Naruse Mikio
《浮云》
【原 片 名】Floating Clouds
【中 文 名】浮云
【出品年代】1955
【首映日期】1955年1月15日
【IMDB链接】http://www.imdb.com/title/tt0048757/
【IMDB评分】7.9/10 (74 votes)
【国 家】日本
【类 别】剧情/爱情
【导 演】成濑已喜男 (Mikio Naruse)
【主 演】高峰秀子 (Hideko Takamine)……. Yukiko Koda
森雅之 (Masayuki Mori (I))…… Kengo Tomioka
冈田茉莉子 (Mariko Okada)…… Sei Mukai
山形勋 (Isao Yamagata)…… Sugio Iba
中北千枝子 (Chieko Nakakita)…… Kuniko Tomioka
【文件格式】XviD + MP3
【文件大小】1CD 49*15MB
【视频尺寸】448x336
【影片长度】123 Mins
【对白语言】日语
【字幕语言】外挂中文
【内容简介】
成濑已喜男执导的《浮云》，根据日本著名女性小说家林芙美子的同名小说改编。编剧水木洋子是战后女性题材电影的著名编剧，演员阵容强大，高峰秀子、森雅
之、冈田茉莉子都是日本电影史上享有盛誉的明星。特别应该指出的是成濑已喜男与小津安二郎是同时代的电影人，作为描写女性命运的作家，在欧美影坛成濑比小
津享有更高的声誉，甚至可以说成濑的作品是日本女性教材电影的圣典。在这部作品中痛斥了男人的无常与女人对“情”的真挚与悲哀。影片描写的男女情感的冲撞
与牵连十分动人，观众常在电影结束后仍对片中情感回味无穷。故事描写二战期间农技师富冈被派往邻国管理森林资源，遇到在家遭表兄强暴后逃到此地工作的打字
员雪子，一见钟情。但富冈已有妻室家山，他向雪子保证回东京后一定立即离婚。可是雪子发现他并未离婚，只好另租间破房住下。但俩人仍然藕断丝连，雪子怀了
孕。富冈去温泉开辟事业，又和旅馆老板的妻子发生了关系，事情败露，走投无路的富冈又来找雪子，雪子再次原谅了他。这时，富冈的妻子去世，当富冈被派往尾
久岛工作时，终于名正言顺地携雪子同行，但为时已晚，途中雪子病故，富冈抚尸痛哭。影片精彩之处在于导演对女性的日常生活惟妙惟肖的描写真实而细腻。。
———————————————————————————————
Extract frm
Krause, Linda(Author). Global Cities: Cinema, Architecture, and Urbanism in a Digital Age.
New Brunswick, NJ, USA: Rutgers University Press, 2003. p 91.
http://site.ebrary.com/lib/auckland/Doc?id=10075363&ppg=101
The cinema of Japanese director Naruse Mikio offers a rich example of
vernacular modernism in the context of a rapidly modernizing postwar
Tokyo. Sometimes referred to as Japan’s “Number Four” director, following
Ozu Yasujiro, Kurosawa Akira, and Mizoguchi Kenji, Naruse’s work has nevertheless
been largely neglected by both Japanese and non-Japanese critics
alike. This may be because his films blur the distinction between art cinema
and popular cinema and also, perhaps, because his films can almost all be
described as women’s films. Most of his eighty-nine films are set in the small,
simple homes of the urban middle and working classes. Domestic architecture
and the life of the street are the settings for his stories of young women,
housewives, single mothers, and aging geishas struggling to survive in a
world of economic and social hardships.
Naruse, Women, and Japanese Modernity
Naruse Mikio’s style changed greatly over the thirty-seven years of his career,
but I would describe his films generally as melodramas, taken in the largest
sense of that term. Only occasionally do they rise to the levels of hysterical
excess that we tend to associate with the Hollywood melodrama. But in
Naruse’s films the strong currents of emotional intensity are expressed in
the silences between people, in quick exchanges of looks, and in the framing
of bodies in space. In the 1950s his films were often shown as the B-pictures
on double bills, following Kurosawa’s headline features. 3 Whereas Kurosawa
developed the heroic persona of the postwar male subject, in Naruse we find
the inscription of a fairly well-defined female subjectivity in Japanese
modernity.
Certainly, the director, his scriptwriters, actors, and audiences would
have been familiar with the Hollywood women’s films of the 1930s and 1940s.
During the Occupation Japanese screens were flooded with Hollywood films in the interests of promoting American democracy. Naruse may have been
neglected by film critics because of his chosen subject matter— women’s
dramas— but also because his invisible editing eschews the formal aesthetics
so vital to the critical discourse on Japanese cinema. The confusing affinity
of Western modernism and traditional Japanese aesthetics has tended to
efface the discourse of Japanese modernity as the emergence of an urban
image-culture.
A similar story is told in the historical appropriation of traditional Japanese
architecture by Western architects, who have largely overlooked the role
that Western architecture has played in the construction of modern Japanese
urban space. 4 The term Japanese modernity refers to the emergence of an
industrial consumer culture in Japan that might have been accelerated by
the opening to the West in the middle of the nineteenth century but that
cannot be reduced to a process of “Westernization.” Masao Miyoshi has
pointed out that modernity is a disynchronous process, occurring in different
cultures and social formations at different times. 5 Enrique Dussel has
argued, “Modernity is not a phenomenon of Europe as an independent system,
but of Europe as centre.” 6 The influence of Japanese arts on Western
modernism is a good example of how modernity is coincident with the
establishment of Europe as the center of a world system. The limits of
modernity are therefore coincident with the decentralization of the world
system in a (potentially) globalizing cultural economy that is more selfconscious
about its exteriorizing and othering effect on the non-European
center.
Film studies scholarship has tended to miss the important point that in
the Japanese context “modernity” involved the emergence of the bourgeois
individual and the coextensive adoption of realist modes of representation.
In literature this meant the development of the I-novel, or shishosetsu, in the
early twentieth century. Whereas debates and discussions of this literary
genre were intense throughout the 1920s and 1930s, there were few parallel
intellectual debates, as far as I can tell, concerning the cinema. Questions of
gender and women’s literature, which began to proliferate in the 1920s,
tended to be ghettoized and cut off from the main arena of debate over the
constitution of the Japanese subject, a situation that persists in Japanese
studies. My interest in Naruse’s films is precisely in the way that they enable
us to trace the articulation of female subjectivity over a period of turbulent
cultural transformation.
For the purposes of this essay I will concentrate on the 1950s, when
Naruse made his most popular films and worked at refining a mature style
that has admitted him into the international canons of art cinema. Although
neither the industry nor the critical establishment used the term “women’s
film,” almost all of Naruse’s eighty-nine films feature female protagonists
played by some of the most popular actresses in Japan. Starting in 1951 he
adapted six films from the writing of Hayashi Fumiko, a popular woman
writer who published serialized stories in women’s magazines. In the films,
as in Hayashi’s stories, female characters find new roles for themselves in a
changing society, demonstrating a stubborn perseverance; but there are just
as many women who find ways of resigning themselves to their poorly drawn
lot in life.
Naruse’s work of this period is full of war widows trying to reconstruct
their lives. With the democratic reforms of the postwar period came recognition
of women’s rights and a nascent women’s movement, along with economic
development that created more room for women in the workforce. But
as Sandra Buckley points out, “a discourse of motherhood and the family was
quick to surface through the 1950s in opposition to the emerging women’s
labour movement.” 7
Given the deep ideological conflicts of postwar Japan, the “home drama”
became an important site for directors such as Kinoshita to reestablish the
values of domestic harmony and national identity around the stable figure of
the sacrificing mother. The home drama is a subspecies of the shoshimineiga
and encompasses Ozu’s increasing interest in the upper middle class in
the 1950s. Tadao Sato defines the home drama as centering on a family. 8
Japanese film genres tend to be named for their semantic content, so there
is a great deal of overlap among such genres as wife films, mother films,
husband-and-wife films, salaryman films, home dramas, and shoshimineiga.
In light of the lack of clear distinctions among genres, and the shared
roles of family and domestic architecture in all of them, they can all be
heuristically grouped together under the umbrella of the home drama, which
specifies the important conjunction between architecture and family in this
cinema.
Moreover, this larger category of the home drama has specific effects of
gender. The term okasan, which refers to both mother and wife, derives from
Chinese characters referring to the inner chambers of the home. 9 The maternal
role is a cornerstone of the Emperor System in its implicit link to the ily System, 10 a structure heavily reinforced in the imperialist home-front
propaganda of the fifteen-year war. As Masao Miyoshi has pointed out, many
Japanese perceived democratic reforms such as women’s rights as punishment
for losing the war, and the ideology of male supremacy remained for
many a cornerstone of the mythological “Japanese race”. 1 1 Yet in Naruse’s
cinema we can see how the generic form of the home drama begins to show
cracks and fissures in the postwar period, as he introduces strong and stubborn
female characters into the form.
