| Project/Area Number |
17520220
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| Research Category |
Grant-in-Aid for Scientific Research (C)
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| Allocation Type | Single-year Grants |
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| Section | 一般 |
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| Research Field |
Literatures/Literary theories in other countries and areas
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| Research Institution | The University of Tokushima (2006-2007)
Yamagata University (2005) |
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Principal Investigator |
SHAO Yingjian The University of Tokushima, Faculty of Integrated Arts and Sciences, Professor (30375315)
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| Project Period (FY) |
2005 – 2007
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| Project Status |
Completed (Fiscal Year 2007)
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| Budget Amount *help |
¥3,480,000 (Direct Cost: ¥3,300,000、Indirect Cost: ¥180,000)
Fiscal Year 2007: ¥780,000 (Direct Cost: ¥600,000、Indirect Cost: ¥180,000)
Fiscal Year 2006: ¥1,200,000 (Direct Cost: ¥1,200,000)
Fiscal Year 2005: ¥1,500,000 (Direct Cost: ¥1,500,000)
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| Keywords | Shanghai / Spoken Drama Play / Film / 戦争 / 文化 / 日中戦争 / 上海の文化 |
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| Research Abstract |
Entertainment in occupied Shanghai was taboo for the academics because of the fact that it was taken over and controlled by the Japanese occupation authority. For the past few years I have been devoted to this subject and have done important research as summarized below :
1. Based on information in the Shenbao I made Chronicle of Spoken drama Plays (1937-1945) and Motion Pictures Staged (1942-1945) in Wartime Shanghai and identified the five most popular Spoken drama plays of the period.
2. I interviewed fifteen veteran artists of Spoken drama and film of the period and, with their help, clarified the network and organizational background of the Spoken drama movement in wartime Shanghai.
3. With the aid of Chronicle of Spoken drama Plays and Motion Pictures Shown in Wartime Shanghai (1937-1945) I was able to analyze the two most popular plays, Crabapple Blossom and Wen Tianxiang, and trace the development of themes centered on women and the playwrights who created such plays.
In summery, my research filled a gap in the history of Chinese Spoken drama and film. I filled this gap by making clear the interactive relationships and changing balances among Chinese Spoken drama, Chinese film, Anglo-American film, and Japanese film. I also demonstrated the achievements of Chinese artists in Shanghai and argued for a positive role that Spoken drama played in occupied Shanghai. Therefore my assessment of the role of the motion pictures of this period laid a foundation for future research in this area.
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