{"created":"2023-05-15T12:12:21.794602+00:00","id":881,"links":{},"metadata":{"_buckets":{"deposit":"23c81aab-895d-4b33-8d13-da899f25d4b5"},"_deposit":{"created_by":16,"id":"881","owners":[16],"pid":{"revision_id":0,"type":"depid","value":"881"},"status":"published"},"_oai":{"id":"oai:konan-wu.repo.nii.ac.jp:00000881","sets":["391:7","391:7:313"]},"author_link":["1420","1419"],"item_10001_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2008-03-20","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"44","bibliographicPageEnd":"A82","bibliographicPageStart":"A75","bibliographic_titles":[{"bibliographic_title":"甲南女子大学研究紀要. 文学・文化編"},{"bibliographic_title":"Studies in Literature and Culture","bibliographic_titleLang":"en"}]}]},"item_10001_description_12":{"attribute_name":"論文ID（NAID）","attribute_value_mlt":[{"subitem_description":"110006966722","subitem_description_type":"Other"}]},"item_10001_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"雑誌『犯罪科学』において,1930年代に登場した新しい「グラフ・モンタージュ」は,その実践者である堀野正雄,また写真評論家として活躍した伊奈信男や板垣鷹穂らによって,西欧で勃興した「新興芸術」の流れの中に位置づけられている。「グラフ・モンタージュ」と名付けられた一連の作品評を概観してみると,移入初期においては直裁的な翻訳のようであったが,その後試行錯誤を経て次第に独自の表現形式を獲得していったことが分かる。そこには社会の暗部や裏面をメディアの視覚を媒介にして安全かつ刺激的に覗き見たいという大衆の欲望が表象され,また,「シナリオ」を必要としたその構成と形式は,写真報道と映画を架橋する新しい表現であったにちがいない。","subitem_description_type":"Abstract"}]},"item_10001_description_6":{"attribute_name":"内容記述","attribute_value_mlt":[{"subitem_description":"In the magazine \"Hanzai Kagaku\", Masao Horino who practiced the \"Graph Montage\" which newly appeared in 1930's, Nobuo Ina and Takaho Itagaki, active critics of photographs defined the position of the \"Graph Montage\" in the stream of new arts in Western Europe. That is to say, in the history of expression, it was regarded as introduced from Western Europe and translated into Japanese. However, a survey of a series of works named \"Graph Montage\" made, us know that it had gradually acquired a style of expression of its own through trial and error, though it looked like a literal translation at the early stage of the introduction. There, the desires of the masses to peep excitingly and safely the dark or back side of the society through the sight of media were symbolized, and the composition and the form which required a \"scenario\" might have been a new expression that bridged over the photograph news and the movies. Basically, the photographs used in the \"Graph Montage\" were \"real photos\". But, the composition consisted of a set of continuous photographs was ingeniously controlled by the intention of the producer. If I dare to cite a similar work, it would be the film \"Man with a movie camera\" by Dziga-Vertov (1929, Russia). They have both objectivity and reality acquired through the \"camera-eye\" and narratives structured by the organizer, and they are persuasive enough as a means of expressing the complicated aspects of large cities. In this report, I singled out the \"Graph Montage\" which won popularity in the magazine \"Hanzai Kagakus\" of 1930's and I investigated the relevancy with the art of reproduction of movies or printings.","subitem_description_type":"Other"}]},"item_10001_full_name_3":{"attribute_name":"著者別名","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"1420","nameIdentifierScheme":"WEKO"}],"names":[{"name":"BABA, Nobuhiko"}]}]},"item_10001_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"甲南女子大学"}]},"item_10001_source_id_11":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AA11639907","subitem_source_identifier_type":"NCID"}]},"item_10001_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"1347121X","subitem_source_identifier_type":"ISSN"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"馬場, 伸彦"}],"nameIdentifiers":[{"nameIdentifier":"1419","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2012-11-01"}],"displaytype":"detail","filename":"044-11.pdf","filesize":[{"value":"1.2 MB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"044-11","url":"https://konan-wu.repo.nii.ac.jp/record/881/files/044-11.pdf"},"version_id":"c8225bfc-2a99-4d9c-8dc7-14f54970782f"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"journal article","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"堀野正雄とグラフ・モンタージュ : 再構築されるメディア的現実","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"堀野正雄とグラフ・モンタージュ : 再構築されるメディア的現実"},{"subitem_title":"Masao Hori & Graph Montage : Reconstituted reality of media","subitem_title_language":"en"}]},"item_type_id":"10001","owner":"16","path":["7","313"],"pubdate":{"attribute_name":"公開日","attribute_value":"2012-11-01"},"publish_date":"2012-11-01","publish_status":"0","recid":"881","relation_version_is_last":true,"title":["堀野正雄とグラフ・モンタージュ : 再構築されるメディア的現実"],"weko_creator_id":"16","weko_shared_id":-1},"updated":"2023-12-19T06:13:39.573228+00:00"}