@inproceedings{oai:kokubunken.repo.nii.ac.jp:00002624,
 author = {張, 栄順 and CHANG, Young Sun},
 book = {国際日本文学研究集会会議録, PROCEEDINGS OF INTERNATIONAL CONFERENCE ON JAPANESE LITERATURE},
 issue = {23},
 month = {Mar},
 note = {pdf, Film first garnered attention in Japan during the Taisho period, and Tanizaki Junichirô was quick to tum his attention to film's potential as a means of interpreting culture. He not only participated in the actual creation of film, but he also actively incorporated film in his literary works. Tanizaki's connection to the world of film is well known, but there are surprisingly few studies of his Eiga Monogatari (film tales) -- a group of stories in which he takes film as a motif. In this study, I focus on one of these tales: Nikukai ("A lump of flesh"), published in 1923.
Tanizaki believed that “great art is art of the people, and it is also very high class” (idai naru geijutsu wa tsûzoku deatte, shikamo kôkyû na mono de aru), and he thought of film as falling into this category. He directed attention to film as media, as a reproducible technique that could appeal directly to a wide audience. In Nikukai, the conflict between the “popular” and the “high class” forms the basis of the main plot, which tells the story of the depraved filmmaker Yoshinosuke as contrasted with the successful and virtuous actress Tamiko. In other words, one can say that Nikukai is a literary work that argues for the potential of film.
Accordingly, in the present study, I adopt the contemporary perspective of the film media, and I attempt to analyze this film tale from the standpoint of cultural interpretation. In Nikukai, the interpretative correlation between an object and its reflection is carefully presented through the images of the two actresses, Tamiko and Gurandoren, the child of mixed parentage. These images are tied to the structure of the plot. Furthermore, the formation of the image of the barbaric foreigner--a subplot to the story--is closely linked to the flow “from Shanghai to the colonies in the South Sea, Siberia, etc.” (Shanghai kara, Nan'yo ya Siberia atari no shokuminchi) of the “Mermaid” (Ningyo), a movie that appears in the text.
From a perspective of this kind, then, in the conclusion of this study I show that the following elements can be found in condensed form in Tanizaki's film tale Nikukai: (1) the philosophy of cultural intermixing, as seen in the representations of Asakusa that are a recurring motif in Tanizaki's Taisho-era fiction; (2) the transformation of the traditional Japanese image of woman into that of a movie actress; and (3) the technique of using the movie industry as a subplot in a literary text.},
 pages = {135--153},
 publisher = {国文学研究資料館},
 title = {研究発表　文化の翻訳としての映画物語　―谷崎潤一郎「肉塊」を中心に―},
 year = {2000},
 yomi = {チャン, ヨンスン}
}