지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
오류제보하기
《Always-Sunset On Third Street, 2005》＆《Always: Sunset On Third Street 2, 2007》directed by Yamazaki Takashi are depicting the lives of the mass living in the country side looking down Tokyo Tower. Both of these movies were adaptations from the original, the popular cartoon,《Sunset On Third Street》by Saigann Ryohei, and these movies were also big hit and started of booming Showa30s retrospec in the Japanese society. The movies reorganize and show the memory of the beginning of Showa30s’ Japanese current lives, dreams and human relationships. The movies depict mainly various daily lives of the residents living on Yuhee Thyo Third Street, and focused on the Suzuki and the Thyagawa. The Suzuki running a small factory fixing cars has three family members husband Norihumi, wife Tomoe and son Ippei. Rokuko from Aomori and Mika, Ippei’s cousin moved into this family. This family have been happy with feeling family love and overcoming troubles thanks to their mother Tomoe’s well cared for them. Meanwhile, in the Thyagawa there are non-marital relations, Ryunoske and Hiromi, and non-blood relationship, Huruyuki Junnoske. Contrary to the Suzuki’s ordinary lives, they have been suffering from poverty and in danger many times because of appearance of Junnosuke’s real father. However thanks to Thyagawa’s realizing authentic richness and happiness, Junnnosuke’s bravery and residents’ on Third Street help, the Thyagawa also come true the dream of happy home. Many episodes of two families in the later 1950s were added into the movies. The audience could feel the nostalgia of the movie era and the endless warm-hearted daily lives and feel deprived at the same time. However the story of the movie is too artificial. the society in the middle of 2000 when the movies were produced was full of desire to escape from the gloomy reality. Because of the long depression started from the time of 1990, the gap between the rich and the poor was further widened, which was like a dark cave without any light. The movies were interpreted to awaken the old memories and intend to give any hope to the audience, but the memories were fake and the audience were caught by the non-existed nostalgia and forgot the real lives just a little while. What is more, the memories by eliminating the minority not sharing the memories again isolated them from the society.
목차
〈Abstract〉
1. 들어가며
2. 과거 기억의 구성
3. 전쟁의 기억과 상흔
4. 프레임 밖의 기억
5. 맺음말
참고문헌
REFERENCES
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UCI(KEPA) : I410-ECN-0101-2014-700-002479032