Master's Thesis | Cinematic Methods of Capturing Urban Identity | Daisuke Kobayashi

A c a d e mic Ye a r 2018

Master's Thesis

C i n e matic Meth ods of Capturing Urban Identity in Japanese Films(1948-2013) - A Case S tudy of Movies about Ginza, Tokyo-

Dais u k e Ko b a y a s h i ( S tudent ID No . : 8 1 7 1 9 8 3 1 )

Advisor Pro f. Da rk o R a d o v i Ä&#x2021;

M a rc h 2 0 1 9

K e io University G ra d u ation S ch o ol of Science and Technology S c h o o l o f S ci en ce fo r Open and Environmental System s

論文要旨近年では映画やテレビ、616 など都市が様々な形でメディアに記録されるようになってきている。都市はもはや都市単体では存在せず、メディアを通した影響をうけて都市のアイデンティティが形成されている。この論文はメディアの中でも比較的長い歴史を持つ映画を題材として、調査対象に選定した銀座を例に、映画に描かれた都市のアイデンティティを抽出することを試みる。方法として、つの文献を参照しながら年から年までに作られた本の映画を調査対象とした。地理学者であるエドワード・レルフによる場所のアイデンティティの定義に基づいて、これらの映画は撮影場所、登場人物の活動、撮影場所のプログラム、銀座に関する登場人物の発言内容というつの観点によって独自の記号譜を用いて記述、分析、マッピングされた。調査の結果、つのアイデンティティが抽出された。 6 静的なアイデンティティ、' 動的なアイデンティティ >6 @出会いの場所としての水辺の記憶 ”橋”や”海”といった水辺にまつわる単語が発話の中で多く見受けられ、”橋”が”会う”や”待つ”という単語と共に文中に存在していた。このことから、銀座を取り囲む水辺空間が開発され、鉄道や駅、幹線道路となった後でさえも、銀座の周縁が人々の出会いの場としての機能を果たし続けてきたことがわかった。>6 @ 中心性と>' @移動する周縁年代から現在まで、撮影地は丁目交差点を中心としながら社会情勢に合わせて適宜様々な場所が映され、銀座という都市の象徴性と柔軟性が顕在化した。 >' @並立した昼夜のコミュニティ同一文中に共存する単語の解析から、銀座には昼と夜のつの全く異なる言語体系があることが確認された。この事実は銀座という都市のポリリズミックな二面性を明らかにしている。>' @日常性と非日常性働く、歩く、ショッピングといった活動が見られる一方で、殺人、口論、攻撃など非日常的なシーン多くが描かれており、銀座の多面性が発見された。これらの結果から、メディアと現実都市が互いに相互作用しており非物質的な情報と物質的な情報の総体として都市のアイデンティティが形成され、その総体が都市自体であることの可能性が議論された。

Thesis Abstract

In recent years the development of media has progressed and cities are beginning to be recorded in various forms of media such as movie, TV and SNS. Urban space is no longer established by itself and new identity has been added by influence through the media. As film director Pedro Costa stated, film can be

said that it is almost scientific equipment for preserving human memory. From this statement, movies can be said they have a role of recording cities and our activities. This thesis deals with movies that have a relatively long history in the media, and aims to clarify the urban identity depicted in the media with setting Ginza as a research site. As a method, referring three books, 30 films from 1948 to 2013 were selected as research object considering the range of filmed year at first. Based on Edward Relph’s definition of the identity of the

place, those films were analyzed from four aspects which are shooting location, character’s activity, function of shooting place and character’s line about Ginza with using original notation method and the data was plotted into a map and analyzed. As a result, five identities which can’t be detected from actual urban space were found out as follows (S:Static identity, D:Dynamic identity). [S1] The Memory of Water Space as Meeting Space: Words about water space such as “bridge” and “sea” appeared frequently and the word bridge was connected with the word “meet” and “wait”. From these linguistic analysis and activity mapping, we cam find water space has been important space even after river surrounding Ginza changed into infrastructure such as station, highway or girder bridge. [S2] Centrality and [D1] Moving Suburb from Area to Area: From 50s to now, filmed location continues to gather in 4-chome intersection. On the other hand, peripheral shooting spot changes following social situation and flexibility was revealed. [D2] Parallel Communities of Day and Night: From co-existing word analysis, linguistic systems of night life and day life are totally separated and two communities of parallel life were found in Ginza. [D3] Ordinarity and Extraordinarity: From ordinary scene(work, walk and shopping) to extraordinal scene(quarrel, attack, murder) Diversity of the activity in Ginza was rich. From these result, this research discussed the possibility that the media and actual urban space interact each other and the whole of those physical or formless things create urban identity and exist as the city itself.

Co n t e n t s

Chapter 1. Introduction 1-1. Reading Urban Identity 1-2. Research Site 1-3. Purpose / Research Questions 1-4. Relation with Previous Studies

2 10 12 13

Chapter 2. Film and Architecture 2-1. Modernism and Film 2-2. Essence of Place 2-3. Cinematic Architectural Design

18 21 22

Chapter 3. Research Method 3-1. Research Flow 3-2. Film Selection 3-3. Location 3-4. Activity 3-5. Function 3-6. Quote 3-7. Data Sheet

26 28 33 35 37 40 41

Chapter 4. Result and Analysis 4-1. Overview 4-2. Location 4-3. Activity 4-4. Function 4-5. Quote

46 48 53 69 76

Chapter 5. Discussion 5-1. Identity of Ginza 5-2. Media and Actual Urban Space

82 96

Chapter 6. Conclusion 6-1. Summary 6-2. Future Prospects

List of Figure and Table Bibliography Acknowledgment Data Sheet

100 101 103 111 11 7 121

C h a p t e r. 1

Introduction

1-1. Reading Urban Identity

1-1-1. Context and Urban Identity in the Recent Architecture Field In the past few years, renovation projects are showing excitement in the field of architecture. Architectural magazines such as Jutaku tokushu are actively publishing feature articles of renovation, and this movement is considered not to be temporal one. Not limited to young architects, Jun Aoki, who has led the field of Japanese architecture for many years, also told about richness of this kind of renovation space as follows[1]. no matter how you look at it, the context and the building are one unit, or inseparable. And yet, he does not let the building sink in the context: he lets the building to speak for itself. (Jun Aoki, 2016) どう見ても、コンテクストと建築がワン・セットになっていて、それらを切り分けることがはなから難しいのだけれど、でもだからと言って、そういう状況に埋没することを潔しとしないで、その状況のなかからも、その建築そのものに何かを語らせようとしている ( 青木淳 ,2016)

Fig.1 Sayama Flat 1-1. P2

[1] 長坂常 , A 面が B 面に変わるとき , 鹿島出版社 , 2016 P51

In addition, the architect Kumiko Inui mentioned the prospect of further expanding the scale with

touching renovation works in recent years[2]. Renovation has attracted attention in architecture as an important means to create diversity and redundancy which can not be achieved in new construction, but it was interesting to point out that the city can be designed with the same concept as renovation. It seems that there is a way to respond to changes while preserving diversity by "placing planning on planning". The newly added design refreshes the message that the existing design had while adding new meaning to the design of that urban area. When we think about that kind of town design like Renka, what kind of feeleing is needed? What kind of difference can be founded? (Kumiko Inui, 2011) 建築ではリノベーションが、新築には達成できないような多様性や冗長性の創出の重要な手段として注目されていますが、それと同じような概念でまちをデザインできるという指摘が ... 面白かったです。...「プランニングにプランニングを重ねていく」ことで、多様性を保存しながら変化に対応していくという考え方があるそうなのです。新しく付け足されるまちデザインが、それまでに適用されてきたまちデザイン群に新しい意味を加えつつ既存のデザインがもっていたメッセージをリフレッシュする、そんな連歌のような感覚が必要とされるまちデザインに必要なのはどういう感性なのだろうか、それはこれまでの都市計画に必要とされた感性とどう違うのだろうか ( 乾久美子 ,2011)

Though this kind of attempts to use the existing context has been developed mainly in the field of houses renovation, as shown in the words of Kumiko Inui, it will be expanded to larger scale, such as nuw construction buildings or urban design projects. We again need to think about the relationship between architecture and context. Taking that into consideration, clearly it is important to think about the relationship between architecture and urban identity. As shown in Fig.2, the way of grasping the context in a newly constructed project is difficult because its context is anonymous and formless. A lot of discussions have been done on designing while understanding the context and urban identity, however it is necessary to develop further this attempt in the contemporary background.

Housing renovation

Newl-built public building

specific family

belonging

anonymous

physical

form

formless

Fig.2 Difference in the the quality Qualityofofcontext Context f ig . 6 D if f er ence in [2] 「インタヴューを終えて」まちのデザインを連歌のように乾久美子 ( 建築家 ), http://10plus1.jp/monthly/2011/12/post.php (2018-11-10)

note:

Introduction P3

background

1-1-2. Contextualism: Conventional Way of Grasping the Context First of all, in this section, how the concept of context has been considered in the field of architecture will be briefly summarized. Prior to being introduced into the field of architecture, the attention to the context began in contemporary philosophy. A German mathematician and a logician, Gottlob Frege gave the idea that “The meaning of words should be understood in the context of sentence and should not be isolated“ (G.Frege, 1884) in his book[3]. Frege thought that independent words should not be asked their meaning, nevertheless when we use the language, we should keep in mind that the basic unit is a sentence, not a word. This way of thinking later became known as the context principle. From this Frege’s claim, the concept of Contextualism occurred and the base of understanding to accept contextualism in society was prepared. Later, this way of thinking was developed in the fields of linguistics, psychology, philosophy and art. For example Fig.3 is a work called “Bull’s Head” by Pablo Piacasso. Saddles and handles, which are usually parts of bicycles, are rearranged as heads of cows in this work, and we can understand context is a important issue when we look at the object.

Fig.3 Bull's Head by Pablo Picasso However, in the architectural field before 1960, the concept of context was not regarded to have a big potential in particular. Under such circumstances, Robert Venturi and Colin Rowe recognized deeply the effect of the context in the process of architctural experience. For example, master thesis of Robert Venturi was focused on the art of environment[4]. In this thesis, he mentioned "The meaning comes from the context, and meaning changes if the context changes" and "The context of the building creates expressions in the building." In 1959, Corin Row criticized modernism urban planning in his book called "The Mannerism of the ideal villa and other essays"[5], and in 1963 he opened a Urban Design Studio in Cornell University graduate school. In this studio, the term "Contextualism" was used as a design strategy, and various activities were carried out by the hands of students. In this trend, in the early 1960's, research on designing methods and research on how to psychologically 1-1. P4

[3] G. フレーゲ , フレー著作集 <2> 算術の基礎 , 勁草書房 , 2001 [4] R.Venturi, Context in Architectural Composition, M.F.A. Thesis, Princeton University 1950 [5] C. ロウ , マニエリスムと近代建築 , 1959

real world

form

context

form

abstract concept

context

image

grasp urban space appeared. For example, Christopher Alexander introduced the concept of context into his design methodology. Alexander focused on interaction between form and context and emphasized that both sides are in a suitable relationship (Fig.4). In his master thesis "Notes on the synthesis of form", he examined the ways to comprehensively grasp objects of various scales based on mathematics.

context

demand adjust

form

f ig . 3 C h

Fig.4 Context and Form in Design Process by C.Alexamder [3]

f i g. 2 Rel at i o n between contex t and for m

note:

[3] Christopher Alexander. Notes on the Synthesis of Form. Harverd University Press. 1964

[6] C. アレクサンダー , 形の合成に関するノート / 都市はツリーではない , 鹿島出版社 , 2013

Introduction P5

1-1-3. Criticism against Contextualism In the latter half of the 1980s, in the field of architectural theory, the term “context” has became frequently used and even in our daily life, the term “context“ became popular. On the other hand, the epidemic of the term “contextual” and “contextualism” ends, moreover, those words gradually went away from the center of architectural discussion. As post-modernism was criticized and gradually declined, the tendency to criticize “contextualism” as conservative design attitude also became increasing. As Kaoru Akimoto mentioned in his book[7], contextualism has been criticized from the following five points of view. To summarize the opinions that negatively capture the contextualism, the followings can be mentioned. ① Excellent architecture morphologically reflects the mood and spirit of that age. Therefore, buildings that symbolize the mood of a new era can not be born from the contextualism that comes from focusing on existing (ie. past) cultures. ② It is natural to observe and grasp the site and its surroundings in the design of building. Therefore, the contextualism is merely a matter of course. ③ Some consider the contextualism as a historicism which intended for restoration. It is impossible to create a building that brings new stimuli to society from contextualism. ④ Contextual rhythm does not allow protrusion. It only seeks that the contour of the architectural form(skyline) become continuous with surrounding buildings. In addition, for existing environments that do not have an aesthetic order, making them continuous does not make sense. Therefore, it is an invalid theory for a disorderly city formed under the capitalism. ⑤ The idea that the form of architecture is determined by the existing context is inconvenient. (Kaoru Akimoto, 2002) コンテクスチュアリズムを否定的にとらえる見方についてまとめてみると、次のようなものがあげられる。 ① 優れた建築はその時代の気分や精神を形態表現に反映するものである。したがって、既存の ( すなわち過去の ) 文化に着目することから発想するコンテクスチュアリズムから、新しい時代の気分を象徴する建築は生まれない。 ② 建築の設計で、敷地やその周囲の環境を観察・把握し、環境の持つ特徴を活かして設計すべきことは当然のことである。したがって、コンテクスチュアリズムは、当たり前のことを言っているに過ぎない。 ③ コンテクスチュアリズムを懐古あるいは復古を意図する歴史主義とみなす。コンテクスチュアリズムからは、社会に新しい刺激をもたらす建築を作ることはできない。 ④ コンテクスチュアリズムは、建築形態の輪郭性 ( スカイライン ) が周囲の建物と連続することばかりを求めて、突出を認めない。しかし、美的な秩序を持たない既存環境に対しては、連続させること自体に意味がない。したがって、資本主義経済のもとに形成される無秩序な都市には、無効な理論である。 ⑤ 建築の形態が既存のコンテクストによって決まるという考え方は、不自由である。( 秋元馨 ,2002)

In addition to such a general tone of an augument, Rem Koolhaas, an architect from Netherlands, has mentioned the following words[8].

1-1. P6

[7] 秋元馨 , 現代建築のコンテクスチュアリズム入門 , 彰国社 , 2002 [8] レム・コールハース , 最新作の紹介：質疑応答 , 日本大学理工学部連続公開講座「都市」報告書 ,1992

All European cities are historical and have the right to exist because of their rich historical background. The conservative way of thinking, which try to inherit the valious values in the old cities is supported by some architects. However, the vicious circle has become a kind of constraint, and the architect is bound by that context. (Rem koolhaas,1992) ヨーロッパ的な都市はすべて歴史的なものであり、歴史的であるがゆえに存在する権利がある。そして、都市においてそれらの多様な価値観が存在しているから、それらを残す必要がある。といった都市に対する保守的概念の悪循環が、一種の制約となって、建築家はそのコンテクストに縛られている。( レム・コールハース ,1992)

In this way, Koolhaas mourns that the tendency to respect the context is a big constraint in the architectural design process. Not only in Europe but also in the movement in Japan, Arata Isozaki stated "in the design process of Tsukuba Center Building(Fig.5), he intended not to fit code and context." (Arata Isozaki, 1983) In this way, as the way of thinking of contextualism became common, design methods that respect contexts have expanded, however architects are not satisfied with that, and they are searching for a way of thinking about new designs method.

Fig.5 Tsukuba Center Building Aimed not to Straightly Fit to the Context

[9] 磯崎新 . 都市、国家、そして < 様式 > を問う , 新建築 1983 年 11 月号

Introduction P7

1-1-4. Film as a Mthod for Grasping the Urban Identity As we have stated so far, there has been a lot of discussion on how architecture relate to its context and urban identity. As the final section of the introduction, this section discuss the possibility of reading the urban identity from media such as films. It may seem that it is unexpected to suddenly refer to the media, however the influence of the media in contemporary society is immeasurably big. In these days, smart phones became popular and many people can get a lot of information and spread their own interests in the street. For example, according to Travel News Company, Adachi Museum of Art at Yasugi city in Shimane prefecture recorded 338,000 people in the first half of 2017 and this is the highest number of visitors of this museum. It is said that this reason is that shooting in the garden is not prohibited and tourists can take photos for their Instagram (Fig.6).

1900

Film(1894)

1950

2000

Kinetoscope(1894) Color Film(1915) Talkie Film(1926) CG(1982) TV(1939) Facebook(2004) Instagram(2010)

f i g . 1 0 Hi s t o fig.9 History of me dia [9]

Fig.7 Emergence of Media Fig.6 Pictures in Adachi Museum of Art 映画の歴史をたどってみよう , https://slownet.ne.jp/c/culture/subculture/post-4398/ (2018-11-1) In this way, the relationship betweennote: the [9]media and the real space has begun to become something that can not be separated. Fig.7 is a figure summarizing the emergence of media. In the theme of the media and urban space, this thesis focuses on the film which is a medium having a relatively long history. As for the relation between film and urban context, Tadao Sato, who is a film clitic mentioned following sentences in his book[11].

The films emphasize the character of Tokyo while deforming landscapes and geography. In addition, when such expressions succeed, we can feel the thought of the director such as this town should be like this. Let's say that the scenery in which such derector's feelings were expressed is a scene with "Joukei". Tokyo depicted in the films is full of such scenes and reflects the various thoughts of people about Tokyo. The depth and size of this kind of thought is great, thus perhaps Tokyo is an existence having the charm that no big star can compete. In some works, such as 1-1. P8

[10] 「インスタ映え」効果で上半期入館者数が過去最高に , http://www.travelvision.jp/news-jpn/detail.php?id=79935 (2018-11-11) [11] 佐藤忠男 , 東京という主役映画の中の江戸・東京 , 講談社 ,1998

Ozu Yasujiro, Naruse Mikio and Kurosawa Akira, Tokyo is no longer the background of a story and Tokyo has acquired the position as the leading character of that film. The city itself is given almost something like a personality, and living with a splendid personality there. And it is like concentrated and refined representative of the emotions we have about our city on a daily basis, and Tokyo we will also renew, amplify and discover the charm of Tokyo by looking at Tokyo on the screen. (Tadao Sato, 1988) 映画は風景や地理を変形しながら東京らしさを強調しているのであり、らしさがうまく表現されたとき、東京とはこんな町であるはずだ、とか、こんな町であるべきだという作者の思いが浮かび上がるのである。そして、そういう想いにいろどられ、表情づけられた風景を、相貌をたたえた情景ということにしよう。映画に描かれた東京はそういう情景でいっぱいであって、人々の東京にたいするさまざまな想いを映し出している。その想いの濃さと大きさにおいて、おそらく東京はどんな大スターもかなわない魅力をたたえた存在と言えることであろう。ある種の作品、たとえば小津安二郎や成瀬巳喜男や黒澤明のいくつかの作品では、東京はもはやたんなる物語の背景ではなくて、主人公としての位置を獲得していると思う。そこでは都市自体がほとんど人格のようなものを与えられており、見事な個性をもって生きているのである。そして、それは、われわれが日頃、この都市に対して抱いている感情を代表するようなものであり、濃縮したものであり、洗練させたものであり、さらにはそれを見ることによって東京への感情を新たにし、増幅し、東京の魅力を発見させてくれるものでもあるのだ。( 佐藤忠男 ,1988)

As shown in his words, films have a potential for figuring out the what the city is and can work as a element for understand the urban context. Not only the film critic, Kiyoshi Kurosawa who is a famous film director mentioned as follows. The film is one of the minor entertainment that is not so mainstream anymore. However, as it happens, films sometimes shoots a sight that everyone in the city overlooked. Even one movie that is not so important reflects he situation at that time and the unexpected scene whici is more complicated than imagined (Kiyoshi Kurosawa, 2007) 映画というのは単なる娯楽、しかももうそんなに主流じゃないマイナーな娯楽の 1 つにすぎませんが、期せずして東京という街のあまりみんなが目にしなかった光景が写ってしまっている。... なんということもない貧しい 1 本の映画に、案外複雑なそのときのいろいろな状況。多くは偶然だったりする光景がうつりこんでいる ( 黒澤清 ,2007)

This thesis regards films as one media for grasping the context and identity of the city. As one of attempts that have tried to grasp the identity and context of cities and make use of it in the design of architecture, this thesis investigate the potential of films from vatious aspects.

Introduction P9

1-2. Research Site

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Ginza was selected as a case study site. This is because Ginza is one of the famous cities for rapid urbanization. When you walk through the city, ou will see a lot of buildings under construction. In spite of that kind of scrap and build culture, Ginza is also famous for having unique cultures. From Edo era, Ginza has been an entrance for other countries and it was important to be modernized to have the same quality of the city as the other countries. Fig.8 shows the history of Ginza.

1900

2000

Gra t e K a nt o Ea rt hqua ke

Ho ko sya Te n g o k u

Chronology of Ginza

This kind of the rich context in ginza is mentioned by Tadao Sato, who is a film clitic. In his book about the relation between movies and Tokyo[11], you can find the sentence like below. Ginza was a city that has been keenly dressed as a main street of a Western-style big city since the beginning of the Meiji era with turning on gas lights, running railcars and planting trees. It is the place where many newspaper companies locates and functions as an information center. After the earthquake, department stores and coffee shops made rapid growth and Ginza became busiest area in Japan. (Tadao Sato, 1988) 銀座は明治の初めから西洋風の大都市のメイン・ストリートたるべく、ガス灯をつけたり、鉄道馬車や電車を走らせたり、並木を植えたりして鋭意飾り立てられてきた街であり、新聞社などが集中して、情報センターとしての機能を高めていたところである、それが震災後、デパートとカフェーの大挙進出で、盛り場としても最大規模にのし上がったのだった。 ( 佐藤忠男 , 1988) 1-2. P10

Not only the atmosphere of Ginza itself, he mentioned the effect of Ginza to the expression of Japanese films. This fact implies that the cityscape of Ginza was not only a place for people but also a great influence on the field of arts and culture like films. For example, as shown in Ozu Yasujiro's "Tokyomonogatari", Ginza appeared as the city where the daughter of the good birth or OL is walking as in the scene, which Setsuko Hara introduces pairents-in-law of Chishu Ryu and Chieko Higashiyama to the rooftop of the Matsuzakaya department store.... People in the field of Japanese film mainly recognized Ginza as an exclusive bar area and principally shooted girls there. People who were involved in the movies when the business was good were probably popular at the bar in Ginza. As a masterpiece depicting the bar in Ginza, I have to mention "Ginzakeshou" directed by Mikio Naruse in 1951 and "Yoru no chou" by Kozo Yoshimura in 1957". (Tadao Sato, 1988) 銀座は、たとえば小津安二郎の「東京物語」で、やはり原節子が笠智衆と東山千栄子の舅姑を松坂屋デパートの屋上に案内する場面のように、良家の娘や OL が歩いてサマになる街として現れたのである。... 映画界は銀座を主として高級な酒場として認識し、そこの女たちをしきりに描いた。景気の良かったころの映画人たちは、銀座の酒場ではモテたのであろう。銀座の酒場を描いた名作としては、1951 年の成瀬巳喜男監督の「銀座化粧」と、1957 年の吉村公三監督の「夜の蝶」をあげなければならない。 ( 佐藤忠男 , 1988)

As you can see in Fig.9, you can find a lot of films dealing with Ginza at that time such as “Ginza 24 jo“, “Ginza Kankan Musume“ and “Aki tachinu“.

znG aznfG oii

Fig.9 Films in Ginza Introduction P11

1-3. Purpose / Research Question

Based on the background mentioned in the previous chapter, we can hypothesize that observing urban phenomenon depicted in films has potential to extract urban characters which can not be found by observing the actual city. Therefore, the purpose of this thesis is to clarify the urban identity depicted in the media through the case study of movie about Ginza. As discussed in the next chapter(2-2), this thesis focus on four elements which are location, activity, function and quote. In order to understand urban identity in films, the research questions of this thesis are below.

Q1. What kind of location are depicted in films? Q2. What kind of activity in Ginza can be seen through films? Q3. What kind of function of the place is filmed in Ginza? Q4. What kind of lines about Ginza were mentioned in films?

Though, this thesis focuses on Ginza as a place for case study, the results derived from this research give a certain degree of general influence which can be adopted in various regions. In addition, although this paper focuses on only films, there is room for further development in the other media such as SNS (instagram, twitter and facebook etc) and TV which are expected to make a leap forward in the future.

1-3./1-4. P12

1-4. Relation with Previous Studies

As a research dealing with the relationship between architecture and movies, Mori et al.[12] and Hoshi[13] are focusing on the activities of characters of films in a specific living space. On the other hand, Natsume et al.[14], Asano[15], Ohashi[16] and Jo et al.[17] are giving consideration to the filming object or shooting location. In addition, Ito[18], Wakayama et al.[19], Suzuki et al.[20], Kurihara[21] and Terunuma[22] read the expressive intention of the space behind the screen by focusing on filming technique. As researches dealing with even more detailed topics, Fukushima et al.[23] and Hashimoto[24] investigate depictions of cities in science fiction films. Yoshikawa et al.[25] chose some films including the scene with shrine and evaluated the role of shrine in films. Fig.10 shows the relation of this thesis with other researches dealing with architecture and films. This thesis contributes to the fields that have not been researched yet in the following three points. ・ There are no papers on films that focus on specific urban areas. ・ There are no papers on films chronologically considering the depiction of films. ・ There are no papers on films discussing the connection with architectural design. The role played by movies seems to be particularly large in the field of the device for inheriting memories in urban space. In addition, various architects discuss the relation with architectural design and films. Thus, the topic of this thesis is meaningful for both architectural and cinematic field and has a potential for the further development in the future with a growth of various media.

[12] [13] [14] [15] [16] [17] [18] [19] [20] [21] [22] [23] [24] [25]

Yoshito Mori et al., Moving-scenes and staying-scenes in movies of the daily life in Tokyo -A study on the city image in moview(1)(2)-, AIJ Sep 2006 Hokuto Hoshi, 東京近郊を舞台にした映画にみる郊外の生活空間のイメージ Yoshinori Natsume et al., The Urban and Archtiectural Space of Chaplin's Films, AIJ No.617 207-214 Jul 2007 Junichiro Asano, A Study on Change Patterns of Filmed Landscape and Townscape ~In the Case of Shinsyu-Ueda~, 長野工業高等学校紀要第 23 号 Kanako Ohashi, 映画分析から読み取る都市空間の構成要素と行為に関する研究 -「ローマの休日」を事例として常方圓ら , 外国映画にみる東京の都市経験の特質 , 景観・デザイン研究講演集 No.6 Dec 2010 Konan Ito, Cinematic Techniques in Investigations of Urban Character.: the case of kikuzaka Shigeru Wakayama et al., Deapth of "Space/Image" in Two Films, "Summer Time" and "Death in Venice", AIJ No.592 85-91 Jun 2005 Junpei Suzuki et al., 小津安二郎の演出にみる日本住宅の舞台性 , AIJ Sep 2010 Shinji Kurihara, 中国映画「胡同のひまわり」から読む四合院住宅の中庭空間表象とその意味の変遷 , AIJ Vol.21 No.48 725-730 Jun 2015 Hiroyasu Terunuma, 日本映画にみる海の風景の意味と演出方法に関する研究 , 景観・デザイン研究講演集 No.3 Dec 2007 Mayuko Fukushima et al., サイエンス・フィクション映画における建築・都市の空間変容 , AIJ Aug 2007 Kaori Hashimoto, 近未来 SF 映画のテクノロジー表現からみた生活環境のイメージ Naoya Yoshikawa, 映画作品における神社の用途に関する研究 , AIJ Aug 2016

Introduction

P13

SF Mayuko Fukushima et al., サイエンス・フィクション映画における建築・都市の空間変容 , AIJ Aug 2007 ●

● Yoshito Mori et al., Moving-scenes and staying-scenes in movies of the daily life in Tokyo -A study on the city image in moview(1)(2)-, AIJ Sep 2006

Activity Research

● Kaori Hashimoto, 近未来 SF 映画のテクノロジー表現からみた生活環境のイメージ

● Hokuto Hoshi, 東京近郊を舞台にした映画にみる郊外の生活空間のイメージ ● Naoya Yoshikawa, 映画作品における神社の用途に関する研究 , AIJ Aug 2016

Place of this research ●

● Kanako Ohashi, 映画分析から読み取る都市空間の構成要素と行為に関する研究 -「ローマの休日」を事例として

● Shinji Kurihara, 中国映画「胡同のひまわり」から読む四合院住宅の中庭空間表象とその意味の変遷 , AIJ Vol.21 No.48 725-730 Jun 2015 ●常方圓ら , 外国映画にみる東京の都市経験の特質 , 景観・デザイン研究講演集 No.6 Dec 2010 Konan Ito, Cinematic Techniques in Investigations of Urban Character.: the case of kikuzaka ●

Site Analysis ● Junichiro Asano, A Study on Change Patterns of Filmed Landscape and Townscape ~In the Case of Shinsyu-Ueda~, 長野工業高等学校

Hiroyasu Terunuma, 日本映画にみる海の風景の意味と演出方法に関する研究 , 景観・デザイン研究講演集 No.3 Dec 2007 ●

Yoshinori Natsume et al., The Urban and Archtiectural Space of Chaplin's Films, AIJ No.617 207-214 Jul 2007 ●

Filming Technique Junpei Suzuki et al., 小津安二郎の演出にみる日本住宅の舞台性 , AIJ Sep 2010 ●

● Shigeru Wakayama et al., Deapth of "Space/Image" in Two Films, "Summer Time" and "Death in Venice", AIJ No.592 85-91 Jun 2005

Fig.10 Placement of this Research

1-4. P14

Introduction P15

C h a p t e r. 2

Film and Architecture

2-1. Modernism and Film

In the previous chapter, the potential of films was pointed out when we grasp the context of the city. In this chapter, the relationship between architecture and movies we will be explore further. First of all, this section describe the nature of films as a recording medium and clarify the relationship between modernism in architecuture field and the emergence of films. Ryoji Suzuki, who is an Japanese architect, publishes a lot of books on the relationship between movies and architecture and there is the following sentences in one of his book[26]. The important thing is that the many years of human memory has been accumulated in architecture and cities. Architecture had the role of accumulating small memories which could not be named. Walter Benjamin wrote that the commonality of architecture and movies is that they accept not only intensive appreciation but also distributed viewpoint. From my point of viewm, after the era of destruction caused by world wars in the 20th century, it seems that it has become difficult for architecture to accumulate memories. So it seems that a movie appeared for taking over the accumulation of memories which was the role of architecture until then. I feel a strong connection between architecture and movies in that kind of connection.(Ryoji Suzuki, 2013) 重要なのは、人間の記憶の積み重なりが建築や都市に蓄積されてきたということです。建築にはそういう名付けられないような小さな記憶を蓄積する役割があった。ヴァルター・ベンヤミンは、建築と映画の共通性は集中的な見方ではなく、分散的な見方ができるという点だ、というようなことを書いています。ここからは僕の仮説ですが、20 世紀に入り、2 度の世界大戦という破壊の時代を経たあと、建築が記憶の蓄積をしていくことが難しくなってしまったのではないでしょうか。そこでそれまでは建築の役割であった記憶の集積を引き受けるかたちで映画が登場したように思えるのです。そこには建築と映画の強い繋がりを感じています。 ( 鈴木了二 ,2013)

Ryoji Suzuki found similarities between architecture and movies in that they have a role of accumulation of memories. In addition, he pointed out that the loss of memory in the architecture since modernism derived from the appearance of films. As a answer to his words, film director Pedro Costa mentioned as follows. Some people say that architecture is art, and art does not have a function or a role. On the other hand, some people say that architecture has such functions and roles. ... For me, the film is almost scientific equipment for preserving human memory. Sometimes I caught up with the strange feeling that I am working only for memory. When I approach with a camera, I sometimes feel that words, expression and even silence of the characters became already being memorized.(Pedro Costa,2013) 建築は芸術であると言う人がいます。そして芸術は機能や役割を持たないのだ、と。一方で建築はそうした機能や役割を果たすものであるという人もいます。... 私にとって映画は、人間の記憶を保存するためのほとんど科学的な装置です。時折わたしは記憶を巡ってしか働いていないという奇妙な気持ちにとらわれることがあります。キャメラをもって近付くと、登場人物の言葉、表情や沈黙さえも、すでに記憶と化すように感じられます。 ( ペドロ・コスタ ,2013)

2-1. P18

[26] 鈴木了二 , 建築映画マテリアル・サスペンス , LIXIL 出版 , 2013

Though this is not about films but about photos, regarding the loss of memory and the emergence of the media, Koji Taki, Japanese philosopher, also mentioned as follows[27]. The houses lived over generations has rich memory of the family history. A worthy number of portraits were put on the wall of the aristocratic houses in 17th and 18th century or bourgeoisie's salons. ... Such past grasp was no better than discovering the meaning of living for residents. That is why the former home was a symbol of memory. ... These houses were completely disapeard with modernism because the symbol of memory in those houses was extremely decorative. ... The family history is implicit in portlaits in the house. It eventually turned into a photograph, and this picture came to put in the album or slide case. It may be unbelievable that the symbol of the memory that once connected to the house would be preserved even when it transformed into such a form. Surprisingly, however, among the people who lost their homes in the typhoon of a certain year, there are investigation results that most people regreted that the album was leaked out. It makes you feel that you need to review the cracks of your house and memory from the other point of view. In this episode, the album obviously constitutes the dimension of the meaning of living. Certainly, the building no longer fills the memory, nor does it work on people in the sense of living, but shows that human beings can not survive lacking the psychology of verifying themselves by personal history. When people are losing their homes, it seems that humans continue to keep externalizing the memory of their living houses in a more compact recording way. (Koji Taki, 2000) 長い世代にわたって生きられた家ほど、家族の歴史についての記憶が充満している。西洋の 17、8 世紀の貴族の館やブルジョワジーのサロンには、夥しい数の肖像画がかかっていた。... このような過去把握が、住み手にとって住むこと、生存することの意味の発見にほかならなかった。だからかつての家は、記憶つまり時間の象徴にみちていたのである。... このような時間の象徴は極めて装飾的であったから、近代デザインとともに完全に追放された。... 家族の歴史については肖像画の行方が暗示的である。それはやがて写真に変わり、この写真はアルバムなりスライドケースなりに納まってしまいこまれるようになった。かつては家に結びついていた記憶の意味が、そんな形に変形したときにも保たれるというのは信じられないかもしれない。しかし驚くべきことに、ある年の台風でマイホームを失った人びとのうち、アルバムを流出したことを残念に思った人がもっとも多かったという調査結果がある。それは、家と記憶の亀裂を別の面から見直す必要を感じさせる。このエピソードでは、アルバムは明らかに生きることの意味の次元を構成している。たしかに、もはや建物は記憶に充満しているものでもなければ、住むことの意味において人々に働きかけるものでもなくなったが、人間は個人史によって自分を確かめるという心理を欠いては生きられないことを示しているようである。人間は家を失いつつあるときに、かつて家のしまいこんだ生活の記憶をもっと端的な記録に外化して保ちつづけているように見える。 ( 多木浩二 ,2000)

His indication means that architecture handed over the role of inheritting memory to the media such as photos and films. Walter Benjamin is one of those who left important mentioning about the influence of appearance of photos and movies on our lives. Koji Taki pointed out that the movie works as a function to describe reality with citing the Benjamin 's words[28].

[27] 多木浩二 , 生きられた家 , 青土社 , 2000 [28] 多木浩二 , ベンヤミン「複製技術時代の芸術作品」精読 , 岩波書店 , 2000

Film and Architecture P19

Benjamin's movie theory seems to look like a movie as a device to comprehend a human. His movie theory exist in order to make clear what he called "reproduction technological age" or those who lived in that era. In other words, his precise analysis of films should be read as a metaphor for analysis of understanding the activities of our contemporary world, and at the same time, the completed film becomes a metaphor of "reality" that fascinates us. In addition, the movie is becoming a sight to see "reality". (Koji Taki, 2000) ベンヤミンの映画論は、映画をまるで人間を理解するための装置に見立てているようにみえる。彼が、「複製技術時代」と呼んだ時代、あるいはそのなかで生きているわれわれとはいかなるものか、をあきらかにするためなのである。つまり彼の映画製作の精密な分析は、われわれの住みつく現代世界の活動を解明する分析の比喩として読まれるべきだし、同時に完成した映画は、われわれつまり大衆を魅了する「現実」の比喩になる。さらにいえば映画が「現実」を見る視覚になっているのである。 ( 多木浩二 ,2000)

In this way, movies have a role of recording cities, architecture and our activities living there. And the decorativeness of the architecture was replaced by the films and memories disappeared from architecture and cities. This is one reason for appearing of modernism. (Fig.11)

memory

modernism

memory

film

architecture

1908 "Ornament and Verbrechen" by Adolf Loos

1894 invention of films

Fig.11 Film as an Equipment for Accumulating Memory

2-1./2-2. P20

memory

2-2. Essence of Place

In the previous section this thesis mentioned that the film has a role of accumulating memories. In this section, this thesis focus on defineing the identity of the cities in order to figure out what kind of identity can be captured by films as memory. A Canadian geographer, Edward Relph argues that the identity of a place is composed of theree elements: physical setting, activity, and meaning in his book Place and Placelessness[29]. This words can be understood as follows (Fig.12). Based on this definition of the place, four elements ( ① shooting location, ② activity of characters, ③ functions of shooting place and ④ character's lines about Ginza) are chosen as research objects for figuring out three essences which Relph mentioned. Details of the research method will be described in the next chapter.

physical setting

①shooting location

+ place

activity

②activity of characters

+ meaning

③functions of shooting place ④characterʼs liene about Ginza

Fig.12 Essence of Place and Research Method

[29] エドワード・レルフ , 場所の現象学 , ちくま芸術文庫 , 1999

Film and Architecture P21

2-3. Cinematic Architectural Design

In the previous sections, this thesis clarified that the film has the potential as a recording device of memories and how to grasp the characteristics of the place through films. As a prospect after reading the context of the city through films, this section introduces an attempt to design architecture from a cinematic perspective. Bernard Tschumi is one of the architects who introduced a cinematic perspective into architectural design. In a lecture in 2000, he mention his design process as follows[30]. When I was a student and started architectural work, I thought about how to understand other areas and how the dialogue will be established with them. One of them was the film. In the film, the movement of the body plays an important role as much as the static definition of the actual space, so I was interested before anyting else. ... There is an old movie "Dr. Frankenstein" as an example that the motion vector responds to the human figure in some way. Doctor and the monster fight and the motion vector appears like the choreography of the dance. The movement becomes like a wall, and it becomes a space of fighting. In the plan called "Manhattan Transcript" as an attempt of different interpretation of architecture, we deal with situations in which movement is captured and connected while being separated. Those exercises, spaces and events showed the very first signs of the definition of what architecture can be. Rather than simply creating static spaces and objects, it can be seen that the building is pluralistic, plural, and at the same time it can be an event, space and movement. It became possible to define architecture in another way in which architecture becomes totally complicated. (Bernard Tschumi, 2000) 学生時代、建築の仕事を始めた段階で私は他領域をいかに知っていくか、対話がどのように成立していくかを考えました。そのひとつが映画の世界です。映像には身体の動きが、実際の空間の静的定義づけと同じだけ重要な役割を担っているから、真っ先に関心をもちました。... 運動ベクトルが何らかの形で人の姿に呼応したものになる例として「フランケンシュタイン博士」という古い映画があります。博士と怪物が闘い、運動ベクトルが踊りの振り付けのように見えてくる。動きが壁のようになり、闘いの空間になっていきます。建築についての異なる解読の試みとしての計画案「マンハッタン・トランスクリプト」では、動きをとらえ、離反しながら接続していくという状況を扱っています。それらの運動と空間とイベントが、建築は何であり得るか、という定義のごく最初期の兆しを示してくれました。単に静的な空間やオブジェをつくり出すのでなく、建築は多元的であり、複数的なものであり、同時にイベントと空間と運動であり得る、ととらえることができ、建築は総体的には複雑なものになっていくという、もうひとつの定義づけが可能になりました。( ベルナール・チュミ ,2000)

As he stated, the Manhattan Transcript (Fig.13) was completely new architectural perception that introduced a cinematic viewpoint. This way of thinking did not finish in just trial, and continued in his actual design activities as the following sentences. In the actural field of architecture, to consider about the relation between films and architecture is useful and this thesis is focusing on that aspect. "Manhattan Transcript" was planned in the latter half of the 1970s, however it is extremely important for seeing architecture as a kind of theoretical path. All the spaces, exercise, and action vectors are expressed in visible way there. From this earliest way of thinking, we repeatedly explored division, exercise, and combinations of space and "La Villette Park" competition proposed in 1983 was born. In the early 1980's, many architects explored historical things such

2-3. P22

[30] 第 45 回現代建築セミナー「VECTORS AND ENVELOPES」, 大阪リサイタルホール , 2000

as quotations from the past. What we tried was to explore what kind of architectural existence is possible by superimposing several theoretical buildings with exercise and space system.(Bernard Tschumi, 2000) 「マンハッタン・トランスクリプト」は 1970 年代後半の計画ですが、私自身が建築を一種の理論的な探索の道として見ていく上できわめて重要な存在です。そこには空間、運動、アクションのベクトルのすべてが見えています。ごく初期のこうした考え方から、空間の探索、分断、運動、それらの組み合わせを繰り返し探求し、そこから生まれたのが 1983 年の「ラ・ヴィレット公園」のコンペ案です。1980 年代はじめの建築界では、過去からの引用など歴史的なものを探索する建築家が多かったのです。そこで私たちがやろうとしたのは、いくつかの理論的な建築を運動や空間のシステムとして見ていくなかにお互いにスーパーインポーズすることで、どのような建築の有り様があるかを模索することでした。 ( ベルナール・チュミ ,2000)

Fig.13 Manhattan Transcript

Film and Architecture P23

C h a p t e r. 3

Research Method

3-1. Research Flow

For explaining the method of this paper, this section firstly shows the flow of this paper. Fig.14 shows the flow of this research. This paper consists of five phases, Data Collection, Result and Analysis, Discussion, Adaptation to Design and Conclusion. In Data Collection and Result and Analysis phase, this thesis conducted the research from the viewpoint of four elements, Location, Activity, Function, and Quote which constitute the identity of the place. In Result and Analysis, research questions mentioned in Introduction chapter were revealed. In the third phase, Discussion, all of four elements are integrated and the identity of Ginza in films was discussed. Based on this discussion, the outcome of this research was adapted to design process and described in Adaptation to Design phase. Finally, in the last chapter, this thesis was summarized and future prospects was mentioned as Conclusion. In order to explain detail method, following sections describe how to collect each data.

Data Collection Location

Activity

Function

Quote

4. Result and Analysis Location

Activity

Function

5. Discussion Identity of Ginza Identity of Ginza by Area

6. Adaptation to Design

7. Conclusion Summary Future Prospects

Fig.14â&#x20AC;&#x192; Thesis Flow 3-1. P26

Quote

As a method, the research of Mori and others[12] was referred. Their research was mainly focus on function of the filmed place, on the other hand, this thesis aims to reach the understanding of four elements which are ① shooting location, ② activity ③ function and ④ character’s line. Therefore this thesis added other elements as research target as visualized in Fig.15.

Function Function Research in Films by Mori and Others

④ Lines ② Activity ③ Function

① Location

Fig.15 Comparison with Previous Research Research Method P27

3-2. Film Selection

In order to research movie about Ginza, three books were picked up as reference[31][32][33]. The following three points are mentioned as reasons for using these books.

・In order to make comparison by age, works should be collect from various ages ・In order to prevent the number of works becoming enormous, select around 30 works ・In order to eliminate bias of work, refer to books by various writers

Fig.16 shows the covers of those books. From these books, at first, 27 films could be picked up from a book of Hitoshi Tomita, 36 films could be picked from a book written by Saburo Kawamoto and 12 films were picked METHOD selection location activity function quote from a book of Yuji Miyazaki. These picked films are shown in Tab.1, Tab.2 and Tab.3.

fig.6 Tokyo Eiga Meisho Zukan

fig.7 Ginmaku no Tokyo

Fig.16 Books Refered to Selecting Films

In these picked up films, some films are not able to see because of the following reasons. note:

fig.8 Tokyo Eiga Chizu

method

・It is not on sale on DVD ・DVD is not available for purchase

P12

Therefore, some films are removed from research objects and finally 30 films in Tab.4 were picked up as research objects. Though there are some duplication, 16 films were picked up from the chapter about Ginza and Sukiyabashi in a book of Hitoshi Tomita, 10 films were picked from a book written by Saburo Kawamoto and 7 films were picked from the works after 1990 in the chapter of Ginza and Sukiyabashi in a book by Yuji Miyazaki.

3-2.

[31] 冨田均 , 東京映画名所図鑑 , 平凡社 , 1992

P28

[33] 宮﨑祐治 , 東京映画地図 , キネマ旬報社 ,2016

[32] 川本三郎 , 銀幕の銀座 , 中公新書 ,2011

Tab.1 Picked Up Films of Tokyo Eiga Meisho Zukan 東京映画名所図鑑 no

title

year

availability

わが生涯のかがやける日

1948

晩春

1949

〇

銀座化粧

1951

〇

稲妻

1952

〇

東京物語

1953

〇

君の名は

1953

〇

ゴジラ

1954

〇

透明人間

1954

眼の壁

1958

〇

にあんちゃん

1959

秋立ちぬ

1960

セクシー地帯

1961

〇

銀座の恋の物語

1962

〇

ニッポン無責任時代

1962

〇

敗れざるもの

1964

殺しの烙印

1967

〇

恐喝こそわが人生

1968

〇

頑張れ！日本男児

1970

BU・SU

1987

〇

光る女

1987

ほんの5g

1988

会社物語

1988

〇

バカヤロー！私、怒っています

1988

桜の樹の下で

1989

〇

愛と平成の色男

1989

パチンコ物語

1990

つぐみ

1990

〇

Research Method P29

Tab.2 Picked Up Films of Ginmaku No Ginza 銀幕の銀座 no

3-1. P30

title

year

availability

東京ラプソディ

1936

女人哀愁

1937

花籠の歌

1937

東京の女性

1939

結婚の生態

1941

誘惑

1948

〇

お嬢さん乾杯

1949

〇

暁の追跡

1950

〇

銀座の踊り子

1950

東京のヒロイン

1950

恋人

1951

東京の恋人

1952

女心はひと筋に

1953

新東京行進曲

1953

都会の横顔

1953

ゴジラ

1954

〇

恋愛特急

1954

あした来る人

1955

〇

ロマンス娘

1956

夜の蝶

1957

悪徳

1958

サラリーマン太閤記

1959

銀座旋風児

1959

〇

夜の流れ

1960

秋立ちぬ

1960

女が階段を上る時

1960

〇

東京の暴れん坊

1960

〇

河口

1961

セクシー地帯

1961

〇

銀座の恋人たち

1961

その場所に女ありて

1962

如何なる星の下に

1962

アカシアの雨が止むとき

1963

風速七十五米

1963

東京は恋する

1965

〇

2人の銀座

1967

Tab.3 Picked Up Films of Tokyo Eiga Chizu 東京映画地図-70s/90s/00s/10s no

title

year

availability

喜劇・頑張れ!日本男児

1970

やくざ刑事・マリファナ密売組織

1970

赤ずきんちゃん気を付けて

1970

野獣狩り

1973

つぐみ

1990

❍

男はつらいよ寅次郎の告白

1991

❍

東京の休日

1991

❍

ヌードの夜

1993

❍

誘拐

1997

❍

天国は待ってくれる

2007

❍

TOKYO!

2008

❍

インターミッション

2013

❍

Research Method P31

Tab.4 Selected Films as a Research Object

title

year

refference source 映画名所図鑑

銀幕の銀座

誘惑

1948

〇

お嬢さん乾杯!

1949

〇

晩春

1949

暁の追跡

1950

銀座化粧

1951

〇

稲妻

1952

〇

君の名は

1953

〇

東京物語

1953

〇

ゴジラ

1954

〇

東京映画地図

〇〇

〇

10 あした来る人

1955

11 眼の壁

1958

12 銀座旋風児

1959

〇

13 女が階段を上る時

1960

〇

14 東京の暴れん坊

1960

〇

15 セクシー地帯

1961

〇

16 銀座の恋の物語

1962

〇

17 ニッポン無責任時代

1962

〇

18 東京は恋する

1965

19 殺しの烙印

1967

〇

20 恐喝こそわが人生

1968

〇

21 BU・SU

1987

〇

22 会社物語

1988

〇

23 桜の樹の下で

1989

〇

24 つぐみ

1990

〇

25 男はつらいよ寅次郎の告白

1991

〇

26 ヌードの夜

1993

〇

27 誘拐

1997

〇

28 天国は待ってくれる

2007

〇

29 TOKYO!

2008

〇

30 インターミッション

2013

〇

3-2./3-3. P32

〇〇

〇

3-3. Location

In this paper, three words “sequence”, “scene” and “cut” are used as a unit constituting one movie. These components are used with refering to a book written by video director Yuichiro Nishimura[34]. Sequence means a part of film shooting Ginza. Cut means a section from pushing the start button of the video camera to pushing stop button. Scene is a group of several cuts and it is a unit divided for each place where shooting is done. If one film is compared to one book, the chapter of the book is a sequence, the small headline in the chapter corresponds to the scene, and each phrase constituting that small headline is a cut. Fig.17 shows the relation among sequence, scene and cut.

Fig.17 Relation Among Sequence, Scene and Cut In order to record what kind of urban elements are shot in movie, this thesis recorded the location for each cut in one sequence. From the information on the screen of the movie, following elements in Fig.18 were checked and confirm them with information in Google Earth.

Fig.18 Information for Location Finding

When the information of location is mapped, the color is decided by the produced year. Fig.19 is a

legend for the mapping. Not only colors, the size of symbols differ by the type of the shot. Referring the books written by Yuichiro Nishimura[34] and Daniel Arijon[35], there are four types of the shot, which are long shot, full shot, bust shot and close up and the size of fan shape corresponding the type of shot as shown in Fig.20. Fig.21 shows the example of location plotting. [34] 西村雄一郎 , 一人でもできる映画の撮り方 , 洋泉社 , 2003 P87 [35] Daniel Arijon, GRAMMER OF THE FILM LANGUAGE, Focal Press Kimited, 1976

Research Method P33

Fig.19 Color for Location Plotting

Fig.20 Size of Mapping and Type of Shot

mapping

scale 1:5000

Fig.21 Example of Location Mapping 3-3./3-4. P34

3-4. Activity

In the activity research, the works of Raoul Bunschoten[36] and Tamao Hashimoto[37] were reffered. Based on these past research, activity notation in Fig.22 was used for recording activity. 44 activities were found such as moving activity, daily activity, romantic activity, hobby acitivity and fighting activity.

walk

run

estimated move

train

bicycle

car/bike

rickshaw

bus

change of activity player/time

leave ginza

arrive at ginza

sing

listen to the music

play the music

drink

cafe

work

eat

picture or paint

see movie/ play/sports

row a boat

meet

byebye

purchase/shopping

sleep

teke a rest/ think/wait

see the scenery

play game or sports

chat

take a bath

go to school/study

pray

hold hands or shoulder

confess the love

hug/kiss

cry

quarrel

ﬁngt

murder

attack

die

give a present

be happy

be angry

Fig.22 List of Activity Notation

[36] Raoul Bunschoten, URBAN FLOTSAM, 010 PUBLISHERS, 2001 [37] Tamao Hashimoto, A study on the notation of the city, The Institiute of Environmental Art and Design, 2012

Research Method P35

Using this activity notation, activity line was made as shown in Fig.23 and this kind of activities were plotted into map as shown in Fig.24. element pulse

࿢

mapping

泰子の邸宅

泰子のアパート

泰子の邸宅

バレエ教室

scale 1:5000

Fig.24 Example of Activity Mapping

3-4./3-5. P36

time line

textmining

赤坂

Fig.23 Example of Activity Line バースパロウ

自動車修理工場

三原橋

西銀アパート

3-5. Function

In the function research, the works of Mori et al[12]. was reffered. Based on these past research, function notation in Tab.5 and Tab.6 were used for recording the function of the place in each scene. Following the method of Mori et al., in order to capture the character of changing scenes, this thesis defined the space in which the character stays as a staying space and the space shot during the movement as the moving space. The staying space was classified into private indoor spaces such as home and work place of characters, public indoor spaces such as shops and restaurants and outdoor spaces such as parks and shrines. The scene of staying outside was also classified as a staying space, such as having a conversation with a friend on the street. In the moving space connecting staying spaces was mainly observed outside, however even in the indoor space, if it is shot as the passing scene, it was classified into moving space. In addition, in the moving space, if the exterior of the building was shot when entering the staying space such as home, it was analyzed as approach scene connecting the moving space and the staying space. The depiction that the scene switches directly from the staying space to another staying space without moving scenes was analyzed as a scene changing. Fig.25 shows the activity line and the place of these function were plotted into map as shown in Fig.26. Tab.5 Classification of Scenes 6FHQH 1DPH 0DLQ &KDUDFWHU V +RXVH

P Ê&#x17E;

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Z &RPSDQ\ 6FKRRO 3DUW 7LPH -RE

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6KRS

V %RRN 6KRS &' 6KRS &ORWKLQJ 6WRUH

5HVWDXUDQW

U 5HVWDXUDQW &DIÃ&#x2039; %DU

$PXVHPHQW

S .DUDRNH %RZOLQJ

6WRUH )DFLOLW\ &XOWXUDO )DFLOLW\

K +RVSLWDO +RPH IRU (OGHUO\ 3HRSOH

+RWHO

R Ê&#x17E;

3XEOLF ,QVWLWXWLRQ

N 3ROLFH &LW\ +DOO 3UHIHFWXUDO 2IILFH

3DUN

Q 3DUN 5LYHUVLGH %ULGJH

5RRIWRS

W 6KULQH 7HPSOH D Ê&#x17E;

6WDWLRQ

6WDWLRQ %XVVWRS 7UDLQ &DU

6WUHHW

Ê&#x17E;

/HDYH $UULYH *LQ]D $SSURDFK 6FHQH

0RYLQJ 6SDFH 6WD\LQJ 6SDFH

F /LEUDU\ 0XVHXP 7KHDWHU

:HOIDUH )DFLOLW\

2SHQ 6SDFH 6KULQH 7HPSOH 2XWGRRU

([DPSOH

Ê&#x17E; (QWHU WR +RPH *RLQJ 2XW

Research Method P37

Tab.6 Way of Moving :D\ RI 0RYLQJ

([DPSOH

1RWDWLRQ

0RYHPHQW RQ 6WUHHW :DONLQJ %LF\FOH :LWK 0RYLQJ 6FHQH 0RYHPHQW ZLWK &DU 0RYLQJ ZLWK 7UDLQ

element pulse

&DU %XV 7D[L ʞ

:LWKRXW 0RYLQJ 6FHQH

6FHQH &KDQJH

࿢

丁目公衆便所

松屋銀座

松屋屋上

西

丁目繁華街

三越屋上

晴海通り

Fig.26 Function Mapping

3-5. P38

泰子の邸宅

泰子のアパート

泰子の邸宅

バレエ教室

外数堀寄川屋の橋シ交ョ番ッピングセンター屋上

Fig.25 Example of Function Line

赤坂

バースパロウ

自動車修理工場

三原橋

西銀アパート

ďż˝

In addition to function line, this thesis analysis function network. The memorable experience in our everyday life is not always homogeneous and it creates light and shades of images by each place. Since the transition of the scene in the movie has a potential for grasping such shading more clearly, this paper analyzes research object using the network diagram of each scene. Here, the network diagram means diagram time line showing the intensiveness and dispersion of staying spaces via the moving space. It is a conceptual diagram of relationship expressing the continuity of staying space regardless of the actual physical distance. Fig shows the example of the function network.

6 r3

n4 1

w r1

4 5

Fig.27â&#x20AC;&#x192; Example of Function Network

Research Method P39

3-6. Quote

学校を出て、銀座に腰を据えたのはここをモチーフにして作品を作るためじゃないか。黒な音楽を作るとは言わなかったはずだぜ。」

In order to grasp how film director recognized and meant the city of Ginza, this thesis recorded remarks on the characters about Ginza. As for recording, this thesis recorded a series of conversations including the word Ginza, the city name near Ginza, or the directive pointing to them. Fig.28 is an example of a recorded conversation. These conversations were plotted at the place where the remarks were mentioned as shown in Fig.29 In addition, then were analyzed using text mining using User Local[38] as shown in Fig.30.

銀座に？」

「これが銀座だよ。1 階は庶民の店。2 階はプチブル。どうですこの艶やかな色は。3 階は虚飾に満ち満ちている。客は階段を上がるごとに自分の虚栄を満足させる。無論、お値段の方も 2 倍、 3 倍と跳ね上がる。」

「東京で 1 つ銀座で 1 つ若い 2 人が初めて会った本当の恋の物語。」

新宿

伴次郎の家の近所

鞄屋

外堀側のショッピングセンター

額縁屋

西５丁目公衆便所

数寄屋橋交番

三越屋上

５丁目の繁華街

個展会場

久子の家

現代芸術社

たこ焼き屋

「俺たちが学校を出て、銀座に腰を据えたのはここをモチーフにして作品を作るためじゃないか。お前は真っ黒な音楽を作るとは言わなかったはずだぜ。」

「私たちの中では銀座を食い物にしているイカサマ五郎ということになっていますわ。」

s1 s1 s1 a1 mLine k1 2 Fig.28 Example of Quotes1with Activity

パブ

洋裁店

伴次郎の家

三越屋上

m s1

a1 m

新橋演舞場

k1 2

「これが銀座だよ。1 階は庶民の店。2 階はプチブル。どうですこの艶やかな色は。3 階は虚飾に満ち満ちている。客は階段を上がるごとに自分の虚栄を満足させる。無論、お値段の方も 2 倍、 3 倍と跳ね上がる。」「東京で 1 つ銀座で 1 つ若い 2 人が初めて会った本当の恋の物語。」

「いいところがあるよ。金がなくてもね、最高に豪勢なところ。銀座に？」

伴次郎の家の近所

外堀側のショッピングセンター

数寄屋橋交番

パブ

西５丁目公衆便所

pulse

「私たちの中では銀座を食い物にしているイカサマ五郎ということになっていますわ。」

「俺たちが初めてここに住みついた頃のあのギラギラした意欲はどこにやっちゃったんだ。みんな嘘っぱちだったのか？たった 1 つピアノを持ってかれただけで、そう簡単にお前は変わっちまうのかい。」

「東京で 1 つ銀座で 1 つ若い 2 人が初めて会った本当の恋の物語。」

m c1 a2

鞄屋

額縁屋

個展会場

久子の家

三越屋上

日比谷公園

５丁目の繁華街

「俺たちが初めてここに住みついた頃のあのギラギラした意欲はどこにやっちゃったんだ。みんな嘘っぱちだったのか？たった 1 つピアノを持ってかれただけで、そう簡単にお前は変わっちまうのかい。」 h 病院

新しい久子の家

現代芸術社

たこ焼き屋

修二の家

新宿

銀座松屋屋上

「これが銀座だよ。1 階は庶民の店。2 階はプチブル。どうですこの艶やかな色は。3 階は虚飾に満ち満ちている。客は階段を上がるごとに自分の虚栄を満足させる。無論、お値段の方も 2 倍、 3 倍と跳ね上がる。」「私たちの中では銀座を食い物にしているイカサマ五郎ということになっていますわ。」

３

m 4 w 5

３

textmining

Fig.30 Text Mining

P40

a3 s4

[38] User Local, https://textmining.userlocal.jp/ (2019-1-4)

3-6./3-7.

３ h

m c1 a2

病院

新しい久子の家

2 h

修二の家

a1 ３

Fig.29 Quote Plotted on Map

銀座松屋屋上

新宿

textmining

scale 1:5000

3-7. Data Sheet

All of the information was compiled into A3 Datasheet. Data sheet has front page and back page as shown in Fig and Fig. Basic information, activity, function, quote, textmining and fungtion network were written in front page. In back page, all information was gathered in one map. Based on this data, analysis and discussion was conducted.

No. 16

Title 銀座の恋の物語

genre ロマンス actor

Year 1962

element pulse

scenario 山田信夫 / 熊井啓

director 蔵原惟繕

石原裕次郎 / 浅丘ルリ子 / 江利チエミ / ジェリー藤尾

music 鏑木創

filming 間宮義雄

running time 93min

production company 日活

original story editing 鈴木晄

time line 0min

46min

41min

93min

sequence-1

time line

(46min)

00:24

03:20

26:21

43:05

48:37

51:51

1:01:28

1:08:31

1:28:24

1:32:07

textmining

sequence-2 (41min)

typology

note

主題歌である「銀座の恋の物語」は 2016 年 4 月 8 日より東京メトロ日比谷線銀座駅の

発車メロディとして使用されている。

Fig.31 Front Page of Data Sheet

Research Method P41

mapping

scale 1:5000

Fig.32â&#x20AC;&#x192; Back Page of Data Sheet

3-7. P42

Research Method P43

C h a p t e r. 4

Result and Analysis

4-1. Overview

First of all, basic information obtained in this research is summarized in this section. As stated in the method chapter, 30 movies were selected as a research target. The total time of 30 movies was 51:36:34. Among them, there were 116 sequences shooting Ginza and the total time was 17:26:18. The time for shooting Ginza and percentage of the time shooting Ginza is shown in Fig.33 and Fig.34.

Fig.33â&#x20AC;&#x192; Time for Shooting Ginza 4-1. P46

As shown in this figure, several movies have been shot in Ginza for the most part. Regarding the shooting ratio of Ginza, it was found that there are mainly three stages, with less than 23% of total show time, 43% to 74%, and 87% over. Ginza is filmed as travel or sightseeing spot in films with less than 23%, and those shooting Ginza from 43% to 74% combine other areas tying around Ginza. Films that account for more than 87% are focus on Ginza as the shooting location. 21.BU・SU(1987)

0.4

8.東京物語(1953)

1.5

19.殺しの烙印(1967)

2.1

6.稲妻(1952)

2.7

9.ゴジラ(1954)

3.2

3.晩春(1949)

3.7

25.男はつらいよ寅次郎の告白(1991)

4.6

24.つぐみ(1990)

5.4

20.恐喝こそわが人生(1968)

5.9

1.誘惑(1948)

6.5

23.桜の樹の下で(1989)

7.3

11.眼の壁(1958)

7.4

29.TOKYO!(2008)

11.8

27.誘拐(1997)

12.4

title

26.ヌードの夜(1993)

17.8

17.ニッポン無責任時代(1962)

22.0

7.君の名は(1953)

22.1

18.東京は恋する(1965)

22.8

10.あした来る人(1955)

43.4

14.東京の暴れん坊(1960)

51.3

22.会社物語(1988)

53.4

2.お嬢さん乾杯!(1949)

57.7

13.女が階段を上る時(1960)

67.2

4.暁の追跡(1950)

73.6

12.銀座旋風児(1959)

87.1

15.セクシー地帯(1961)

87.3

5.銀座化粧(1951)

89.6

16.銀座の恋の物語(1962)

94.4

28.天国は待ってくれる(2007)

97.2

30.インターミッション(2013)

98.3 0.0

20.0

40.0

60.0

80.0

100.0

120.0

percentage

Fig.34 Percentage for the Time of Shooting Ginza Result and Analysis P47

4-2. Location

The overall image of the shooting place is as shown in Fig.35. The plotted color changes from red to blue as the age of production become newer. Since each plot is multiplied, the more the cut being photographed, the darker the color becomes. As you can see from Fig.35, it can be seen that the Sukiyabashi intersection and the Ginza 4-chome intersection are the places most frequently shot. Taking these two intersections as the center, filmed location is spreading along Ginza Street and Harumi Street. Shinbashi station, Hibiya park, and Sotobori street are also places where shooting is gathered regardless of age. Compared with West Ginza, we can find that there are few shooting in Higashi Ginza. Old movies were shooting the center area around the 4-chome intersection. In addition to 4-chome intersection, the shooting place spreads to the periphery of the Ginza such as Tsukiji in recent films.

Fig.35â&#x20AC;&#x192; Filmed Location Fig.36 to Fig.40 represent shooting places by age. As shown in Fig.36, in the 1940s, shooting spots are concentrated at Ginza 4-chome and we can find that the central part of Ginza such as Wako building was the symbol of reconstruction in postwar situation. As shown in Fig.37, in the 1950s, the shooting location moved from the 4-chome intersection to Sukiyabashi intersection. In addition, shooting places spread along Ginza street, which shows that in the 1950s pleasant atmosphere of Ginza street were shot. Shintomi cho is also 4-2. P48

Fig.36 Filmed Location in 40s

Fig.37 Filmed Location in 50s

Fig.38 Filmed Location in 60s Result and Analysis P49

Fig.39 Filmed Location in 80s

Fig.40 Filmed Location in 90s/00s/10s shot and Ginza as a place of living is also filmed in this era. In the 1960’s, shooting places changed as shown in Fig.38. In the 60’s, the shooting center is returning to the 4-chome intersection, again. Also, the shooting location concentrated along Ginza street has changed into along Harumi Street and it is clear that the bustle spreads not only to Ginza Street but also to Harumi Street. In the 1980s, as shown in Fig.39, the shooting location is concentrated in the West Ginza such as Sukayabashi intersection. After the economic growth is over, you can see that Ginza as an office town has been shot. After the 1990s, as shown in Fig.40, films shooting Tsukiji appeared and this indicates that Ginza is being filmed in relation to its neighboring areas. Focusing on the tendency of the shooting place for each work, it is expressed like Tab.7. Sukiyabashi intersection was the most frequent spot as shooting sites and 4-chome intersections also shot a lot next to Sukiyabashi. In addition, the classification of shooting spot is done and we can find three types of location, which are distribution type, centralized type and linear type. Distribution type is the most common and 18 works is classified. Centralized type has 7 works and linear type 5 has works. In centralized type, shooting place was gathered in three spots, which are 4-chome intersection, Sukiyabashi intersection and in front of Matsuya. In the Linear Type, Harumi Street is popular site for this type. 4-2. P50

Result and Analysis

P51

●

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

25.男はつらいよ寅次郎の告白(1991)

Total

30.インターミッション(2013)

●

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

●

27.誘拐(1997)

26.ヌードの夜(1993)

●

20.恐喝こそわが人生(1968)

●

17.ニッポン無責任時代(1962)

●

16.銀座の恋の物語(1962)

●

19.殺しの烙印(1967)

●

15.セクシー地帯(1961)

18.東京は恋する(1965)

●

14.東京の暴れん坊(1960)

13.女が階段を上る時(1960)

12.銀座旋風児(1959)

●

10.あした来る人(1955)

11.眼の壁(1958)

●

7.君の名は(1953)

●

6.稲妻(1952)

●

9.ゴジラ(1954)

●

4-chome

8.東京物語(1953)

●

5.銀座化粧(1951)

Sukiyabashi

4.暁の追跡(1950)

3.晩春(1949)

2.お嬢さん乾杯!(1949)

1.誘惑(1948)

●

Harumi St.

●

Namiki St.

●

Ginza St.

●

Shinbashi

●

Shintomicho

●

Hihashi Ginza

●

Hibiya Park

●

Miharabashi

●

Girder Bridge Sumida River

Tab.7 Filmed Location for Each Films

●

Sotobori St. Yurakucho Sta. Uchisaiwaicho Mannenbashi

●

Tsukiji

●

Kyobashi

Distribution Type

Centralized Type

Linear Type

Fig.41â&#x20AC;&#x192; Location Typology

4-2./4-3. P52

4-3. Activity

4-3-1. Activity in Ginza What kind of activities were shot in Ginza is analyzed in this section. Fig.42 shows the notation indicating each activity and the number of act for each. In Fig.43, this information is expressed in column chart. The original data oh these are shown in Tab.8. As you can see from these figures, the most frequent activity is chat and walk, meet, byebye, work follows(Other is not considered). Therefore, it turns out that Ginza is drawn as a place of meeting and parting. In addition, you can see that walking scenes in Ginza are shot a lot. This correspond to the fact that people are familiar with Ginza as a city for Ginbura. Activities such

×121 walk

×32 car/bike

×529

×108

×12 purchase/shopping

×8

×21 eat

×15

×5

×2 die

murder

confess the love

×31 cry

be happy

cafe

listen to the music

×16 play the music

×16

quarrel

×15 ﬁngt

attack

×19 be angry

×23

×21

×24

×30

see the scenery

drink

row a boat

×13

×42

×1

×7

rickshaw

give a present

×1

×6

×1

×25

pray

picture or paint

hold hands or shoulder

bus

teke a rest/ think/wait

take a bath

×8

×2

×36

×1

×11 play game or sports

hug/kiss

×74

×2

×15

×3 bicycle

work

go to school/study

see movie/ play/sports

sing

×87 byebye

sleep

×6 train

run

meet

chat

×30

×368 change of activity player/time

×104 arrive at ginza

×103 leave ginza

Fig.42 Activity Notation and Number of Acts Result and Analysis P53

as drink, cafe, eat are also popular and you can find Ginza is filmed as a place to relax with enjoying food or drink. There are also many activities such as play the music and listen to the music and entertainment situations at clubs or cabarets are also filmed a lot. Many quarrels, attacks and fights are seen so much as to the activity about music and Ginza is filmed as a city not only for entertainment but also for the place to fight. 600

500

300

200

100

dietary

rommance

emotion

type of activity 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

25.男はつらいよ

寅次郎の告白(1991)

Fig.43 Numbe of Acts for Each Activity

4-3. P54

other

leave ginza

arrive ginza

be happy

change of activity player/time

cry

accident

be angry

die

fight

murder

attack

quarrel

confess the love

hold hands or shoulder

sing

music

hug/ kiss

play the music

row a boat

hobby

listen to the music

picture or paint

play game or sports

eat

see movie/ play/ sports

café

pray

daily life

drink

take a bath

sleep

go to school

purchase/ shopping

give a present

transfer

see the scenery

work

take a rest/ think/ wait

byebye

chat

meet

bus

rickshaw

bicycle

run

train

walk

0 car/bike

number of activity (times)

400

Result and Analysis

P55

run

car/bike

walk

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

30.インターミッション(2013)

121 32 30

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

Total

25.男はつらいよ寅次郎の告白(1991)

24.つぐみ(1990)

26.ヌードの夜(1993)

23.桜の樹の下で(1989)

27.誘拐(1997)

21.BU・SU(1987)

22.会社物語(1988)

20.恐喝こそわが人生(1968)

12.銀座旋風児(1959)

19.殺しの烙印(1967)

10.あした来る人(1955)

11.眼の壁(1958)

9.ゴジラ(1954)

8.東京物語(1953)

7.君の名は(1953)

5.銀座化粧(1951)

6.稲妻(1952)

3.晩春(1949)

4.暁の追跡(1950)

9 4

46 20

68 20 12

35 10

work 1

take a rest/ think/ wait 1

give a present 4

see the scenery 1

purchase/ shopping

1 529 108 87 74 36 25 13 12

byebye

48 11 10

train

bus

bicycle

chat

1.誘惑(1948)

rickshaw

meet

2.お嬢さん乾杯!(1949)

sleep 8

go to school 2

take a bath 1

pray 1

drink 1

café 3

eat 1

see movie/ play/ sports 3

play game or sports

42 23 21 15 11

picture or paint 6

row a boat 1

listen to the music play the music 2

sing 2

hug/ kiss

21 16 15 15

hold hands or shoulder 7

confess the love quarrel 7

24 16 15

accident

attack

rommance

fight

music

murder

hobby

die 2

emotion

change of activity player/time

other

31 30 19 368 104 103

cry

dietary

be angry

daily life

be happy

transfer

arrive ginza

Tab.8 Relation between Fims and Act of Activities

leave ginza

4-3-2. Activity Typology for Each Film Information of Fig.42 is expressed in pie chart in Fig.44 and Fig.45 shows the ratio of the filmed activity in each film.In the center of the pie chart, the activity filmed most frequently is written.(The activities in other and chat was eliminated because they are too popular for all of films and when there are more than two frequent activities, the one with lower probability of appearance was adopted.) The activity which appears most frequently was summarized in Tab.3. In this thesis, these frequent activities are difined as key activities.

Fig.44â&#x20AC;&#x192; Ratio of Activity of All Films In Tab.3, the activities such as meet, drink, walk and work ranked in higher rank. Films with meet scene are almost romance films and Ginza is a space to meet boyfriends or girlfriend. On the other hand, about films with drink scene, bar in Ginza has a role for communication hub. As for films with work, characters in movie are working in Ginza. In these three films, characters are working as police, conductor of Hato bus or office worker. Attack is also the activity which appears frequently and monster attack Ginza in these films. This means Ginza is filmed as a symbol of Tokyo. Fig.46 shows the analysis of the character of key activity. Activities are lined based on its ordinariness. As shown in this figure, we can fine Ginza has two side which are hare and ke. Fig.47 shows the ration of key activity. Key activity occupy more than 40% in top seven films and particular activity is accented in these films. On the other hand, the films with low ratio of key acitivity are tend to shoot Ginza as multi function city. 4-3. P56

SHOPPING

DRINK

WALK

WORK

MEET

1. 誘惑 (1948)

2. お嬢さん乾杯 !(1949)

3. 晩春 (1949)

4. 暁の追跡 (1950)

5. 銀座化粧 (1951)

WORK

CRY

SCENERY

ATTACK

BYEBYE

6. 稲妻 (1952)

7. 君の名は (1953)

8. 東京物語 (1953)

9. ゴジラ (1954)

10. あした来る人 (1955)

MEET

BYEBYE

WALK

QUARREL

MEET

11. 眼の壁 (1958)

12. 銀座旋風児 (1959)

13. 女が階段を上る時 (1960)

14. 東京の暴れん坊 (1960)

15. セクシー地帯 (1961)

MEET

DRINK

MEET

MURDER

REST

16. 銀座の恋の物語 (1962)

17. ニッポン無責任時代 (1962)

18. 東京は恋する (1965)

19. 殺しの烙印 (1967)

20. 恐喝こそわが人生 (1968)

WALK

WORK

DRINK

REST

CAFE

21.BU・SU(1987)

22. 会社物語 (1988)

23. 桜の樹の下で (1989)

24. つぐみ (1990)

25. 男はつらいよ (1991)

SING

RUN

MEET

ATTACK

MOVIE

26. ヌードの夜 (1993)

27. 誘拐 (1997)

28. 天国は待ってくれる (2007)

29.TOKYO!(2008)

30. インターミッション (2013)

Fig.45 Ratio of Activity of Each Films Result and Analysis P57

Tab.9 Key Activity in Each Film title

activity meet

5.銀座化粧(1951)

11.眼の壁(1958)

15.セクシー地帯(1961)

drink

2.お嬢さん乾杯!(1949)

17.ニッポン無責任時代(1962)

23.桜の樹の下で(1989)

walk

3.晩春(1949)

13.女が階段を上る時(1960)

21.BU・SU(1987)

work

4.暁の追跡(1950)

6.稲妻(1952)

22.会社物語(1988)

attack

9.ゴジラ(1954)

29.TOKYO!(2008)

byebye

10.あした来る人(1955)

12.銀座旋風児(1959)

20.恐喝こそわが人生(1968)

24.つぐみ(1990)

rest shopping cry

16.銀座の恋の物語(1962)

18.東京は恋する(1965)

28.天国は待ってくれる(2007)

1.誘惑(1948) 7.君の名は(1953)

scenery

8.東京物語(1953)

quarrel

14.東京の暴れん坊(1960)

murder café

19.殺しの烙印(1967) 25.男はつらいよ(1991)

sing

26.ヌードの夜(1993)

run

27.誘拐(1997)

movie

30.インターミッション(2013)

ordinary work

4. 暁の追跡 (1950)/6. 稲妻 (1952)/22. 会社物語 (1988)

walk

3. 晩春 (1949)/13. 女が階段を上る時 (1960)/21.BU・SU(1987)

shopping drink cafe scenery rest run sing movie meet byebye cry quarrel attack murder

1. 誘惑 (1948) 2. お嬢さん乾杯 !(1949)/17. ニッポン無責任時代 (1962)/23. 桜の樹の下で (1989) 25. 男はつらいよ (1991) 8. 東京物語 (1953) 20. 恐喝こそわが人生 (1968)/24. つぐみ (1990) 27. 誘拐 (1997) 26. ヌードの夜 (1993) 30. インターミッション (2013) 5. 銀座化粧 (1951)/11. 眼の壁 (1958)/15. セクシー地帯 (1961)/16. 銀座の恋の物語 (1962)/18. 東京は恋する (1965)/28. 天国は待ってくれる (2007) 10. あした来る人 (1955)/12. 銀座旋風児 (1959) 7. 君の名は (1953) 14. 東京の暴れん坊 (1960) 9. ゴジラ (1954)/29.TOKYO!(2008) 19. 殺しの烙印 (1967)

unordinary Fig.46 Ordinaliness of Key Activities

4-3. P58

ratio(%) 0%

10%

20%

30%

40%

50%

60%

70%

80%

8.東京物語(1953)

57.1

42.9

9.ゴジラ(1954)

57.1

42.9

21.BU・SU(1987)

50.0

27.誘拐(1997)

53.8

44.4

23.桜の樹の下で(1989)

55.6

42.9

6.稲妻(1952)

100%

50.0

46.2

17.ニッポン無責任時代(1962)

90%

57.1

40.0

60.0

1.誘惑(1948)

33.3

66.7

11.眼の壁(1958)

33.3

66.7

19.殺しの烙印(1967)

33.3

66.7

20.恐喝こそわが人生(1968)

30.8

69.2

29.TOKYO!(2008)

30.4

69.6

28.6

71.4

24.つぐみ(1990)

28.6

71.4

30.インターミッション(2013)

28.6

71.4

title

3.晩春(1949)

4.暁の追跡(1950)

24.5

75.5

7.君の名は(1953)

24.2

75.8

18.東京は恋する(1965)

24.0

76.0

22.会社物語(1988)

19.0

81.0

15.セクシー地帯(1961)

18.9

81.1

寅次郎の告白(1991)

18.2

81.8

5.銀座化粧(1951)

18.0

82.0

10.あした来る人(1955)

17.9

82.1

2.お嬢さん乾杯!(1949)

17.5

82.5

25.男はつらいよ

14.東京の暴れん坊(1960)

16.7

83.3

16.銀座の恋の物語(1962)

16.3

83.7

28.天国は待ってくれる(2007)

15.6

84.4

12.銀座旋風児(1959)

15.4

84.6

26.ヌードの夜(1993)

15.4

84.6

13.女が階段を上る時(1960)

14.6

85.4

ratio of key activity

ratio of other activities

Fig.47 Ratio of Key Activity

Result and Analysis P59

4-3-3. Transfer As for activities about transfer, walking was most popular and sometimes there was car/bike, run or train scene. Fig.48 shows the number of transfer activity.

rickshaw

bus

type of activity

bicycle

train

run

car/bike

walk

100

120

140

number of activity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

25.男はつらいよ寅次郎の告白(1991)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

Fig.48 Activity of Transfer

Fig.49 shows the scene of Transfer. The picture in left side is a Hato bus in Inazuma(1952). The center is the rickshaw scene in Ginza No Koi No Monogatari(1962). These two way of transfer can not be seen in current Ginza, however they were once populat in this area. The picture on the right hand is a transfer using car in Ojosan Kanpai(1949). Cars have been used for a long time as a way of transfer in Ginza.

Fig.49 Scene of Transfer Fig.50 shows the plotted activity of transfer. Mainly these lines gather along Harumi St. and Ginza St. However, not only along these big street, small roads such as Namiki St. or Miyuki St. are also filmed. The plotted area also spread to Shintomi cha, Sumida river, Yurakuch, Shinbashi and Hibiya park. North side of Higashi Ginza and Kyobashi are not filmed very much.

4-3. P60

Fig.50â&#x20AC;&#x192; Activity of Transfer in Map

Result and Analysis P61

4-3-4. Daily Life Fig.51 shows the number of activity of daily life.Chatting is the top and meet, byebye, work are also frequently filmed. pray

take a bath

go to school

sleep

type of activity

purchase/ shopping

see the scenery

give a present

take a rest/ think/ wait

work

byebye

meet

chat

100

200

300

400

500

600

number of acitivity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

25.男はつらいよ寅次郎の告白(1991)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

Fig.51 Activity of Daily Life Fig.18 shows the place of seeing the scenery. They are gathering on the bridge, rooftop or high floor of the building. From the north side in Ginza, beautiful Sukiyabashi intersection can be filmed from top of the building. From the south side in Ginza, the scenery to the Shiodome and Hamarikyu can be enjoyed.

on the bridge

from office

on rooftop

on ground

Fig.52 Activity of Seeing Scenery on Map 4-3. P62

4-3-5. Dietary As for the activity of dietary, three activities such as eat, cafe and drink can be found. Fig.53 shows the numbe of the activity about dietary. The most popular one was drink scene and some film shot bar, club or yatai as communication space. About the activity of drinking coffee, there are some cafe with good view in Ginza and this kind of situation are filmed a lot.

type of activity

eat

café

drink 0

number of activity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

25.男はつらいよ

寅次郎の告白(1991)

Fig.53 Activity of Dietary

Fig.54 shows the chronological transtion of activity about Dietary. As shown in this figure, activity about

cafe stays regardless of age, and earing scene increased recently. On the other hand, drinking scene decreased compared with 40s and 50s. From this information, we can estimate that Ginza was once the place for drinking beer or coffee, and people ate their dinner or lunch not in Ginza but in their home.

18 16

number of activity (times)

14 12 10 8 6 4 2 0

40s/50s

60s

80s~

age drink

café

eat

指数 (drink)

指数 (café)

指数 (eat)

Fig.54 Chronological Tradition of Activity of Dietary

Result and Analysis P63

4-3-6. Hobby About hobby activity in Ginza, Fig.55shows the number of each activity about hobby. We can find people see movie or play such as kabuki or ballet in Ginza. In addition, children playing baseball was filmed and such a sports activity in park was filmed. As a unusual activity in these days, a couple rowing a boat on Tsukiji river was filmed and we can find people were using river as a leisure space in the old days.

type of acrivcity

row a boat

picture or paint

play game or sports

see movie/ play/ sports 0

number of activity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

25.男はつらいよ

寅次郎の告白(1991)

Fig.55 Activity of Hobby

Fig.56 to Fig.59 shows the example of these kind of scene. Fig.56 is a cut from Sexy line(1961) and

boat on the Tsukiji river is filmed. Fig.57 is a cut from Ojosan Kanpai!(1949) and spectator are watching boxing.

Fig.58 and Fig.59 are shot in theater. Fig.58 is from Tokyo Ha Koisuru(1965) and Fig.59 is from

Intermission(2013). There were some theaters such as Shinepatosu, Ginza zensenza or Chinema Ginza. As shown in these figures, people use Ginza as a plesce for leisure.

4-3. P64

Fig.56 Sexy Line(1961)

Fig.57 Ojosan Kanpai!(1949)

Fig.58 Tokyo Ha Koisuru(1965)

Fig.59 Intermission(2013)

4-3-7. Music There are a lot of scene about music in Ginza. Fig.60 shows information about it as a bar chart. The activities such as singing, playing the music and listenin to the music can be seen many times.

type of activity

sing

play the music

listen to the music 0

number of activity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

25.男はつらいよ寅次郎の告白(1991)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

Fig.60 Activity of Music

Fig.61 to Fig.64 are the scenes which relates about music. Fig.61 and Fig.63 are showing the show in

club. Especially Fig.61 is the opening scene and filmed as a important scene. Fig.62 is a scene from Ginza No Koi No Monogatari(1962) and the man is playing trumpet in residential area in Higashi Ginza. Fig.64 is a scene from Kaisha Monogatari(1988) and this is the scene that Hajime Hana is thinking of playing drums which is his hobby.

Fig.61 Ginza Senpuji(1959)

Fig.62 Ginza No Koi No Monogatari(1962)

Fig.63 Tokyo Ha Koisuru(1965)

Fig.64 Kaisha Monogarati(1988)

Result and Analysis P65

4-3-8. Romance Fig.65 shows the activity of romance. Three activities about love are found, which are confesst the love, hold hands or shoulder and hug/kiss.

type of activity

confess the love

hold hands or shoulder

hug/ kiss

number of activity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

25.男はつらいよ寅次郎の告白(1991)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

Fig.65 Activity of Romance

Fig.66 shows the ploted activities about romance. Activity about love is happening around rivers,

bridge looftop, park or in front of Wako building. Many plots gather around 4-chome intersection, because there are Wako building and Matsuya Ginza. The rooftop of department store such as Matsuya is also the place for romance.

confess the love

hug/kiss

Fig.66 Activity of Rommance on Map 4-3. P66

hold hands or shoulder

4-3-9. Accident Not just happy aspects, unhappy aspects are also filmed. Fig.67 shows the number of activity about accident. As a activity about accident, die, murder, fight, attack and quarrel are recorded. Attack means that Ginza are attacked by monster, strange people or war in some films.

die

type of activity

murder

fight

attack

quarrel

number of activity (times) 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

25.男はつらいよ

寅次郎の告白(1991)

Fig.67 Activity of Accidnet

Fig.68 to Fig.71 are scenes about accident. Fig.68 is a cut from Akatsuki No Tsuiseki(1950). A dead

woman is found under the bridge. Fig.69 is a scene of Godzilla(1954) and Wako building, Nihon Gekijo and Matsuzakaya department store are attacked by Godzilla. Fig.70 is a scene in Ginza Senpuji(1959) and a fight broke out on the street. Fig.71 is from Koroshi No Rakuin(1967) and murder happens in the office building.

Fig.68 Akatsuki No Tsuiseki(1950)

Fig.69 Godzilla(1954)

Fig.70 Ginza Senpuji(1959)

Fig.71 Koroshi No Rakuin(1967)

Result and Analysis P67

4-3-10. Emotion Various change of the emotion is also recorded as shown in Fig.72. For example, happy was recorded when characters mentiond positive words and vice versa about be angry. And when characters cry, it was also recorded.

type of activity

be happy

be angry

cry

number of activity 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

25.男はつらいよ

寅次郎の告白(1991)

Fig.72 Activity of Emotion

Fig.73 shows the spot of crying. The area is located on Shintomicho, Sukiyabashi, Hibiya park and

Harumi St. These area is famous as a meeting spot.

Fig.73 Place of Crying

4-3./4-4. P68

4-4. Function

4-4-1. Function in Ginza In this section, this thesis analyze what kind of place were shot and what the function of the place is. Not only space for staying, also space of moving was recorded and analyzed. In addition, the approach scene to the staying space is also analyzed. Tab.10 shows the all the basic data about staying space, moving space and approach. Tab.10 Function of the Space Staying Space

Moving Space

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

1 1

2 4

7.君の名は(1953)

8.東京物語(1953)

1 13

11.眼の壁(1958)

12.銀座旋風児(1959) 13.女が階段を上る時(1960)

14.東京の暴れん坊(1960) 15.セクシー地帯(1961) 16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

1 2

1 6

22 2

1 5

1 2

24.つぐみ(1990)

25.男はつらいよ寅次郎の告白(1991)

1 1

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

10 1

1 1

1 7

1 35

30.インターミッション(2013) Total

115

15 18

6 20

1 1

Both

1 19

1 15

Only Going Outside

3 2

20.恐喝こそわが人生(1968)

23.桜の樹の下で(1989)

21.BU・SU(1987) 22.会社物語(1988)

Only Entering

Without 2 21

3 25

3 1

9.ゴジラ(1954) 10.あした来る人(1955)

6.稲妻(1952)

2 2

Scene Change

Train

Car

Street

k 1

Leave/Arrive Ginza

Street

Station

Rooftop

Shrine/Temple

Hotel

r 1

Park

Welfare Facility

s 1

Public Institution

Cultural Facility

Amusement

Working Place

Open Space

Restaurant

Friend or Stranger's House

Shop

Main Character's house

Store/Facility

1.誘惑(1948)

Approach

Outdoor

Indoor

6 1

16 89

203 114

490 302

Result and Analysis P69

4-4-2. Staying Scene Tab.11 shows the number of scenes for each staying place and this data is visualized in Fig.74. As you can see from this figure, indoor space such as restaurant and shopping have a lot of scenes and we can fined Ginza is filmed as a place to do shopping and take a rest at restaurant or cafe. In addition, street is filmed a lot as a staying space. This means street of Ginza has a potential for chatting and there are place for accepting a lot of people staying. Next to these scenes, working place ranked high. This means Ginza is depicted as a working place and characters in films are working in Ginza as a office worker, hostess and so on. Park is filmed a lot, too. From this result, bridge and reverside place was important space for films about Ginza, though river in Ginza has been filled with soil or rubble. Ginza is also filmed as a place of main characterâ&#x20AC;&#x2122;s house. There were a lot of residential area such as Shintomi cho and daily life in those area is filmed a lot. Tab.11 Number of Each Staying Scene Scene Name

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6WDWLRQ 6WDWLRQ %XVVWRS 7UDLQ &DU 2XWGRRU 2XWGRRU 2XWGRRU 2XWGRRU 6WDWLRQ 6WDWLRQ %XVVWRS 7UDLQ &DU 6WDWLRQ 6WDWLRQ %XVVWRS 7UDLQ &DU 6WDWLRQ 6WDWLRQ %XVVWRS 7UDLQ &DU 6WDWLRQ 6WDWLRQ %XVVWRS 7UDLQ &DU Station Station, Busstop, Train, Car 6WDWLRQ 6WDWLRQ 6WDWLRQ %XVVWRS 7UDLQ &DU 6WUHHW 6WUHHW Ê&#x17E; 6WDWLRQ %XVVWRS 7UDLQ &DU Ê&#x17E; 6WUHHW Ê&#x17E; 6WUHHW 6WUHHW Street Ê&#x17E;Ê&#x17E; â&#x20AC;¦ 6WUHHW Ê&#x17E; 6WUHHW 6WUHHW 6WUHHW Ê&#x17E;Ê&#x17E; Ê&#x17E; /HDYH $UULYH *LQ]D /HDYH $UULYH *LQ]D /HDYH $UULYH *LQ]D â&#x20AC;¦ Ê&#x17E; Leave/Arrive Ginza /HDYH $UULYH *LQ]D /HDYH $UULYH *LQ]D Ê&#x17E;Ê&#x17E; /HDYH $UULYH *LQ]D Ê&#x17E; /HDYH $UULYH *LQ]D Ê&#x17E; /HDYH $UULYH *LQ]D /HDYH $UULYH *LQ]D Ê&#x17E; Ê&#x17E; $SSURDFK 6FHQH $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW (QWHU WR +RPH *RLQJ 2XW $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW $SSURDFK 6FHQH $SSURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW (QWHU WR +RPH *RLQJ 2XW 6FHQH 1DPH 6FHQH 1DPH 6FHQH 1DPH

Main Character's 0DLQ &KDUDFWHU V +RXVH House 6FHQH 1DPH(m) â&#x20AC;¦ 6FHQH 1DPH 0DLQ &KDUDFWHU V +RXVH

Fig.74â&#x20AC;&#x192; Ratio of Each Staying Scene 4-4. P70

Number of Scenes 35 17 72 73 115 18 23 20 21 3 38 1 10 18 81 203

4-4-3. Moving Scene As for moving space, Tab.12 shows the number of Scenes about moving scene and these data is visualized as circle graph in Fig.75. As shown in this figure, movement on street such aw walking or riding on bicycle is most popular way to transfer. Movement using Car is also popular and transferring scene such as riding on taxi, Hato bus or cars are filmed a lot. Tab.12 Number of Each Moving Scene Way of Moving :D\ RI 0RYLQJ

Example ([DPSOH ([DPSOH

Notation 1RWDWLRQ 1RWDWLRQ

Number of Scenes

0RYHPHQW RQ 6WUHHW :DONLQJ %LF\FOH Movement on Street Walking, Bicycle 0RYHPHQW RQ 6WUHHW :DONLQJ %LF\FOH

114

:LWK 0RYLQJ 6FHQH 0RYHPHQW ZLWK &DU &DU %XV 7D[L With Moving Scene Movement with Car Car, Bus, Taxi :LWK 0RYLQJ 6FHQH 0RYHPHQW ZLWK &DU &DU %XV 7D[L 0RYLQJ ZLWK 7UDLQ Moving0RYLQJ ZLWK 7UDLQ with Train â&#x20AC;¦ :LWKRXW 0RYLQJ 6FHQH Without:LWKRXW 0RYLQJ 6FHQH Moving Scene

Ê&#x17E; Ê&#x17E;

6FHQH &KDQJH Scene6FHQH &KDQJH Change

490

5 31

114 114

Movement on Street

Movement with Car

Moving with Train

Fig.75â&#x20AC;&#x192; Ratio of Each with Moving Movement on Street Movement Car SceneMoving with Train

Fig.76 shows the ratio of moving scene and ratio of scene change. Scene change means there is no

connecting scene between two staying scenes. When the ratio of moving scene is high, it means outside urban situation is filmed a lot.

Result and Analysis P71

100%

90%

80%

70%

ratio(%)

60%

50%

40%

30%

20%

10%

film title Ratio of Moving Scene

Ratio of Scene Change

Fig.76â&#x20AC;&#x192; Ratio of Each Moving Scene

4-4. P72

RS I Ê&#x17E; V %RRN 6KRS &' 6KRS &ORWKLQJ 6WRUH R Ê&#x17E; FLOLW\ &XOWXUDO )DFLOLW\ F /LEUDU\ 0XVHXP 7KHDWHU VWDXUDQW U +RWHO 5HVWDXUDQW &DIÃ&#x2039; %DU Z &RPSDQ\ 6FKRRO 3DUW 7LPH -RE

N 3ROLFH &LW\ +DOO 3UHIHFWXUDO 2IILFH K +RVSLWDO +RPH IRU (OGHUO\ 3HRSOH PXVHPHQW S 3XEOLF ,QVWLWXWLRQ .DUDRNH %RZOLQJ V :HOIDUH )DFLOLW\ %RRN 6KRS &' 6KRS &ORWKLQJ 6WRUH 3DUN Q

3DUN 5LYHUVLGH %ULGJH R Ê&#x17E; OWXUDO )DFLOLW\ F /LEUDU\ 0XVHXP 7KHDWHU U +RWHO 5HVWDXUDQW &DIÃ&#x2039; %DU

4-4-4. Approach Scene W 6KULQH 7HPSOH 2SHQ 6SDFH N 3ROLFH &LW\ +DOO 3UHIHFWXUDO 2IILFH HOIDUH )DFLOLW\ K 6KULQH 7HPSOH +RVSLWDO +RPH IRU (OGHUO\ 3HRSOH S 3XEOLF ,QVWLWXWLRQ .DUDRNH %RZOLQJ D Ê&#x17E; WHO F 3DUN R 5RRIWRS Ê&#x17E; Q 3DUN 5LYHUVLGH %ULGJH /LEUDU\ 0XVHXP 7KHDWHU GRRU SDFH 6KULQH 7HPSOH W 6KULQH 7HPSOH6WDWLRQ %XVVWRS 7UDLQ &DU EOLF ,QVWLWXWLRQ K 6WDWLRQ +RVSLWDO +RPH IRU (OGHUO\ 3HRSOH N 3ROLFH &LW\ +DOO 3UHIHFWXUDO 2IILFH Tab.13 shows the number of approach scene. Approach scene means the shot of the facade of the 5RRIWRS D

Ê&#x17E; UN R Ê&#x17E; Q 3DUN 5LYHUVLGH %ULGJH building which was filmed when entering to or going out from a building. Most of the inside staying place 6WUHHW Ê&#x17E; ULQH 7HPSOH W 6KULQH 7HPSOH N 3ROLFH &LW\ +DOO 3UHIHFWXUDO 2IILFH 6WDWLRQ %XVVWRS 7UDLQ &DU donâ&#x20AC;&#x2122;t have approach scene, on the other hand, some has approach scene and put the approach when entering RIWRS D Ê&#x17E; Q 3DUN 5LYHUVLGH %ULGJH /HDYH $UULYH *LQ]D Ê&#x17E; the building was Ê&#x17E; popular. W 6KULQH 7HPSOH6WDWLRQ %XVVWRS 7UDLQ &DU (QWHU WR +RPH *RLQJ 2XW D Ê&#x17E; $SSURDFK 6FHQH YH $UULYH *LQ]D Ê&#x17E; Ê&#x17E; 6WDWLRQ %XVVWRS 7UDLQ &DU Tab.13 Number of Each Approach Scene SURDFK 6FHQH (QWHU WR +RPH *RLQJ 2XW H *LQ]D Ê&#x17E; Ê&#x17E;

6FHQH

Type of Approach Scene

Ê&#x17E;

(QWHU WR +RPH *RLQJ 2XW

Notation

Number of Scenes

Without

302

Only Entering

Only Going Outside

Both

(QWHU WR +RPH *RLQJ 2XW

11 5 11 5 89 89

302 302

Without Without

Only Entering

Only Going Outside

Both

Only Entering

Only Going Outside

Both

Fig.77â&#x20AC;&#x192; Ratio of Each Approach Scene

Result and Analysis P73

4-4-5. Function Network Typology As for the type of function network, there were 6 type, which are partial, linear, circular, concentrated, concentrated+semilattice and semilatice type as shown in Fig.78. The number of each type is summarized in Tab.14 and type of each work is shown in Fig.79. In works of partial tipe, staying scenes are separated and Ginza is shot as a sightseeing spot. In concentrated type, Ginza is depicted with key staying space. For example, working place is the key in Kaisha Monogatari(1988) and Sukiya bridge is the key in Kiminonaha(1953). In movies of semilattice type such as Akatsuki no Tsuiseki(1950), Sexy Line(1961) and Tengoku Ha Mattekureru(2007), Ginza is expressed as a complex city and these donâ&#x20AC;&#x2122;t have a center of the staying place.

Partial Type

Linear Type

Circular Type

Concentrated Type Concentrated+SemilatticeType Semilattice Type Fig.78â&#x20AC;&#x192; Typology of Function Network

Tab.14 Number of Each Type

4-4. P74

Result and Analysis

P75

Fig.79â&#x20AC;&#x192; Type of Each Work

4-5. Quote

Fig.80 is the word crowd of quote from all films. Characteristic words are selected out of the words appearing in the sentence and are shown visually. The size of a word represents how characteristic it is and the color represents part of speech. With the word, Ginza, surrounding areas such as Tsukiji, Sukiyabashi and Shinbashi are listed. In addition, word such as sea and bridge can be seen. Fig.81 is a word crowd for each film. We can find the variation of the character of Ginza from this figure. Fig.82 shows the Frequency of Appearance of Words by part of speech. When we see the verb, the word, work ranked top and we can find Ginza is picted as place for working. Fig.83 shows the co-existing word network. In this figure, words appearing with similar appearance patterns are connected by lines. The larger the number of occurrences is, the larger the word is. The stronger the co-occurrence degree, the thicker the line is drawn. We can find there is a couster of words about night life in the upper left of the figure. These kind of words are separated from other work in Ginza.

Fig.80â&#x20AC;&#x192; Word Crowd of Quote from All Films

4-5. P76

Result and Analysis

P77 30. インターミッション (2013)

22. 会社物語 (1988)

20. 恐喝こそわが人生 (1968)

29.TOKYO!(2008)

16. 銀座の恋の物語 (1962)

15. セクシー地帯 (1961)

14. 東京の暴れん坊 (1960)

Fig.81 Word Croud of Each Film

23. 桜の樹の下で (1989)

11. 眼の壁 (1958)

10. あした来る人 (1955)

9. ゴジラ (1954)

6. 稲妻 (1952)

5. 銀座化粧 (1951)

4. 暁の追跡 (1950)

24. つぐみ (1990)

17. ニッポン無責任時代 (1962)

12. 銀座旋風児 (1959)

7. 君の名は (1953)

28. 天国は待ってくれる (2007)

18. 東京は恋する (1965)

13. 女が階段を上る時 (1960)

8. 東京物語 (1953)

noun

verb

number of appearance(times) 0

number of appearance(times) 40

銀座

働く

橋

会う

築地

思う

夜

くれる

数寄屋

待つ

あなた

言う

見える

軒

生きる

旋風

帰る

綺麗

買う

1つ

行く

word

お父さん

バー

迎えるおる眠れる

灯

いける

僕

しれる

東京

聞く

わし

向かう

あたし

いたす

武志

信じる

商売

来る

柳

住む

大変

ちゃう

あそこ

歩ける

この辺

いく

銀座通り

adjective

新橋ちっぽけ

number of appearance(times) 0

客街

面影

強い

interjection

先生

number of appearance(times)

この街

0 ようこそただいまいいえ

Fig.82 Frequency of Appearance of Words

P78

美しい

好き

4-5.

おかしい

一緒

仕事

若い

兄さん

しよう

申し訳ない

word

上

いい

wprd

word

知る

海

有名

0.2

0.4

0.6

0.8

1.2

Fig.83â&#x20AC;&#x192; Co-existing Word Network

Result and Analysis P79

C h a p t e r. 5

Discussion

5-1. Identity of Ginza

5-1-1. Identity of Ginza This section aims to summarize the data of result and analysis and try to discuss the depicted identity of Ginza. Fig.84 shows the structure of the identity in Ginza. Basically identity of Ginza is divided into two categories. One is static identity, which have been stayed for a long time, and the other is dynamic identity, which changes by time cycle or social situation. As a static identity, two topics were founded which are S1:The memory of Water Space as Meeting Space and S2:Centrality and Moving Suburb from Area to Area. In second topic which is S2:Centrality and Moving Suburb from Area to Area, the part of Moving Suburb has both static and dynamic characteristic, and this topic locates in both static identity and dynamic identity. In dynamic identity, in addition to D1:Moving Suburb from Area to Area, there is two other elements which are D2:Parallel Communities of Day and Night and D3:Ordinarity and Extraordinarity. These five topics(S1,S2,D1,D2 and D3) are described in detail in following sections. In addition, as a overview of the result, Fig.85 shows the summary of the typology. Vertical axis depends on the shooting location pattern of each film and horizontal axis depends on ordinarity of the activity. Based on this two axis of coordinates, each function network and the important words are located.

Static Identity S1:The Memory of Water Space as Meeting Space D1:

S2:Centrality and Moving Suburb from Area to Area D2:Parallel Communities of Day and Night D3:Ordinarity and Extraordinarity Dynamic Identity Fig.84â&#x20AC;&#x192; Depicted Identity in Ginza

5-1. P82

Discussion

P83

DISTRIBUTION

CENTRALIZED

LINEAR

4. 暁の追跡 (1950)

「的屋」

「銀ブラ」

SEMILATTICE

2.お嬢さん乾杯!(1949)

23. 桜の樹の下で (1989)

「おかげさま、グランドホテル」

「大東京」

「念書」

LINEAR

CIRCULAR

27. 誘拐 (1997)

15. セクシー地帯 (1961)

12. 銀座旋風児 (1959)

16. 銀座の恋の物語 (1962)

「1 つ」

30. インターミッション (2013)

「橋」

「物理的」

9. ゴジラ (1954)

「ゴジラ」

function text

activity

19. 殺しの烙印(1967)

29.TOKYO!(2008)

14. 東京の暴れん坊 (1960)

7. 君の名は (1953)

「旋風」

「築地」

「東銀座、服部、ハンドバック、妙、銀ブラ、族、この辺」

11. 眼の壁 (1958)

「REDMOON、噂」

5. 銀座化粧 (1951)

「銀座」

「街の灯、あなた、洋裁、いいえ」

UNORDINARY

10. あした来る人 (1955)

28. 天国は待ってくれる (2007)

Fig.85 Clasification of Films

24. つぐみ (1990)

「海」

18. 東京は恋する (1965)

「銀座の柳、マロニエ、世界的」

「夜、銀座通り、僕、星」

「この街」

26. ヌードの夜(1993)

CONCENTRATED+SEMILATICE

8. 東京物語 (1953) 20.恐喝こそわが人生(1968)

PARTIAL

25.男はつらいよ(1991)

17. ニッポン無責任時代 (1962)

1.誘惑(1948)

21.BU・SU(1987)

3. 晩春 (1949)

CONCENTRATED

22. 会社物語 (1988)

「オフィス街、1 つ、苗、稲、笛、実る」

13. 女が階段を上る時 (1960)

「車、流」

6. 稲妻 (1952)

「八丁、柳、灯」

ORDINARY

location

5-1-2. S1:The Memory of Water Space as Meeting Space As a first element of static identity, the memory of water space as meeting space can be listed. As shown in Fig.86, you can find the words about water space such as “bridge“ or “sea“ ranked higher. This fact showing that the water space has a important roll in the story of films depicted in Ginza. noun number of appearance(times)

1.Ginza 銀座橋 2.Bridge 3.Tsukiji 築地夜 4.Night 5.Sukiya 数寄屋 6.You あなた海 7.Sea 軒 8.Eave 旋風・綺麗・ 1つ・お父さん

有名バー灯僕東京わし

word

あたし武志商売柳

Fig.86 Frequency of Appearance of Words (Noun)

大変

あそこ

When we look carefully about the relation around the word "bridge" in co-existing word network, As この辺

shown in Fig.87, we can estimate bridges in Ginza works as a meeting space or waiting space. In addition, Fig.88 銀座通り shows the activity about romance and we can find some of these activities are concentrated around space near 新橋 bridge. Therefore, we canちっぽけ find space around bridge has been used as meeting space and has been a place to cause 客 events that affect human relationships. In other words, as shown in Fig.89, even after the river surrounding Ginza 街

changed into infrastructure such as train station, highway or under a girder bridge, this are has been worked as a 上

space to meet and important for people. 面影

兄さん一緒好き

5-1.

先生

P84

この街しよう

"bridge" "wait"

"meet" "Ginza"

Fig.87â&#x20AC;&#x192; Co-existing Word Network (regarding "bridge")

Miharabashi

Shinbashi

Tsukijibashi confess the love

hold hands or shoulder

hug/kiss

Fig.88â&#x20AC;&#x192; Activity about Romance Around Bridge Discussion P85

Fig.89â&#x20AC;&#x192; The Memory of Water Space as Meeting Place

5-1. P86

5-1-3. S2/D1:Centrality and Moving Suburb from Area to Area From 40s to now, there has been two tendencies about shooting location. One is Centrality in 4-chome intersection and the other is moving suburb from area to area. While placing the axis foot on 4-chome intersection, other part are also filmed with following the trend of the times. For example, as shown in Fig.90, Ginza 4-chome intersection was filmed as a symbol of post-war recovery and shooting location was gathering this area. In 1950s, as shown in Fig.91, Sukiyabashi came to be shot with Ginza 4-chome intersection. As a reason for this phenomenon, we can estimate the impact of the film, Kiminonaha(1953). This film was so popular that the woman in the female public bath disappeared when this program began. In 1960s, as shown in Fig.92, the shooting location spread along Harumi Street after the street lamp was installed along the street. In 1980s, filmed location gathered in Nishiginza and we can estimate this phenomenon comes from the influence of rapid economic growth in 1970s. After 1980s, shooting location is spreading as shown in Fig.94. We can estimate the film is not mass culture anymore in these days and even films come to focus on trifling things with the movement of SNS. These discussion is summarized in Fig.95, and three elements which are centrality of 4-chome intersection as a symbol, moving suburb according to the social situation and memory of water space are constructing the enjoyable urban space in Ginza which is known for Ginbura.

Fig.90â&#x20AC;&#x192; Filmed Location in 40s (Centrality around 4-Chome Intersection) Discussion P87

Fig.91 Filmed Location in 50s (Movement of Sukiyabashi Intersection)

Fig.92 Filmed Location in 60s (Spread arong Harumi Street) 5-1. P88

Fig.93 Filmed Location in 80s (Concentration on Buisiness Area)

Fig.94 Filmed Location in 90s/00s/10s (Spread to Edge) Discussion P89

Fig.95â&#x20AC;&#x192; Structure of Ginbura Space

5-1. P90

5-1-4. D2:Parallel Communities of Day and Night As shown in Fig.96, we can find there are two types of linguistic system in Ginza. One is about night life and the other is about day life. These linguistic systems are totally separated and connected through the word Ginza. For example, lines below are the typical line about night life in Ginza. This area was a place called Sanjukkenhorigawa, and before the landfill occurred, lights of the bars on both sides and cofe were reflected on the water at night and it was very beautiful.(Film no.5 Ginza Kesho) この辺、三十間掘と申しまして、埋め立てない前は夜など両側のバーや喫茶店の灯が水に映ってとても綺麗でございましたわ。 (No.5 銀座化粧 )

From evening to night, we can see the blue and red lights and we can hear music. It must be a very fun city, here.(Film no.6 Inazuma) 夕方から夜にかけますと青い灯、赤い灯が灯りまして、音楽など聞こえてまいりまして、大変楽しい街になるのでございます。(Film No.6 稲妻 )

words of night life

words of day life

Fig.96 Co-existing Word Network(Words of Night Life and Day Life) Discussion P91

These lines are mainly about beautiful scenery at night. These kind of dividing of language can be shown in the words about working. As shown in Fig.97, activity of working is relatively famous compared with others and it shows the working scene filmed a lot in films. 600

500

number of activity (times)

400

300

Activity of Work

200

100

dietary

music

rommance

emotion

leave ginza

arrive ginza

be happy

change of activity player/time

cry

accident

be angry

die

fight

murder

attack

quarrel

confess the love

hold hands or shoulder

sing

hug/ kiss

play the music

row a boat

hobby

listen to the music

picture or paint

play game or sports

eat

see movie/ play/ sports

café

pray

daily life

drink

take a bath

sleep

go to school

purchase/ shopping

give a present

transfer

see the scenery

work

take a rest/ think/ wait

byebye

chat

meet

bus

rickshaw

bicycle

run

train

walk

car/bike

other

type of activity 1.誘惑(1948)

2.お嬢さん乾杯!(1949)

3.晩春(1949)

4.暁の追跡(1950)

5.銀座化粧(1951)

6.稲妻(1952)

7.君の名は(1953)

8.東京物語(1953)

9.ゴジラ(1954)

10.あした来る人(1955)

11.眼の壁(1958)

12.銀座旋風児(1959)

13.女が階段を上る時(1960)

14.東京の暴れん坊(1960)

15.セクシー地帯(1961)

16.銀座の恋の物語(1962)

17.ニッポン無責任時代(1962)

18.東京は恋する(1965)

19.殺しの烙印(1967)

20.恐喝こそわが人生(1968)

21.BU・SU(1987)

22.会社物語(1988)

23.桜の樹の下で(1989)

24.つぐみ(1990)

26.ヌードの夜(1993)

27.誘拐(1997)

28.天国は待ってくれる(2007)

29.TOKYO!(2008)

30.インターミッション(2013)

25.男はつらいよ

寅次郎の告白(1991)

Fig.97 Activity of Work in Comparison with Other Activity

In working scene, following sentences can be seen. These words shows the life in day and night are completely working separately and each community is strong like village. From these discussion, we can find there is two-sideness of day community and night community as shown in Fig.98.

5-1. P92

When buisiness girls go home, professionals come to Ginza. ... All the women working in this town were driven to live. I can't be defeated.(Film no.13 ) ビジネスガールが帰るころ、銀座へプロが出勤してくる。... この街で働く女たちはみんな生きることに必死だった。あたしも負けてはいられなかった。(No.13 女が階段を上る時 )

There are hidden tiny stars that are invisible in the stars called Ginza which is visible. You have to see it.(Film no.5 Ginza Kesho) 銀座だって目に見える銀座という星の中に、目に見えないちっぽけな星がいっぱい隠されているんですわ。それを取り上げてくださらなくちゃ。 (No.5 銀座化粧 )

It may not be suitable for office town, but it seems this place was a village. We are a villager who tightened a necktie. We worked overtime like planting seedlings, finighed working like harvesting rice and went to karaoke like villager playing flutes and drums. Now, the retirement age is approaching and the feelings like nostalgia remembered in my heart may be due to that. Which village should this old villager walk to next?(Film no.22 Kaisha monogatari) オフィス街にはふさわしくない言葉かもしれませんが、この場所は 1 つの村であったような気がします。我々サラリーマンはネクタイを締めた村人です。苗を植えるように残業をし、稲が実るように仕事が片付き、笛や太鼓を鳴らすようにカラオケを歌った。今、定年の灯が近づき、心に覚える郷愁のような気持ちはそのせいかもしれません。この年老いた村人は、次にどの村へ歩き出せばよいのでしょうか？ (No.22 会社物語 )

day community

"Ginza"

night community

Fig.98 Two-sideness of Ginza

Discussion P93

5-1-5. D3:Ordinarity and Extraordinarity In addition to day and night, Fig.99 shows the ordinarity and extraordinarity of the activity in Ginza. Although there are activity about daily life such as work, walk or shopping, on the other hand, activities such as quarrel, attack or murder are depicted in Ginza. This fact shows that Ginza has two-sideness of ordinarity and extraordinarity, which means Ginza has a potential to accept the sudden event and its effect to the city. In other words, as shown in Fig.100, Ginza has multi-faceness of day/night/ordinary/extraordinary.

work walk shopping drink cafe scenery rest run sing movie meet byebye cry quarrel attack murder

ordinary 4. 暁の追跡 (1950)/6. 稲妻 (1952)/22. 会社物語 (1988) 3. 晩春 (1949)/13. 女が階段を上る時 (1960)/21.BU・SU(1987) 1. 誘惑 (1948) 2. お嬢さん乾杯 !(1949)/17. ニッポン無責任時代 (1962)/23. 桜の樹の下で (1989) 25. 男はつらいよ (1991) 8. 東京物語 (1953) 20. 恐喝こそわが人生 (1968)/24. つぐみ (1990) 27. 誘拐 (1997) 26. ヌードの夜 (1993) 30. インターミッション (2013) 5. 銀座化粧 (1951)/11. 眼の壁 (1958)/15. セクシー地帯 (1961)/16. 銀座の恋の物語 (1962)/18. 東京は恋する (1965)/28. 天国は待ってくれる (2007) 10. あした来る人 (1955)/12. 銀座旋風児 (1959) 7. 君の名は (1953) 14. 東京の暴れん坊 (1960) 9. ゴジラ (1954)/29.TOKYO!(2008) 19. 殺しの烙印 (1967)

unordinary

Fig.99 Diversity of the Activity

5-1. P94

ordinary life

day community

"Ginza"

night community

unordinary life Fig.100â&#x20AC;&#x192; Multi-faceness of Ginza

Discussion P95

5-2. Media and Actual Urban Space

When we look at the result of this discussion, identity of Ginza extracted from films seems to grasp some essence of Ginza. From this fact, we may need to rethink the relationship between media and real urban space. For example, as shown in Fig.101, visiting filmed location of popular movie is popular in these days and a website for these visiting can be easily found on the web site[39]. This fact shows the information in media influence actual urban situation.

Fig.101 Web Site for Visiting Filmed Location On the other hand, as for selecting shooting location, film director Leos Carax mentioned as follows in the interview[40]. In this movie, it was filmed in Ginza and Shibuya which symbolizes Tokyo, and how was the shooting location chosen? ... About Ginza, I chose it as a place to imagine luxury. If I take this movie in Paris, I would chose the Champs Elysees. (Leos Carax, 2008) 本作では、銀座と渋谷という東京を象徴する場所で撮られていますが、ロケ場所はどのように選ばれたのですか？ ... 銀座に関しては、高級、贅沢っていうのをイメージさせる場所ということで選んだ。もし、パリでこの映画を撮るとしたらシャンゼリゼを選んでいただろうね。( レオン・カラックス ,2008)

As shown in this interview, we can find the actual urban situation can influence the media. In other words, media and actual urban space interact each other and they compose urban identity as shown in Fig.102. The whole of shapeless media and physical urban space is affecting the recognition of the city. Moreover, they are the city itself.

5-2. P96

[39] 聖地巡礼の旅にでよう。映画「君の名は」のロケ地・撮影場所はここ！ ,https://wondertrip.jp/film/90380.html (2019-1-22) [40] TOKYO! インタビュー ! レオン・カラックス監督が考える東京とは？ , https://eiga.com/movie/53419/interview/2/ (2019-1-22)

Urban Identity / City

ex. Visiting Location Site

Media

Interaction

Actual Urban Space

ex. Selection of Location Site

Fig.102â&#x20AC;&#x192; Inseparability of Media and Actual Urban Space

Discussion P97

C h a p t e r. 6

Conclusion

6-1. Summary

This research invented or revealed three points as follows.

① Invention of Cinematic Methods of Recording Depicted Urban Identity in Films This thesis developed previou research about film and invented the way to figure out urban identity based on four elements, which are shooting location, activity of characters, function of the located site and character's line. ② Revelation of Ginza's Depicted Urban Identity As shown in Chapter 5, the identity of Ginza was extracted from films and summarized into five topics, which are S1:The Memory of Water Space as Meeting Space, S2/D1:Centrality and Moving Suburb from Area to Area, D2:Parallel Communities of Day and Night and D3:Ordinarity and Extraordinarity. ③ Reforming the Configuration of the Relation between Media and Actual Urban Space By revealing depicted urban identity from films, the potential for media to form the urban identity was revealed. Discussion about the urban identity in the relation with media and actual urban space was conducted.

6-1./6-2. P100

6-2. Future Prospect

As a future prospect, researching following topics has potential in the relation with this research. ă&#x192;ťWhat if this method was introduced into other city? ă&#x192;ťWhat kind of movies shoul be filmed in order to renew the identity of the city? ă&#x192;ťWhat will the deeper consideration on comparison between change of social situation and the identity of the city depicted in films

Conclusion P101

List of Figure and Table

Fig.1

Sayama Flat »» https://www.archdaily.com/271584/sayama-flat-schemata-architects (2018-10-31)

Fig.2

Difference in the Quality of Context »» author's illustration

Fig.3

Bull's Head by Pablo Picasso »» https://www.moma.org/audio/playlist/19/412 (2018-11-11)

Fig.4

Context and Form in Design Process by C.Alexamder »» author's illustration

Fig.5

Tsukuba Center Building Aimed not to Straightly Fit to the Context »» http://www.tanikenchiku.com/310.htm (2018-11-10)

Fig.6

Pictures in Adachi Museum of Art »» Screen shot of searching # 足立美術館 in Instagram (2018-11-11)

Fig.7

Emergence of Media »» author's illustration

Fig.8

Chronology of Ginza »» http://www.ginza.jp/history (2018-11-09) »» http://blog.livedoor.jp/shyougaiitisekkeisi2581/archives/50866655.html (2018-11-09) »» https://s.webry.info/sp/48361045.at.webry.info/201010/article_1.html (2018-11-09)

Fig.9

Films in Ginza

Fig.10

Placement of this Research »» author's illustration

Fig.11

Film as an Equipment for Accumulating Memory »» author's illustration

Fig.12

Essence of Place and Research Method »» author's illustration

Fig.13

Manhattan Transcript »» https://landingarchitecture.wordpress.com/2013/12/02/bernard-tschumi-the-manhattan-transcripts/

Fig.14

Thesis Flow »» author's illustration

Fig.15

Comparison with Previous Research

»» 佐藤忠男、東京という主役映画の中の江戸・東京、講談社、1998

Fig.16

»» Yoshito Mori et al., Moving-scenes and staying-scenes in movies of the daily life in Tokyo -A study on the city image in moview(1)(2)

Books Refered to Selecting Films

»» 冨田均 , 東京映画名所図鑑 , 平凡社 , 1992 »» 川本三郎 , 銀幕の銀座 , 中公新書 ,2011 »» 宮﨑祐治 , 東京映画地図 , キネマ旬報社 ,2016

Fig.17 Fig.18

P104

Relation Among Sequence, Scene and Cut

»» 西村雄一郎 , 一人でもできる映画の撮り方 , 洋泉社 , 2003 P87

Information for Location Finding »» author's illustration

Fig.19

Color for Location Plotting »» author's illustration

Fig.20

Size of Mapping and Type of Shot »» Daniel Arijon, GRAMMER OF THE FILM LANGUAGE, Focal Press Kimited, 1976

Fig.21

Example of Location Mapping »» author's illustration

Fig.22

List of Activity Notation »» author's illustration

Fig.23

Example of Activity Line »» author's illustration

Fig.24

Example of Activity Mapping »» author's illustration

Fig.25

Example of Function Line »» author's illustration

Fig.26

Function Mapping »» author's illustration

Fig.27

Example of Function Network »» author's illustration

Fig.28

Example of Quote with Activity Line »» author's illustration

Fig.29

Quote Plotted on Map »» author's illustration

Fig.30

Text Mining »» author's illustration

Fig.31

Front Page of Data Sheet »» author's illustration

Fig.32

Back Page of Data Sheet »» author's illustration

Fig.33

Time for Shooting Ginza »» author's illustration

Fig.34

Percentage for the Time of Shooting Ginza »» author's illustration

Fig.35

Filmed Location »» author's illustration

Fig.36

Filmed Location in 40s »» author's illustration

Fig.37

Filmed Location in 50s »» author's illustration

Fig.38

Filmed Location in 60s »» author's illustration

P105

Fig.39

Filmed Location in 80s »» author's illustration

Fig.40

Filmed Location in 90s/00s/10s »» author's illustration

Fig.41

Location Typology »» author's illustration

Fig.42

Activity Notation and Number of Acts »» author's illustration

Fig.43

Numbe of Acts for Each Activity »» author's illustration

Fig.44

Ratio of Activity of All Films »» author's illustration

Fig.45

Ratio of Activity of Each Films »» author's illustration

Fig.46

Ordinaliness of Key Activities »» author's illustration

Fig.47

Ratio of Key Activity »» author's illustration

Fig.48

Activity of Transfer »» author's illustration

Fig.49

Scene of Transfer »» screen shot of Inazuma(1952)/Ginza no koi no monogatari(1962)/Ojosan kanpai(1949)

Fig.50

Activity of Transfer in Map »» author's illustration

Fig.51

Activity of Daily Life »» author's illustration

Fig.52

Activity of Seeing Scenery on Map »» author's illustration

Fig.53

Activity of Dietary »» author's illustration

Fig.54

Chronological Tradition of Activity of Dietary »» author's illustration

Fig.55

Activity of Hobby »» author's illustration

Fig.56

Sexy Line(1961) »» screen shot of Sexy Line(1961)

Fig.57

Ojosan Kanpai!(1949) »» screen shot of Ojosan Kanpai!(1949)

Fig.58

Tokyo Ha Koisuru(1965) »» screen shot of Tokyo Ha Koisuru(1965)

P106

Fig.59

Intermission(2013) »» screen shot of Intermission(2013)

Fig.60

Activity of Music »» author's illustration

Fig.61

Ginza Senpuji(1959) »» screen shot of Ginza Senpuji(1959)

Fig.62

Ginza No Koi No Monogatari(1962) »» screen shot of Ginza No Koi No Monogatari(1962)

Fig.63

Tokyo Ha Koisuru(1965) »» screen shot of Tokyo Ha Koisuru(1965)

Fig.64

Kaisha Monogarati(1988) »» screen shot of Kaisha Monogatari(1988)

Fig.65

Activity of Romance »» author's illustration

Fig.66

Activity of Rommance on Map »» author's illustration

Fig.67

Activity of Accidnet »» author's illustration

Fig.68

Akatsuki No Tsuiseki(1950) »» screen shot of Akatsuki No Tsduiseki(1950)

Fig.69

Godzilla(1954) »» screen shot of Godzilla(1954)

Fig.70

Ginza Senpuji(1959) »» screen shot of Ginza Senpuji(1959)

Fig.71

Koroshi No Rakuin(1967) »» screen shot of Koroshi No Rakuin(1967)

Fig.72

Activity of Emotion »» author's illustration

Fig.73

Place of Crying »» author's illustration

Fig.74

Ratio of Each Staying Scene »» author's illustration

Fig.75

Ratio of Each Moving Scene »» author's illustration

Fig.76

Ratio of Each Moving Scene »» author's illustration

Fig.77

Ratio of Each Approach Scene »» author's illustration

Fig.78

Typology of Function Network »» author's illustration

P107

Fig.79

Type of Each Work »» author's illustration

Fig.80

Word Crowd of Quote from All Films »» author's illustration

Fig.81

Word Croud of Each Film »» author's illustration

Fig.82

Frequency of Appearance of Words »» author's illustration

Fig.83

Co-existing Word Network »» author's illustration

Fig.84

Depicted Identity in Ginza »» author's illustration

Fig.85

Clasification of Films »» author's illustration

Fig.86

Frequency of Appearance of Words (Noun) »» author's illustration

Fig.87

Co-existing Word Network (regarding "bridge") »» author's illustration

Fig.88

Activity about Romance Around Bridge »» author's illustration

Fig.89

The Memory of Water Space as Meeting Place »» author's illustration

Fig.90

Filmed Location in 40s (Centrality around 4-Chome Intersection) »» author's illustration

Fig.91

Filmed Location in 50s (Movement of Sukiyabashi Intersection) »» author's illustration

Fig.92

Filmed Location in 60s (Spread arong Harumi Street) »» author's illustration

Fig.93

Filmed Location in 80s (Concentration on Buisiness Area) »» author's illustration

Fig.94

Filmed Location in 90s/00s/10s (Spread to Edge) »» author's illustration

Fig.95

Structure of Ginbura Space »» author's illustration

Fig.96

Co-existing Word Network(Words of Night Life and Day Life) »» author's illustration

Fig.97

Activity of Work in Comparison with Other Activity »» author's illustration

Fig.98

Two-sideness of Ginza »» author's illustration

P108

Fig.99

Diversity of the Activity »» author's illustration

Fig.100

Multi-faceness of Ginza »» author's illustration

Fig.101

Web Site for Visiting Filmed Location »» https://wondertrip.jp/film/90380.html (2019-1-22)

Fig.102

Inseparability of Media and Actual Urban Space »» author's illustration

P109

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P113

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聖地巡礼の旅にでよう。映画「君の名は」のロケ地・撮影場所はここ！ ,https://wondertrip. jp/film/90380.html (2019-1-22)

[40]

TOKYO! インタビュー ! レオン・カラックス監督が考える東京とは？ , https://eiga.com/ movie/53419/interview/2/ (2019-1-22)

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Lecture [30]

P114

第 45 回現代建築セミナー「VECTORS AND ENVELOPES」, 大阪リサイタルホール .2000

P115

Data Sheet

mapping

area no.10 yurakucho

「オフィス街にはふさわしくない言葉かもしれませんが、この場所は 1 つの村であったような気がします。我々サラリーマンはネクタイを締めた村人です。苗を植えるように残業をし、稲が実るように仕事が片付き、笛や太鼓を鳴らすようにカラオケを歌った。今、定年の灯が近づき、心に覚える郷愁のような気持ちはそのせいかもしれません。この年老いた村人は、次にどの村へ歩き出せばよいのでしょうか？」

「念書の代金1億。用意できたでしょうね？」「何がおかしいんだ。偽物だとでも言いたいのか。じゃあどうするんだ。買うのか買わないのか。」「買ってやってもいい。いや、買おう。金はいつどこへもっていけばいい？」「いいか？時間は今日の夕方 4 時。場所は日劇前。新車が展示してあるからその前へ来な。念書は金を受け取ってから郵送してやる。わかったな？」

area no.2 sukiyabashi

「だけどねお兄さん。あたいが初めてお兄さんに会ったのもこの橋の上だし、色々なことがあったね。お兄さん。よく見ておくといいよ。北海道に数寄屋橋はないんだからね。」

area no.7 hibiya park

「銀座通りは新橋から京橋まで八丁ありまして、これが歌に名高い銀座八丁でございます。ここは柳の並木で有名なところで、パリのマロニエ、銀座の柳とまで謳われました。情状たる枝垂れ柳は覧遊の外人客をして日本情緒に誘い込むのでございます。昼間はたいして美しくはございませんが、夕方から夜にかけますと青い灯、赤い灯が灯りまして、音楽など聞こえてまいりまして、大変楽しい街になるのでございます。」

area no.6 nishiginza 「俺たちが学校を出て、銀座に腰を据えたのはここをモチーフにして作品を作るためじゃないか。お前は真っ黒な音楽を作るとは言わなかったはずだぜ。」

「フラフラしますの。」「苦しいんじゃないですか？」「いいえ。とても綺麗なんです。街の灯がくるくる回って。」

「綺麗な明かり。数寄屋橋見えるかしら？」「後宮さん。数寄屋橋が見えるよ。真知子どうしてるだろうね？」

area no.11 shintomicho

area no.3 department store 「夜の銀座は綺麗でございましょ？」「ずいぶん酒場がありますね。」「お月様さえお化粧して誰を待つやら。待たすやら。思い出深い柳の道を銀座なじみが忘らりょか。忘らりょか。」

「この先いつまで戦争が続くか知らないけど、もしお互いに生きてたらいつかもう一度会いたいね？今日の思い出に。もし半年たって、まだ 2 人とも生きてたら、その半年目、11 月の 24 日、夜、ここで会わない？」「ええ、お会いしましょう。もし生きていたら。」

area no.1 4chome and ginza street 「いいところがあるよ。金がなくてもね、最高に豪勢なところ。銀座に？」

「そんな冷たいこと言わないでよ。今日と明日、2 日間だけ。大変だわ、10 時に坊やは上野駅に着くんだわ。私これから迎えに行かなくちゃ。頼んだわよ。木挽町の蔦屋。知ってるでしょ？あそこで待ってて。」

「人様のハンドバックの中身が気になって眠れないという、妙な銀ブラ族の女もいるらしいなこの辺には。」

area no.5 namiki street

「ママ。無理することないぜ。ママだったらどこだって雇うよ。銀座には700軒もバーがあるんだ。」

「昨日も東銀座で派手なことをやった美人スリがいたそうだぜ。服部の前でうまく巻かれてしまったんだけど、その話を聞いた時ぼくはなんとかこうピーンと来ちゃったね。」

「みなさま、ようこそ東京をおたずねくださいました。ご上京機会に、みなさまとご一緒に大東京の歴史を紐解いて見ることにいたしましょう。千代田城と呼ばれておりました皇居は、今から約 500 年ほど前に太田道灌が築城いたしましたもので、美しい松の緑をお堀に映した風雅と静寂な姿は大東京の雑踏の中にありながら誠にゆかしい限りでございます。」

area no.4 miharabashi

「11時30分から12時。この界隈で働く1万5~6千の女性がどっと家路に着く。車で帰るのが1流。電車で帰るのが 2 流。客と何処かへしけこむのが最低。」

「この映画館もこの街も、みんな地震かなんかでぶっつぶれればいい。そう思ってるの？」「あの舟お台場の先まで出るんだって。」「通っておりますこちらが銀座 4 丁目でございます。この銀座の柳でございますが、パリのマロニエと共に世界的に有名なものでございます。それではこれから銀座を後に、浅草を通りまして上野にご案内してまいります。」

「歩いたほうが早いわ。銀座は。」

area no.9 shinbashi 「この辺、三十間掘と申しまして、埋め立てない前は夜など両側のバーや喫茶店の灯が水に映ってとても綺麗でございましたわ。」

「築地の男だからね、武志は。根性が違うんだよ先生。」「築地の男を見くびっちゃいけねえよ。武志は築地生まれの築地育ちだ。そんじゃそこらの若いのと違って頑丈なんだ。」

「ここが銀座通りでございますわ。京橋から新橋まで 8 丁。ついこの間までは両側に露店が出ておりましたんですけど。」「賑やかですな。」 area no.12 riverside

「ビジネスガールが帰るころ、銀座へプロが出勤してくる。」 area no.8 higashi ginza

「東京で 1 つ銀座で 1 つ若い 2 人が初めて会った本当の恋の物語。」「俺たちが初めてここに住みついた頃のあのギラギラした意欲はどこにやっちゃったんだ。みんな嘘っぱちだったのか？たった 1 つピアノを持ってかれただけで、そう簡単にお前は変わっちまうのかい。」

「信じられません。全く信じられません。しかもその信じられない事件が、今、われわれの眼前において展開されているのであります。今やゴジラの通過した後は炎の海と化し、見渡せば銀座尾張町から新橋、田町、芝、芝浦方面は全くの火の海です。ただいま、ゴジラは移動を開始いたしました。どうやら数寄屋橋方面に向かう模様であります。テレビをご覧の皆様。ごれは劇でも映画でもありません。現実の奇跡。奇跡の大事件です。我々の世界は一瞬のうちに 200 万年の昔に引き戻されたのでありましょうか ?」

「これが銀座だよ。1 階は庶民の店。2 階はプチブル。どうですこの艶やかな色は。3 階は虚飾に満ち満ちている。客は階段を上がるごとに自分の虚栄を満足させる。無論、お値段の方も 2 倍、3 倍と跳ね上がる。」「私たちの中では銀座を食い物にしているイカサマ五郎ということになっていますわ。」

「このビルはなんかおかしい。お互いに物理的接触を拒んでいる。」

「とってもいい話だと思うんだけど、銀座の有名な化粧品会社の外交員なのよ。月給は手取りで 8000 円。その他に歩合をくれるんですって。綺麗な商売だしさ？あんたハンサムでしょ？だからすぐお得意ができるわ。どう？すぐ行ってみない？」

「先生がにらんだ通り、王徳宝っていうのはダイヤの密輸入か何かをやってるに違いないですよ。銀座で 4 軒、横浜で 2 軒、渋谷で 1 軒。合わせて 7 軒。金額にしてざっと 4500 万円くらいになりますかね。」

「お父さん子供のころこの辺に住んでたんだって。」「君のお父さんね、おばちゃんのこと好きだったの。ご飯食べにおいで。お父さん仕事でしょ？これから毎日そうしなさい。」

「こう見えても銀座旋風児。伊達を気取っての芝居じゃねえ。」

「僕たちはここ、築地で育った。僕と薫、そして武志。3 人はいつもどんな時も一緒だった。自分よりも大切と思える仲間だった。そしてそれは大人になってもずっと変わらないと思っていた。絶対に、何があっても。」

「お前ら、大人になったらどうするの？」「俺はここで働くだろうな。好きだし、市場。」「俺はあそこで働く。お父さん、ほんとは新聞記者になりたかったんだって。だから、俺が夢を叶えるんだ。」「かっこいいな、。でも、近くていいよな。」「武志が築地で、宏樹があそこだとすると、三角になるには銀座かな。銀座で働く。」「銀座のお姉さんになるのか。」

「銀座へ来るお客様はね、贅沢な雰囲気を味わいに来るのよ。あたしたちはそれを満足させてチップをもらってるのよ？身分不相応なアパートに住んだり、車で通ったり高い香水使ったりするのもみんなそのためだわ。ここに一緒に住むのもいいけど、変に所帯じみたものが染みついたらそれこそ商売あがったりだわ。そういうものはね、知らず知らずのうちに身につくのよ。」

「銀座ならどんなちっぽけな店でも 100 万や 150 万は。」

scale 1:5000

No. 1

Title 誘惑

genre ドラマ / ロマンス actor

Year 1948

element pulse

scenario 新藤兼人

director 吉村公三郎

原節子 / 佐分利信 / 杉村春子 / 芳丘直美 / 河野祐一

music 木下忠司

filming 生方敏夫

running time 85min

production company 松竹

original story editing

time line 0min

85min

5min

sequence-1

time line

(5min)

37:45

38:25

38:51

39:20

41:21

typology

note

銀座食品 6 丁目売場にて買い物している原節子は、雨宿りをしている佐分利信とばった

り出くわす。その後、喫茶店に移った 2 人の窓の外に、晴れ渡った窓ガラス越しに和光ビルがくっきりと浮かび上がるシーンは時計塔を捉えた数々の映画の中でも特筆もの。

textmining

mapping

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No. 2

Title お嬢さん乾杯 !

genre ロマンス actor

Year 1949

element pulse

scenario 新藤兼人

director 木下惠介

佐野周二 / 原節子 / 青山杉作 / 藤間房子 / 永田靖

music 木下忠司

filming 楠田浩之

running time 89min

production company 松竹

original story editing 杉原よ志、大沢静子

time line 0min

18min 1min

sequence-1

12min

89min

1min2min7min 1min 1min9min

sequence-2

(18min)

sequence-3

(1min)

1:43

sequence-4

(12min)

20:00

sequence-5

(1min)

sequence-6

(2min)

55:22

sequence-7

(7min)

57:42

sequence-8

(1min)

1:07:47

sequence-9

(1min)

1:13:42

35:13

(9min)

1:16:47

1:28:55

typology

note

4 丁目交差点の和光を中心として戦後間もない銀座の様子を映した小津作品。

time line

textmining

mapping

scale 1:5000

No. 3

Title 晩春

genre ドラマ actor

Year 1949

element pulse

scenario 小津安二郎 / 野田高悟

director 小津安二郎

笠智衆 / 原節子 / 月丘夢路 / 杉村春子 / 青木放屁

original story

music 伊藤宣二

filming 厚田雄春

editing 浜村義康

running time 108min

production company 松竹

time line 0min

1min

108min

2min

sequence-1

time line

(1min)

13:55

14:04

14:30

14:48

15:00

33:11

33:18

33:25

34:33

35:07

sequence-2 (2min)

typology

note

4 丁目交差点の和光を中心として戦後間もない銀座の様子を映した小津作品。

textmining

mapping

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No. 4

Title 暁の追跡

genre ドラマ actor

Year 1950

element pulse

scenario 新藤兼人

director 市川崑

池部良 / 水島道太郎 / 伊藤雄之助 / 田崎潤

original story

music 飯田信夫

filming 横山実

editing 後藤敏男

running time 93min

production company 新東宝

time line 0min

24min

2min

39min

sequence-1

1min

93min

sequence-2

(24min)

time line

(2min)

3:52

12:06

18:37

sequence-3

28:51

29:51

30:42

1:12:53

1:13:31

1:13:41

sequence-4

(39min)

(1min)

45:31

46:24

49:27

typology

note 「戦後の新橋周辺は、焼け残りのビルがバラバラに建っていてね、その向こうのガード上を電車が通る。その対比に画面効果があると思ったんじゃないかな。( 市川崑 )」

textmining

mapping

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No. 5

Title 銀座化粧

genre ドラマ actor

Year 1951

director 成瀬巳喜男

element pulse

scenario 岸松雄

田中絹代 / 香川京子 / 西久保好汎 / 花井蘭子

original story 井上友一郎

music 鈴木静一

filming 三村明

editing 笠間秀敏

running time 87min

production company 新東宝

time line 0min

21min

33min

1min 23min

83min

sequence-1 (21min)

01:22

02:26

06:41

09:17

21:17

29:20

32:44

43:34

44:49

46:20

time line

sequence-2 (33min)

sequence-3

sequence-4

(1min)

(23min)

59:33

1:11:59

1:14:38

1:26:23

typology

note 「派手なとりすました装いや華やかな喧騒を取り除けば、銀座の町に残るのは一種の諦めにも似た古い鑑賞と静かな人間味であって、この強いていえば枯淡な古典的な雰囲気は、近代都市の代表のように考えられている銀座の本当の姿ではないかと思います。( 成瀬巳喜男 )」

textmining

mapping

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Title 稲妻

No. 6 genre ドラマ actor

Year 1952

element pulse

scenario 田中澄江

director 成瀬巳喜男

高峰秀子 / 光浦光子 / 村田知栄子 / 丸山修

original story 林芙美子

music 斎藤一郎

filming 峰重義

editing 鈴木東陽

running time 87min

production company 大映

time line 0min

87min

2min 30sec

sequence-1

time line

(2min)

01:49

02:06

02:19

17:03

17:13

17:25

03:04

03:18

sequence-2 (30sec)

typology

note

オープニングでは、バスガイドの高峰秀子が乗った観光バスが銀座の街並みを紹介しな

がら銀座通りを通過していく。

textmining

mapping

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No. 7

Title 君の名は

Year 1953

genre

ロマンス

director 大庭英雄

actor

笠智衆 / 東山千栄子 / 原節子 / 杉村春子 / 山村聡

element pulse

scenario 柳井隆雄

music 古関裕而

filming 斎藤穀

running time 237min

production company 松竹

original story 菊田一夫 editing 杉原よ志

time line 0min

5min 7min 3min

sequence-1

12min

5min

1min 2min 6min

sequence-2

(5min)

sequence-4

(3min)

12:23

sequence-5

(12min)

sequence-7

(1min)

1:03:17

sequence-8

(2min)

1:35:01

sequence-9

(6min)

1:38:10

27:58

sequence-6

(5min)

46:11

237min

sequence-3

(7min)

05:47

19min

(19min)

3:01:25

3:54:25

typology

note

1964 年の東京オリンピックを控え、皇居外堀を埋めて東京高速道路が作られることにな

り、1957 年 7 月に数寄屋橋の撤去工事が開始された。今は数寄屋橋公園に、原作者の菊田一夫の筆による「数寄屋橋此処にありき」との小さな石碑が残されている。

time line

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mapping

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No. 8

Title 東京物語

Year 1953

element pulse

scenario 野田高悟 / 小津安二郎

genre

ドラマ

director 小津安二郎

actor

笠智衆 / 東山千栄子 / 原節子 / 杉村春子 / 山村聡

music 斎藤高順

filming 厚田雄春

running time 136min

production company 松竹

original story editing 浜村義康

time line 0min

136min

2min

sequence-1

time line

(2min)

39:37

39:52

40:01

40:11

40:36

40:49

typology

note 「小津にとって銀座は自分の庭のような” 行きつけの町” だった。だからその銀座が戦後の混乱期を経てようやく明るさを取り戻していくことが嬉しかったに違いない。( 川本三郎 )」

textmining

mapping

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No. 9

Title ゴジラ

genre 特撮 actor

Year 1954

element pulse

scenario 村田武雄 / 本多猪四郎

director 本多猪四郎

宝田明 / 河内桃子 / 平田昭彦 / 志村喬 / 堺左千夫

music 伊福部昭

filming 玉井正夫 / 有川貞昌

running time 97min

production company 東宝

original story 香山滋 editing 平泰陳

time line 0min

2min 1min

97min

sequence-1

time line

(2min)

1:01:09

1:01:51

1:02:06

1:02:13

1:02:54

1:03:21

1:03:38

1:03:45

1:03:50

1:04:10

sequence-2 (1min)

typology

note

新橋方面から四丁目を経由して数寄屋橋の方向へゴジラが移動していく。東京の象徴と

しての和光や日劇、松坂屋を壊し、その途中にはまるで東京大空襲を彷彿させるかのような親子のシーンが挿入されている。

textmining

mapping

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Title あした来る人

No. 10 genre ドラマ actor

Year 1955

element pulse

scenario 菊島隆三

director 川島雄三

山村聰 / 三橋達也 / 月丘夢路 / 新珠三千代 / 三國連太郎 original story 井上靖

music 黛敏郎

filming 高村倉太郎

editing 中村正

running time 115min

production company 日活

time line 0min

2min 5min 4min

sequence-1

4min 3min 14min

3min 10min

sequence-2

(2min)

sequence-4

(4min)