第1回大会報告 パネル2

7月2日(日) 9:30-11:30 18号館4階コラボレーションルーム2

パネル2:Medium and Anamorphoses

What Makes the Faciality in Japanese Cinema Stand Out(日本映画における顔の位置)/北野圭介(立命館大学)
A Self-Portrait of Patti Smith(パティ・スミスの自画像)/當間 麗(埼玉大学)
Illustration, Daguerreotype, Film: Discourses on the Visuality of N. Gogol's Language(挿絵、銀板写真、映画――N・ゴーゴリの言語の視覚性をめぐる諸言説)/乗松亨平(日本学術振興会特別研究員)


“Medium and Anamorphoses” と題されたこのパネルは、佐藤良明氏の司会のもとに三人のパネリストが発表し、最後に学会のゲストであるヤンポリスキー氏がコメントを加えるという形式で行われた。セッションは全て通訳なしの英語で行われた。


二番目のパネリストである當間 麗氏はパンク・シンガー、パティ・スミスのセルフポートレートの中に、ヤンポリスキー氏の提示する概念である「アナモルフォーズ」および「怪物的」なものを読み取り、彼女の詩、ドローイング、音楽等のジャンルを横断する創作活動について「言語」の表象機能という視点から考察した。









河村 彩(東京大学・院)


A work of art comes into being from within the milieu where a variety of expressive mediums encounter one another ---- here we stay away from the term “media” that might refer to some sociological entity. In other words, all cultural practices are nothing other than the meetings and collisions of forces emanating from within mediums. With this in mind, a reading act that would bring to the fore the traces of such dynamically interacting forces will aptly be called an anamorphic one. Our panel seeks such ana-morphe analyses, by which we mean the kind of analyses that would re-process and re-act the coming-into-being of an work of art back to where its “form” and “content” was still in the state of forming out of, as well as being formed by, forces in mediums. Each panelist will problematize what we feel has been “achieved” in a work of art, through looking carefully into the interfaces where voices, letters, visuals, bodies and more are intercrossing, affecting and transforming each other.(Organized by Keisuke Kitano, Takahiro Nakajima (The University of Tokyo))

Keisuke Kitano
“What Makes the Faciality in Japanese Cinema Stand Out”

One cannot see one's own face throughout one's life time. This simple fact readily exposes that any serious analysis of the figuration of face in artistic practices would be involved with the problematic engaged with the question of what it is to be a human being in phenomenological and / or existential terms. In particular, the question of the face in filmic images leads, in various ways, to the consideration of the conditions of existence of human beings in modernity. In this paper, I would like to present a sketch of the ways in which filmic approaches toward the figurations of face in the early Japanese cinema emerged out of the meetings and collisions of imaginative forces within the contemporaneous intellectual milieu.

Ulara Toma
“A Self-Portrait of Patti Smith”

The paper will focus on a self-portrait by the American artist Patti Smith as a window into her wide-ranging creative activities. Since gaining her initial fame as a punk singer in New York in the mid-1970s, Patti Smith (b. 1946 ) has worked at the interfaces of various media, including music, visual expression, and language. In a self-portrait probably created around 2001 or 2002, she seeks to animate a skeleton of the media of representation, including both language and visual form. The blurs and shadows appearing on the self-portrait capture the creative process of representation by recovering body or depth from the planarity of the death mask-like image. The portrait captures the core of Smith's creativity and provides a perspective on her entire oeuvre.

Kyohei Norimatsu
“Illustration, Daguerreotype, Film: Discourses on the Visuality of N. Gogol's Language”

For Russian Formalists in the 1920s, Nikolai Gogol was an important example of a writer interested in the autonomy of literary language. The Formalists argued that Gogol's language was not reducible to the visual representation typical of realism. In this presentation, I examine the discourses on the writer since the 19th century, and reconsider the visuality of his literary language in relation to contemporary visual media.