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- 資料種別
- 記事
- 著者・編者
- 北村 洋
- シリーズタイトル
- 著者標目
- 並列タイトル等
- Toho-Cathay's "Hong Kong Trilogy" and the Shadow of America
- タイトル（掲載誌）
- Juncture : 超域的日本文化研究
- 巻号年月日等（掲載誌）
- (5):2014.3
- 掲載号
- 5
- 掲載ページ
- 14-23
- 掲載年月日（W3CDTF）
- 2014-03
- ISSN（掲載誌）
- 1884-4766
- ISSN-L（掲載誌）
- 1884-4766
- 出版事項（掲載誌）
- 名古屋 : 名古屋大学大学院文学研究科附属日本近現代文化研究センター
- 出版地（国名コード）
- JP
- 本文の言語コード
- jpn
- NDLC
- 対象利用者
- 一般
- 所蔵機関
- 国立国会図書館
- 請求記号
- Z72-B244
- 連携機関・データベース
- 国立国会図書館 : 国立国会図書館雑誌記事索引
- 書誌ID（NDLBibID）
- 025404061
- 整理区分コード
- 632
- 要約等
- This article explores the cultural politics of three films made by the Toho Studios in Japan and the Cathay Organization in Hong Kong: A Night in Hong Kong (1961), Star of Hong Kong (1962), and Honolulu, Tokyo, Hong Kong (1963). Dubbed the "Hong Kong Trilogy," these path-breaking co-productions not only helped usher co-stars Takarada Akira and Lucilla You Min into international stardom, but also illustrated the promises of cross-cultural industrial practices among Asian film industries. However, the films themselves revealed the undoubtable influence of American cinematic and cultural formulas as well as the desire of the Japanese to establish a hegemonic order in Asia during the height of the Cold War. As a result, the trilogy exorcized Hong Kong as a "Pearl of the Orient" (and You Min as a "Pearl of Hong Kong") while diluting Japan's war responsibility toward its Asian neighbors. Yet the narratives also represented Cathay's initiatives and desires, as it strove to cleanse the image of Hong Kong by presenting it as a site of "pure love" and by representing You Min as a "modern" (and at times "Americanized") woman. In the end, this popular co-production demonstrates the uneven negotiation of power in East Asia involving Japan, Hong Kong, and the United States. It also reveals the agency of both dominant and subordinate forces that shaped and stratified power relationships.
- DOI
- 10.18999/juncture.5.14
- 記録形式（IMT）
- application/pdf
- 一次資料へのリンクURL
- JunCture5_3.pdf （fulltext）
- オンライン閲覧公開範囲
- インターネット公開
- 連携機関・データベース
- 国立情報学研究所 : 学術機関リポジトリデータベース（IRDB）（機関リポジトリ）
- 提供元機関・データベース
- 名古屋大学 : 名古屋大学学術機関リポジトリ
- 要約等
- This article explores the cultural politics of three films made by the Toho Studios in Japan and the Cathay Organization in Hong Kong: A Night in Hong Kong (1961), Star of Hong Kong (1962), and Honolulu, Tokyo, Hong Kong (1963). Dubbed the "Hong Kong Trilogy," these path-breaking co-productions not only helped usher co-stars Takarada Akira and Lucilla You Min into international stardom, but also illustrated the promises of cross-cultural industrial practices among Asian film industries. However, the films themselves revealed the undoubtable influence of American cinematic and cultural formulas as well as the desire of the Japanese to establish a hegemonic order in Asia during the height of the Cold War. As a result, the trilogy exorcized Hong Kong as a "Pearl of the Orient" (and You Min as a "Pearl of Hong Kong") while diluting Japan's war responsibility toward its Asian neighbors. Yet the narratives also represented Cathay's initiatives and desires, as it strove to cleanse the image of Hong Kong by presenting it as a site of "pure love" and by representing You Min as a "modern" (and at times "Americanized") woman. In the end, this popular co-production demonstrates the uneven negotiation of power in East Asia involving Japan, Hong Kong, and the United States. It also reveals the agency of both dominant and subordinate forces that shaped and stratified power relationships.
- DOI
- 10.18999/juncture.5.14
- オンライン閲覧公開範囲
- インターネット公開
- 関連情報（URI）
- 連携機関・データベース
- 国立情報学研究所 : CiNii Research
- 提供元機関・データベース
- Japan Link Center学術機関リポジトリデータベース雑誌記事索引データベースCiNii Articles
- 書誌ID（NDLBibID）
- 025404061
- NII論文ID
- 120006780713