KOMATSU, Hiroshi

写真a

Affiliation

Faculty of Letters, Arts and Sciences, School of Humanities and Social Sciences

Job title

Professor

Concurrent Post 【 display / non-display

  • Affiliated organization   Global Education Center

  • Faculty of Letters, Arts and Sciences   Graduate School of Letters, Arts and Sciences

Education 【 display / non-display

  •  
    -
    1986

    Tokyo University of the Arts   Graduate School, Division of Fine Arts   美学  

  •  
    -
    1986

    Tokyo University of the Arts   Graduate School, Division of Fine Arts   美学  

  •  
    -
    1981

    Tokyo University of the Arts   Faculty of Fine Arts   芸術学  

  •  
    -
    1981

    Tokyo University of the Arts   Faculty of Fine Arts   芸術学  

Degree 【 display / non-display

  • (BLANK)

  • 修士(芸術学)

Professional Memberships 【 display / non-display

  •  
     
     

    Society for Cinema Studies

  •  
     
     

    DOMITOR

  •  
     
     

    DOMITOR (An International Associa tion to Promote the Study of Early Cinema)

  •  
     
     

    美学会

 

Research Interests 【 display / non-display

  • 美学(含芸術諸学)、映画史

Papers 【 display / non-display

  • The Foundation of Modernism: Japanese Cinema in the Year 1927

    Film History   17 ( 2/3 ) 363 - 375  2005.09

  • ドイツ時代のラングとムルナウ

    朝日新聞社    2005.09

  • モダニズムの成立

    早稲田大学大学院文学研究科紀要   ( 50 ) 25 - 42  2005.02

  • より良きものを、高貴なものを、そしてさらに何を-初期映画と公共性の問題-

    芸術における公共性(科学研究費補助金研究成果報告書)     135 - 145  2004.03

  • 「ミカエル」-美術と映画空間のあいだ-

    早稲田大学大学院文学研究科紀要   ( 49 ) 53 - 67  2004.02

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Books and Other Publications 【 display / non-display

  • 北欧映画

    新宿書房  2005.09

  • 映画-その歴史と特徴

    「ノルウェーの社会」早稲田大学出版部  2004.11

Awards 【 display / non-display

  • Jean Mitry Award

    2002.10  

Research Projects 【 display / non-display

  • 小唄映画および戦前日本映画文化におけるメディアを横断する女優たちへの新たな視座

    Project Year :

    2020.11
    -
    2023.03
     

  • Art and the Public Sphere (The "Publicness" in Art)

    基盤研究(A)

    Project Year :

    2002
    -
    2004
     

     View Summary

    There was a widespread tendency to regard beauty and arts as autonomous in the modern aesthetics and art theories. However ; today we understand that it is necessary to deliberate the functions of art in the relationships with society. Taking the current condition into account, we set the subject "Art and the Public Sphere (the "Publicness" in Art)" and have been engaged in researches on this subject. In this third and the last year of our research, we published a comprehensive report of the essays written by all the investigators.
    In our research, we approached the subject from two sides : first, theoretically clarifying the concept of "Publicness," second, practically investigating and analyzing the actual conditions of the Public Sphere in various fields of art. The researches have been actually made from both sides at the same time with some mutual correspondence. In the theoretical approaches, while the historical transition of "Publicness" as a concept has been discussed, the recognitions of this concept in the current aesthetics as well as art theories have been illuminated. In the practical approaches, we have made quite a few of case studies, for instance, the analysis of the phases of "Publicness" in the modem and contemporary arts like "Public Art," the methods of exhibitions in and out of museums, the contributions of art projects to the "Publicness," the meanings of films in the early days in the Art and Public Sphere, and the positioning of "Publicness" in Japanese art education. Through those studies, we find that the concept of "Publicness" itself is now in the transitional stage, and that all sorts of mediation functions belonging to the arts are arousing more and more our interests in every phase of art and culture. The theme of "Publicness" in Art ranges over so many fields, and includes so many phases that we couldn't reach clear answers. However, with putting all our accounts together or comparing them one another from every point of view, we could shed some light en the theme and contribute to future studies.

  • Art and the Public Sphere (The "Publicness" in Art)

    基盤研究(A)

    Project Year :

    2002
    -
    2004
     

     View Summary

    There was a widespread tendency to regard beauty and arts as autonomous in the modern aesthetics and art theories. However ; today we understand that it is necessary to deliberate the functions of art in the relationships with society. Taking the current condition into account, we set the subject "Art and the Public Sphere (the "Publicness" in Art)" and have been engaged in researches on this subject. In this third and the last year of our research, we published a comprehensive report of the essays written by all the investigators.In our research, we approached the subject from two sides : first, theoretically clarifying the concept of "Publicness," second, practically investigating and analyzing the actual conditions of the Public Sphere in various fields of art. The researches have been actually made from both sides at the same time with some mutual correspondence. In the theoretical approaches, while the historical transition of "Publicness" as a concept has been discussed, the recognitions of this concept in the current aesthetics as well as art theories have been illuminated. In the practical approaches, we have made quite a few of case studies, for instance, the analysis of the phases of "Publicness" in the modem and contemporary arts like "Public Art," the methods of exhibitions in and out of museums, the contributions of art projects to the "Publicness," the meanings of films in the early days in the Art and Public Sphere, and the positioning of "Publicness" in Japanese art education. Through those studies, we find that the concept of "Publicness" itself is now in the transitional stage, and that all sorts of mediation functions belonging to the arts are arousing more and more our interests in every phase of art and culture. The theme of "Publicness" in Art ranges over so many fields, and includes so many phases that we couldn't reach clear answers. However, with putting all our accounts together or comparing them one another from every point of view, we could shed some light en the theme and contribute to future studies

Specific Research 【 display / non-display

  • 明治・大正期における日本の映画言説にみられるヨーロッパ映画の影響

    1999  

     View Summary

     本研究は明治~大正期の日本において、ヨーロッパ映画がいかに受容されたかを明らかにするために、当該の時代の日本及びヨーロッパ(特にフランス、ドイツ、イギリス、イタリア)の映画雑誌における言説を比較調査し、さらに具体的な作品の評価においていかなる差異が認められるかを検討するものである。すでに明治期の雑誌『活動寫眞界』及び大正期の雑誌『キネマ・レコード』の中で、ヨーロッパ映画がどのようなコンテクストで語られていったのかを見てきた。この調査においてはフランスの『フォノ=シネ=ガゼット』ドイツの『ビルト・ウント・フィルム』イギリスの『バイオスコープ』等の同時代の雑誌の言説を比較として用いた。これによって日本のインテリがヨーロッパ(旧世界)の文化・芸術に親しみ、映画が実物教育のような役割を果していたこと、さらにかなり早くからヨーロッパにおける映画にまつわる言説が日本でも理解されていたことが明らかとなった。 こうした準備研究に基づいて、具体的な映画作品を取り挙げ、それが日本とヨーロッパでどのような受け取めをされたのかを比較した。対象となったのは1907年と1913年に二度映画化されたフランス映画「人生のための戦い」である。この作品は初め1909年に日本で公開された際に、非常に好評を博し、新聞『萬朝報』は異例の映画評を掲載し、雑誌『実業之日本』はこの作品を推奨作品とした。それはヨーロッパでのこの作品の受容とはかなり趣を異にしたものであった。1913年版は日本では1915年に公開され、これも話題となったが、ヨーロッパ(フランス、ドイツ、イギリス)とは違い、それほどの熱狂をもって迎えられたわけではなかった。そこにはヨーロッパ映画の受容が1909年から1915年までに明らかに変化していることが読み取れる。それはまた映画の形式上の変化とも大きく関連していた。本研究の結論は映画の言説が結局は映画の形式の変化と対応していることが明治~大正期の特徴であったことを明らかにしている。

Overseas Activities 【 display / non-display

  • カール・Th・ドライヤー研究

    2015.04
    -
    2016.03

    ドイツ   ボン大学

 

Syllabus 【 display / non-display

  • Film History 2

    School of Culture, Media and Society

    2021   fall semester

  • Film History 1

    School of Culture, Media and Society

    2021   spring semester

  • Core Lecture 6(RE)

    School of Humanities and Social Sciences

    2021   fall semester

  • Core Lecture 5

    School of Humanities and Social Sciences

    2021   spring semester

  • Film History 2

    School of Humanities and Social Sciences

    2021   fall semester

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