미조구치 겐지의《지카마쓰 이야기(近松物語)》에 대한 고찰 -『고쇼쿠 고닌온나』, 『다이쿄지 무카시고요미』와의 비교를 중심으로-

Abstract

Mizoguchi Kenji is a director whom focuses his camera on women who managed to live a tragic life forced to sacrifice and oppressed under pressure and pain, followed by the modern patriarchal system controlled by capitalism. One of Mizoguchi Kenji’s historic play, “Chikamatsu Monogatari” was made in 1954, and it is an adaption of Ihara Saikaku’s “Goshoku Goninonna” and Chikamatsu Monzaemon’s “Daikyoji Mukashigoyomi.” Both original literatures are based on one same true incident. Mizoguchi Kenji partially adopted these originals and restructured the epics into his own new style. In this study, comparison is made between “Chikamatsu Monogatari” and classic original literatures about how Osan, a new female protagonist who escaped from the existing stereotyped images of women described by the director, was created through the perspectives of male characters. Males characters around Osan, especially her husband, Ishun, and her brother, Doki, only uses Osan to achieve their own objectives, and act an crucial role into leading Osan into her tragic ending. Another male character, Mohei is unlike other male characters appearing in existing movies of Mizoguchi Kenji. In the film, Mohei has characteristics the director usually portrays as the image of women; simplehearted, selfless male character to make Osan’s change stand out. Mizoguchi Kenji makes Osan, the female protagonist, suffer and sacrifice in the first half of the film; his own typical image of women. However, in the last half of the film, as Mohei confesses his love to Osan, she transforms into a strong woman who knows how to confront hopeless destiny. Although her change was triggered by Mohei, it was true love that changed each other, presenting the theory of relativity of ego resilience.In conclusion, implicit in the movie “Chikamatsu Monogatari,” the director, through Osan’s eyes, portrays importantly his message about urging women’s postwar ego resilience.