{"created":"2023-05-15T08:14:13.516209+00:00","id":218,"links":{},"metadata":{"_buckets":{"deposit":"3c07cccb-1670-476f-a07a-8cbce06160d8"},"_deposit":{"created_by":3,"id":"218","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"218"},"status":"published"},"_oai":{"id":"oai:shokei.repo.nii.ac.jp:00000218","sets":["1:5:18"]},"author_link":["776","777"],"control_number":"218","item_2_biblio_info_12":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2012-12-01","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"64","bibliographicNumberOfPages":"16","bibliographicPageEnd":"42","bibliographicPageStart":"27","bibliographic_titles":[{"bibliographic_title":"尚絅学院大学紀要"},{"bibliographic_title":"Research reports of Shokei Gakuin College","bibliographic_titleLang":"en"}]}]},"item_2_description_10":{"attribute_name":"抄録(日)","attribute_value_mlt":[{"subitem_description":"本稿では、鶴屋南北作『東海道四谷怪談』映画化作品のうち、加藤泰監督『怪談 お岩の亡霊』を取り上げ、この作品に見られる加藤泰の映画的世界の創出の方法を考察した。制作にあたって加藤泰が重要視したのは、民谷伊右衛門の設定を原典の「浪人」から「御家人」へと改変することであり、幕藩体制では直参とされながらも貧困を強いられる人間からドラマを生み出すことであった。加藤泰の特徴的な作劇方法としては、登場人物の具体的な行動を通して感情を描き出す表現、特に、男と女の間での「物の受け渡し」によって情動を描出する表現が挙げられる。この主情的な表現方法は、『怪談 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