日本近代文學作家的無聲電影受容──著眼於電影劇本的創作

Japanese Modern Literature Authors' Reception of Silent Movie: Focus on the Scenario Works

本論文主要著眼於日本近代文學作家的電影劇本創作，並檢討此類創作的特色為何。由於以往的研究，幾乎不關心文學作家採用電影劇本形式寫作的事實，所以面對作家究竟為早期無聲電影的何處所吸引這樣的根本問題時，也無法真正地說明。因此筆者認為應該更加重視近代文學作家們對當時日漸勃興的活動寫真（無聲電影）所表現的關心，並進而從事電影劇本創作的這個事實。筆者首先考察了文學作家在摸索電影劇本之文學價值的立場。接著引用谷崎潤一郎和川端康成的電影劇本，藉由兩者內容展開的相互比較，檢討其差異為何。本論文的主要目的，就是藉由明確日本近代文學作家在電影劇本創作上的實際情況，為文學與電影間的比較研究，提出一個嶄新的方向與方法。

I aim at the scenario works by Japanese modern literature authors mainly in this essay, and would like to examine what kind of characteristic can be admitted there. It is because that almost the conventional studies did not concern about why the authors' trying to write a scenario at that time. Therefore, they could not reveal the fundamental problem that the authors attracted by which part of initial silent movie. I think that we should think about the fact that why the authors then showed interest in a moving picture (silent movie) and furthermore tried to participate in scenario work.At first I examine for the viewpoint of the authors who groped after the literary value of the scenario. Next I take up scenario works of Tanizaki Junichirou and Kawabata Yasunari and consider what kind of difference could be read from the discovery of the content by comparing both.