leninist film theories and scenarios among members. To actively engaged with Proletarian liberation movement, some of them decided to organize the Nihon Proletaria Eiga Renmei and declared that they will fight for the liberation of Proletariat in Japan. The Nihon Proletaria Eiga Renmei realized it is actually impossible to produce and project leftist films under high pressure of governmental censorship. To avoid possible suppressions from government, they strategically utilized the way of writing scenarios or introducing film theory from the West. Meanwhile, Sasa Genju who belonged to the Film unit of the Zen Nihon Musansha Geizutsu Renmei, kicked off filming scenes of strikes using toy-like-9.5㎜ camera. His achievement were praised by many leftist critics, accordingly Sasa wrote an articles proposing that why they need to take the concept of ‘Little cinema’ and ‘Mobile film unit’. The Nihon Proletaria Eiga Renmei was attacked for being petit-bourgeoisie by members of the Zen Nihon Musansha Geizutsu Renmei because the Renmei’s policy could not bridged the gap between the general public and film for liberation of proletariat. Therefore, Nihon Proletaria Eiga Renmei decided to be merged by Zen Nihon Musansha Geizutsu Renmei for next step for liberation. This event seems significant because it was the first polemics between leftists film artists and, with the result, the policy of the proletarian film movement refined.