테라야마 슈지 영화의 시각적 표현 그리고 허구를 통해 진실에 가닿기 -<전원에 죽다>와 <안녕, 하코부네>를 중심으로

Abstract

This paper examines Japanese avant-garde artist Terayama Shuji's representative films, Pastoral: to Die in the Country and Farewell to the Ark, to see how the avant-garde expression style appears in his works and what the period discourse was that Terayama was trying to challenge with these films. Terayama is known to have produced a very avant-garde and interesting works, that continue to attract the attention of many researchers. However, how his avant-garde expressions work specifically within his works and how they relate to his personal and period themes are generally only fragmentarily understood. The works of artists such as Terayama are viewed only as attempts for art and tend not to be well connected to the period and social discourse. However, Terayama responded to the questions about himself and his period. To argue this, Chapter 2 first examines the pre-war and post-war conflict of values between imperial Japan and modern Japan that concerned Japanese cinema in the mid-twentieth century, and explores relationship between this and Terayama. Chapter 3 then follows the characters and narrative and expressions in Terayama's Pastoral: to Die in the Country. It discusses how Terayama portrays the grudges and gazes between past and present generations in this work. Finally, Chapter 4 explores the narrative and expressions in Terayama's last work, Farewell to the Ark, by following its major metaphors. In doing so, This paper argue that in this work that Terayama is looking for condition of coexistence and reconciliation between the dead and the living, and between old Japan and modern Japan. In conclusion, it can be said that the expressions in Terayama's works explored the relationships between reality and fiction, pre-war Japan and post-war Japan, the dead and the living, and different times and spaces.