『東海道四谷怪談』영화화에 대한 일고찰 -나카가와 노부오(中川信夫)의 <東海道四谷怪談>의 경우-

Abstract

This paper is about Tokaido Yotsuya Kaidann and <Tokaido YotsuyaKaidann>. The former was premiered in 1825 and the latter was made on the basisof the original text in 1959. Tokaido Yotsuya Kaidann was first performed at thesame time as Chushingura and borrowed from the Sekai of Chushingura. Nanbokucontrasted humans with ghosts, external ugliness with internal wickedness, andfiction with non-fiction. Also, he improved reality through that. But that does notmean that he looked upon the world in terms of a dichotomy. He showed theoverthrow of ideology and the times for positioning the audience at a vague boundary. Periodical characteristics is as follows. The 「Yotsuya zatsudannsyuu」 factionstrengthen the role of the ghost, and emphasizes the sense of horror for that. Onthe other hand, Yotsuya Kaidann contrasts filial piety with loyalty and public desirewith private desire by adding real incidents with the sense of horror. The <TokaidoYotsuya Kaidann> film describes Iemon as weak by weakening an evil side of himrelatively. That also makes viewers feel pity for Iemon because he committed suicidefor repentance and apology. And that finally goes off into the sunset by focusingon love, not public revenge but private revenge. In conclusion, Yotsuya Kaidann makes people experience fear by providing avisual image, and have a topic about universal human beauty and ugliness, goodand evil, and truth and fiction. Those are the reasons that discourse of YotsuyaKaidann and 「Oiwa」 had been repeated through a diverse range of media. Also,Yotsuya Kaidann is not dichotomous but provides a crevice in interpretation. Thatis the because Yotsuya Kaidann live on.