村上春樹『ダンス･ダンス･ダンス』における 五反田 －映像イメージの先行－
Gotanda in Haruki Murakami’s Dance Dance Dance -The Precession of Image-
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In this study, Gotanda, a character of Haruki Murakami’s Dance Dance Dance, was analyzed and examined from the point of view of the media environment overflowing with video images(photography, TV, film, etc). Gotanda plays roles only with a fixed image at all times by the star system that easily generates stable profits. His personal life is not distinguished from the images produced in front of the camera(the roles in movies, dramas, etc), and it feels as if they are connected. Boku(narrator: the main character in this novel) feels a greater sense of reality in video images than in the real: the doctor playing Gotanda is more like a doctor than a real doctor. It seems to Boku that the real (original) pales in comparison to the images (reproduction). When Gotanda is involved, many experiences in daily life do not become the first and unique ones of one’s own, but a rehash of the video images Boku has seen before. It can be said that Gotanda embodies the dominance of video images, in which video images precede the real and prescribe the real in a highly advanced capitalist society.
Abstract
In this study, Gotanda, a character of Haruki Murakami’s Dance Dance Dance, was analyzed and examined from the point of view of the media environment overflowing with video images(photography, TV, film, etc). Gotanda plays roles only with a fixed image at all times by the star system that easily generates stable profits. His personal life is not distinguished from the images produced in front of the camera(the roles in movies, dramas, etc), and it feels as if they are connected. Boku(narrator: the main character in this novel) feels a greater sense of reality in video images than in the real: the doctor playing Gotanda is more like a doctor than a real doctor. It seems to Boku that the real (original) pales in comparison to the images (reproduction). When Gotanda is involved, many experiences in daily life do not become the first and unique ones of one’s own, but a rehash of the video images Boku has seen before. It can be said that Gotanda embodies the dominance of video images, in which video images precede the real and prescribe the real in a highly advanced capitalist society.
참고문헌 (14)
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