{"id":685,"date":"2021-02-12T09:00:20","date_gmt":"2021-02-12T00:00:20","guid":{"rendered":"https:\/\/newsletter.nichibun.ac.jp\/?post_type=research&p=685"},"modified":"2021-05-14T09:09:40","modified_gmt":"2021-05-14T00:09:40","slug":"jidaigeki-as-a-culture-of-japan-and-a-culture-of-kyoto-textures-created-by-a-field-research","status":"publish","type":"research","link":"https:\/\/newsletter.nichibun.ac.jp\/en\/research\/685\/","title":{"rendered":"Jidaigeki<\/i>, as a Culture of Japan and a Culture of Kyoto: \u201cTextures\u201d created by a Field Research"},"content":{"rendered":"

Jidaigeki<\/em> historical dramas are part of Kyoto\u2019s culture industry; indeed, there was a time when the city was the movie capital of the country.<\/p>\r\n

In 1897, industrialist Inabata Katsutar\u014d showed movies for the first time in Japan in Kiyamachi, Kyoto. Then, in 1908, at Shin\u2019nyod\u014d temple in Kyoto\u2019s Saky\u014d ward, Makino Sh\u014dz\u014d\u2014known as the father of Japanese film\u2014shot the movie Honn\u014dji kassen<\/em>, in what is called the ky\u016bgeki<\/em> (lit., \u201cold drama\u201d) style that later developed into the jidaigeki<\/em>. In due course some sixteen film studios were established in the city of Kyoto. After the Keifuku Kitano Line opened in 1926, five major Japanese movie companies\u2014Nikkatsu, T\u014dh\u014d, Sh\u014dchiku, Daiei, and T\u014dei\u2014gathered, establishing studios in the city\u2019s Uzumasa district, which went on to become the \u201cHollywood of Japan.\u201d Unlike Tokyo, the scene of constant urban renewal, Kyoto had various advantages as a center of jidaigeki<\/em> production, including its well-preserved traditional townscapes, myriad temples and shrines, and old traditions of kimono and other culture-related businesses.<\/p>\r\n

\"\u7740\u7269\uff08\uff11\u679a\uff09\"<\/p>\r\n

\"\u7740\u7269\uff08\u8907\u6570\u679a\uff09\"

Examining costumes used in the jidaigeki <\/em>film Hatamoto taikutsu otoko<\/em><\/p><\/div>\r\n

I began to accumulate this kind of basic knowledge in conversations with Yamaguchi Norihiro, special advisor to T\u014dei Kyoto Studio Park. We agreed that the cultural and artistic value of jidaigeki<\/em> needed to be re-examined using the historical resources existing in Kyoto\u2019s film studios. This led to my project \u201cNew Field of Jidaigeki<\/em> Research: Survey and Use of \u2018Tangible and Intangible Cultural Resources\u2019 at T\u014dei Studios Kyoto,\u201d which was awarded a FY2020 grant-in-aid for scientific research. \u201cTangible\u201d refers to costumes and \u201cintangible\u201d covers sword fighting. The project looks into jidaigeki<\/em> costumes that have not been cataloged and compares the sword-fighting styles passed down at the Shinkokugeki drama troupe, T\u014dei Studios Kyoto, and Sh\u014dchiku Kyoto. In addition to closely investigating points of historical significance, the survey ultimately aims to create a digital archive of both the tangible and intangible resources.<\/p>\r\n

\"\u5ca9\u4e0a\u6c0f\u30a2\u30c3\u30d7\"

Mr. Iwagami Tsutomu<\/p><\/div>\r\n

\"\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\uff08\u5ca9\u4e0a\u6c0f\uff09\"

Interview with Iwagami Tsutomu, chronicler of the Shinkokugeki drama troupe and specialist in manners and ceremonies (Interviewer : Yamaguchi Norihiro)<\/p><\/div>\r\n

The archive is to be a global one featuring English translations and intended for spreading the culture of Japanese jidaigeki<\/em> internationally, so as to contribute in turn to new film, television, and online productions. And, moreover, publicizing the archive as \u201ctextures\u201d underlying an array of content not limited to the motion picture framework\u2014such as gaming, anime, kimono industries and even their anime-inspired musical derivatives\u2014can promote the widespread use of \u201ccultural legacy\u201d that the project is to survey and collect.<\/p>\r\n

\"\u83c5\u539f\u6c0f\u30a2\u30c3\u30d7\"

Mr. Sugawara Toshio<\/p><\/div>\r\n

\"\u30a4\u30f3\u30bf\u30d3\u30e5\u30fc\uff08\u83c5\u539f\uff09\"

Interview with Sugawara Toshio, T\u014dei Studios Kyoto sword-fight choreographer (Interviewer : Yamaguchi Norihiro)<\/p><\/div>\r\n

 <\/p>\r\n

 <\/p>","protected":false},"featured_media":682,"template":"","class_list":["post-685","research","type-research","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/newsletter.nichibun.ac.jp\/en\/wp-json\/wp\/v2\/research\/685","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/newsletter.nichibun.ac.jp\/en\/wp-json\/wp\/v2\/research"}],"about":[{"href":"https:\/\/newsletter.nichibun.ac.jp\/en\/wp-json\/wp\/v2\/types\/research"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/newsletter.nichibun.ac.jp\/en\/wp-json\/wp\/v2\/media\/682"}],"wp:attachment":[{"href":"https:\/\/newsletter.nichibun.ac.jp\/en\/wp-json\/wp\/v2\/media?parent=685"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}