京都大学 / 0048 / 新制・課程博士 / 博士(人間・環境学) / 甲第18351号 / 人博第664号 / 新制||人||160(附属図書館) / 25||人博||664(吉田南総合図書館) / 31209 / 京都大学大学院人間・環境学研究科共生人間学専攻 / (主査)教授 加藤 幹郎, 教授 服部 文昭, 教授 松田 英男 / 学位規則第4条第1項該当 / Doctor of Human and Environmental Studies / Kyoto University / DGAM

At the height of her career, Norma Shearer was the Queen of Metro-Goldwyn-Mayer and the First Lady of the silver screen. She starred in sixty films in twenty-three years, beginning her career as an extra in 1919 before dominating the box office in the 1930s and retiring in 1942. Shearer's husband was the ''Boy Wonder” producer, Irving Thalberg, the man responsible for overseeing many of the studio's greatest successes, although he preferred to remain uncredited for his work. When Shearer and Thalberg married in September 1927, they became Hollywood's golden couple. Throughout their nine-year marriage, rumors circulated that Shearer married Thalberg for the sake of her career, while Thalberg was accused of unfairly casting Shearer in key film roles for which other stars may have been better suited. In interviews that appeared in screen magazines, Shearer denied the validity of this gossip, and sources close to the couple often reported their marriage was full of love and happiness. Although Thalberg did not publicly deny any rumors, he assured bis colleagues that his casting choices did not result from favoritism. Shearer and Thalberg had great influence and power within the film industry, but studio executives felt they both held too much power-especially Thalberg. Using archival research from Los Angeles, California, and information collected from within the state of Florida, this thesis explores the rumors that circulated about Norma Shearer and Irving Thalberg and the couple's methods to reveal the truth. It provides the personal histories of both artists and an examination of the circumstances surrounding one of early Hollywood's most powerful couples. It was their success that brought about the rumors and the attempts to undermine their marriage.

The students of today are entrenched in various digital media; film being one of the foremost of these. If history education is to stay relevant for our students, history lessons should mirror the students’ lives outside of school. For this reason, we find it relevant to study the use of film in history education.     Our study sets out to study if, and how, historical feature films can complement traditional instructional text found in history textbooks. We aim to explore students’ thoughts about the relationship between text and film that cover the same historical context, and chose the suffragette movement in England for this context. We use theory concerning historical empathy to analyze our material, specifically historical empathy as presented by Keith Barton and Linda Levstik, which presents a combination of perspective recognition and dimensions of care. The material consists of two surveys and one group interview. We studied one school class. The first survey corresponds with the text, and the other with the film. The group interview took place just after they had seen the film. Our key findings are that students’ expressions of perspective recognition are similar in both surveys. The film survey shows an increase in the category care for, which we link to the filmic power of immersion. In the interview, however, students can deliberate, and thus weigh high levels of perspective recognition with complex aspects of care. In the interview, the students weren’t always able to achieve higher levels of perspective recognition. We link this to the importance of teacher-led instruction before film viewing. Dimensions of care related to students’ willingness to act, and care to, was the most elusive category. Further research would be required to study this dimension.

Esta tese aborda a circulação no Brasil de versões em espanhol produzidas por estúdios de Hollywood nos primeiros anos do cinema sonoro. Procuramos identificar nestes filmes algumas representações que os produtores norte-americanos vincularam à identidade latina. Temos o Rio de Janeiro e São Paulo como recorte geográfico, a partir da pesquisa histórica de recepção nas revistas Cinearte e A Scena Muda e nos jornais Correio da Manhã e O Estado de São Paulo. Entre 1930 e 1935, esses periódicos mencionaram uma série de produções hollywoodianas em língua espanhola, que nossas revistas consideraram inferiores aos filmes originais em inglês devido à barreira da língua e aos padrões de qualidade cinematográficos estabelecidos. Visamos demonstrar como a recepção das versões pela imprensa carioca e paulistana marcou o distanciamento que alguns grupos de nossa elite cultural projetavam em relação à América Latina, bem como um espelhamento nos Estados Unidos, afirmando uma relação imperialista pela via da cultura. / This dissertation approaches the circulation in Brazil of the Spanish-language versions produced by Hollywood Studios in the early years of sound cinema and aim to identify in these films some representations of Latinidad made by American producers. The cities of Rio de Janeiro and Sao Paulo constitute the geographic approach. The magazines Cinearte and A Scena Muda, and the newspapers Correio da Manhã and O Estado de São Paulo were the main reference for the historical research. Between 1930 and 1935 these journals mentioned some Hollywood Spanish-language productions, which Brazillian magazines considered worse than the original English-language films because of the language barrier and the established film quality standards. This work aims to demonstrate how the reception of the Spanish-language versions by the Brazilian press marked the distancing that some groups of Brazil´s cultural elite projected towards Latin America, as well as a mirroring in the United States. It marks an imperialist relation through culture.

O presente trabalho busca realizar uma análise do filme Câncer de Glauber Rocha em vista de estabelecer as implicações políticas e culturais da sua distensão temporal, internalizada como integrante da sua estrutura, entre os quatro dias de captação de suas imagens, em agosto de 1968, e os quatro anos que decorreram até a sua montagem e sincronização, sendo finalizado somente em maio de 1972. A nossa hipótese é a de que, ao incorporar o tempo de sua realização na forma, esta obra, por meio de duas inserções documentais coladas nos dois últimos estágios de sua realização, efetua uma intervenção política e cultural ao ano em que foi filmado. A partir da defesa da experimentação na arte, no contexto das vanguardas culturais e políticas de 1968, Glauber Rocha procura, via finalização, apresentar a sua experiência na forma de Câncer como experiência de uma época. / This project carries out an analysis of Glauber Rochas Cancer that aims to establish the political and cultural implication of the films temporal distention between the four days of shooting, in August 1968, and the four years over which it was edited and synchronized, until its completion in May 1972 and the way in which the film embeds this distention in its formal structure. We argue that the films formal incorporation of the period of its production, through the two documental segments inserted during the last two stages of production, effectively performs a political and cultural intervention on the events of the year it was shot. In the defense of experimentation in Art, in the context of the cultural and political avant-gardes of 1968, Glauber Rocha attempts, in postproduction, to present his experience, in the form of Cancer, as the experience of an epoch.

Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.

Contemporary American visual culture is saturated with animation, from websites and advertisements to adult and children's television programs. Animated films have dominated the American box office since Toy Story (1995) and show no signs of relenting, as demonstrated by Up (2009) and Alice in Wonderland (2010). Scholarly interest in animation has paralleled the steady rise of the popularity of the medium. Publications addressing animation have migrated from niche journals, such as such as Animation Journal and Wide Angle, to one of the most mainstream English-language publications, the Modern Language Association's Profession, which included Judith Halberstam's article "Animation" in 2009, in which she discusses the potential of animation to transcend outdated notions of disciplinary divides and to unify the sciences and humanities. However, the origins of the animated feature film remain obscured. My dissertation clarifies this obscurity by recovering Lotte Reiniger, the inventor of the multiplane camera and producer of the first animated feature film, The Adventures of Prince Achmed (1926). Because of the international and interdisciplinary qualities of animation, my project draws upon a wide array of disciplines including film theory, historiography, and criticism; European modernisms; animation studies; early German culture; folklore; and literary adaptation. In order to explore such diverse subject matter I utilize feminist, discourse, Marxist/cultural, and film theories. My first chapter demonstrates inconsistencies concerning the development of the animated film throughout animation scholarship despite the recent proliferation of publications. Most of the scholarship misattributes the innovations of Reiniger, including her invention of the multiplane camera and the animated feature film, to the Disney Company. The related scholarship reveals a suspicious omission, or passing mention, of Reiniger. The conflicting and sparse scholarship prompts my inquiry into the causes of her critical marginalization. In the second chapter I historically and culturally contextualize Reiniger by examining contemporaneous writers and artists, as well as the early German film industry. I argue that (German) national identity negatively impacted her and the film's discourse position. I contextualize Prince Achmed within Expressionism, Bauhaus, Constructivism, Dada, Surrealism, and the New Objectivity and measure it by contemporaneous critical standards represented by Kracauer, Balazs, and Arnheim. An analysis of the film as an adaptation of a popular literary text highlights its formal singularity: its status as an independent animated feature. Despite initial critical acclaim and use of elements from celebrated visual movements, the very elements that are unique to the film have historically contributed to its critical neglect. I posit that 1926, the year of Prince Achmed's Berlin and Parisian releases, was a particularly difficult time for the German film industry. The difficulties of this era were intensified for independent productions, such as Prince Achmed. Hollywood had established hegemony after targeting its only competition, the German film industry. Americanism dominated Weimar culture, resulting in domestic critical neglect of German film. Anti-German sentiment abounded internationally. The convergence of these events coincided with the release of Prince Achmed and further damaged its critical legacy. In chapter three I consider the influence of gender on the discourse positions of Reiniger and Prince Achmed. An overview of contemporaneous female artists and filmmakers elucidates the complicated relationships between women and film and women and modernity. Invoking Guyatri Chakravorty Spivak's interrelated concepts of the "politics of interpretation," "cultural marginalia," and "masculist centrality/feminist marginality," I posit Prince Achmed as a feminist celebration of handicraft and a critique of modern culture. Reiniger embraces her relegation to the private/domestic/feminine realm by revolutionizing silhouette cutting in the form of animated (feature) film. In Prince Achmed she critiques the contradiction between imagery of the New Woman and the actual plight of women in modernity. After situating animated film within the larger genre of film, in chapter four I reflect upon the scholarly tendency to relegate film to a status subordinate to traditional visual media, thereby further marginalizing animation. In this chapter I also define and debunk the Disney myth, which includes widespread misconceptions that Disney invented the multiplane camera and pioneered the animated feature film. I highlight contributing factors such as a noticeable lack of animation scholarship (Edera; Pilling) and a gap in interwar German history during which Prince Achmed was produced (Kracauer; Arnheim; Edera). The concept of "historical imaginary" developed by Elsaesser and Foucauldian "mechanisms of power" assist an understanding of the creation and nearly century-long perpetuation of the Disney myth, which has lost relevance to contemporary critical discourse. Having established primary and tertiary causes of the marginalization of Reiniger and Prince Achmed, I determine that this is a timely project since, according to Walter Benjamin, all images become intelligible only in later corresponding epochs. This "synchronicity" renders Prince Achmed comprehensible to critics in contemporary American animation-saturated culture. Because each chapter focuses on an element of otherness, my project illuminates the individual and culminating effects of national identity, gender, and genre on film history and discourse. By restoring Lotte Reiniger and Prince Achmed to their rightful discourse positions, my dissertation challenges existing understandings of the origins of animated film and development of the medium of film. Furthermore, my project encourages interdisciplinary scholarship, ongoing recovery of women and other historically overlooked groups, and interrogations of literary and other canonization.

In the autumn of 1921, silent film comedian Roscoe “Fatty” Arbuckle was arrested for the rape and murder of a model and actress named Virginia Rappé. The ensuing scandal created a firestorm of controversy not just around Arbuckle but the entire motion picture industry. Religious and moral reformers seized upon the scandal to decry the decline of “traditional” moral values taking place throughout American society in the aftermath of World War I. The scandal created a common objective for an anti-film coalition representing diverse social and religious groups, all dedicated to bringing about change in the motion picture industry through public pressure, boycotts, and censorship legislation. In the face of this threat, the film industry created the Motion Picture Producers and Distributors Association, with Republican strategist Will Hays as its president. Hays worked to incorporate moral reformers into his new organization, giving them an outlet for their complaints while simultaneously co-opting and defusing their reform agenda. Hays’ use of public relations as the means to institute self-regulation within the motion picture industry enabled Hollywood to survive the Arbuckle scandal and continue to thrive. It also set up the mechanism by which the industry has effectively negotiated public discontent ever since.

Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.

Esta Tese tem por objetivo problematizar sobre as implicações teóricas da relação Cinema-História, destacando como os filmes interpretam a História e quais as consequências desse processo para a História como ciência e para o meio social. Trata-se de pensar como o aporte de novas tecnologias constitui uma forma narrativa para a História apresentada, e se a divulgação da História por imagens filmográficas permite perceber a composição de um novo paradigma centrado na Razão Poética, que possibilite a reavaliação do próprio paradigma científico da História. O contexto escolhido para ancorar nossa análise é o da Revolução Mexicana, primeira Revolução a descortinar o breve, porém intenso, século XX. Este processo é sem dúvida um dos mais significativos na História contemporânea e mundial. Sua abrangência, seus efeitos e experiências proporcionadas ainda trazem impacto no presente vivido. O grande número de filmes realizados no México e no exterior permitiu a criação de um corpus fílmico invejável: mais de quinhentas películas produzidas desde o início do processo revolucionário, em 1910. O volume de ficções também é considerável, e sua realização incidiu em todas as décadas, seja no âmbito nacional, seja no internacional. Diante da magnitude da Revolução, as manifestações artísticas não ficaram imunes. O Estado e a sociedade trataram de abordá-la com diferentes prismas e interesses. Entre narrativas de convergência, imagens de consenso, desconstruções e solidificações de heróis, criou-se um corpus de produtos artísticos que compreendia a arte muralista, a literatura e o cinema. A Revolução tomada como um continuum permite elaborar um quadro inteligível da sociedade mexicana. Fora do México o interesse historiográfico e cinematográfico foi significativo. Para além do seu vizinho do Norte, Europa e URSS detiveram seu olhar sobre a Revolução. A escolha dos quatro filmes analisados nesta Tese recai sobre obras realizadas em dois eixos, batizados de Quadros ideológicos-temporais. O olhar estrangeiro destes cineastas de certa forma também coincide com o olhar do autor desta Tese sobre o processo mexicano. Os filmes são: Que Viva México!, México em Chamas, Companheiros e Uma bala para o General. Dessa forma, se buscará a partir das análises fílmicas, delinear alguns elementos teóricos do paradigma Cinema-História centrado no conceito de Razão Poética. / This thesis aims to discuss about the theoretical implications of Cinema History relationship, highlighting how the film interpret the history and what the consequences of this process for the History as a science and the social environment. It is thought as the contribution of new technologies is a narrative form to the history presented, and the dissemination of history by filmográficas images allows us to see the composition of a new paradigm focused on Poetic Reason, which allows the revaluation of own scientific paradigm History. The context chosen to anchor our analysis is the Mexican Revolution, the first revolution to uncover the brief but intense twentieth century. This process is undoubtedly one of the most significant in contemporary world history. Its comprehensiveness, its effects and proportionate experiences still carry impact on the lived present. The large number of films made in Mexico and abroad allowed the creation of an enviable filmic corpus: more than five hundred films produced since the beginning of the revolutionary process in 1910. The volume of fictions is also considerable, and its realization focused on all decades, whether at the national, whether at international level. Considering the magnitude of the Revolution, artistic events were not immune. The state and society have tried to approach it with different perspectives and interests. Convergence between narratives, consensus pictures, deconstructions and solidification of heroes created a corpus of artistic products comprising the mural art, literature and cinema. The Revolution taken as a continuum allows develop a meaningful framework of Mexican society. Outside of Mexico and the historiographical cinematic interest was significant. Apart from its northern neighbor, Europe and the USSR arrested his gaze on the Revolution. The choice of the four films analyzed in this work lies with works carried out in two axes, dubbed ideological-temporal frameworks. Foreign look of these filmmakers somehow also coincides with the look of the author of this thesis on the Mexican process. The films are: Que Viva Mexico!, Mexico in Flames, Companeros and A Bullet for the General. Thus, it seeks from the filmic analysis, outline some theoretical elements of Cinema History paradigm centered on the concept of Poetic Reason.