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Diplomarbeit View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit HeldInnen zwischen Sexualität und Gewalt im japanischen Kino Verfasserin Kanyo Cornelia Liechtenfeld angestrebter akademischer Grad Magistra (Mag.) Wien, 2010 Studienkennzahl lt. A 0126354 Studienblatt: Studienrichtung lt. Kultur- und Sozialanthropolie (307 Studienblatt: Betreuerin / Betreuer: Mag. phil., Dr. phil., ao. univ. Prof. Hermann Mückler Eidesstaatliche Erklärung Ich erkläre an Eides statt, dass ich die vorliegende Arbeit selbständig und ohne fremde Hilfe verfasst, andere als die angegebenen Quellen nicht benutzt und die den benutzten Quellen wörtlich oder inhaltlich entnommenen Stellen als solche kenntlich gemacht habe. Wien, am 27. Mai 2010 3 Inhaltsverzeichnis 1. EINLEITUNG ................................................................................................................................................ 6 1.2. FORSCHUNGSFRAGE ...................................................................................................................................................8 2. THEORETISCHE GRUNDLAGEN............................................................................................................. 9 2.1. DER SPIELFILM IM ETHNOLOGISCHEN BLICK........................................................................................................9 2.1.1. Cultural Studies ................................................................................................................................................12 2.1.2. Popular Culture ................................................................................................................................................14 2.2. DER HELD .................................................................................................................................................................16 2.2.1. Der Held im Mythos.........................................................................................................................................19 2.2.2 Der Held im Spielfilm ......................................................................................................................................27 2.3. GENDER UND SEXUALITÄT.....................................................................................................................................30 2.3.1. Anima und Animus..........................................................................................................................................33 2.3.2. Erotik und Sexualität im Spielfilm ...........................................................................................................35 2.3.3. Sex und Geschlechterkonstruktion in Japan.........................................................................................37 2.3.4. Shibari ­ Ein Seil der besonderen Art ......................................................................................................44 2.4. GEWALT UND TOD...................................................................................................................................................45 2.4.1 Gewalt....................................................................................................................................................................45 2.4.2. Rache und Gerechtigkeit...............................................................................................................................48 2.4.3. Tod..........................................................................................................................................................................49 2.5. DIE JAPANISCHE GESELLSCHAFT ..........................................................................................................................53 2.5.1. Aspekte der japanischen Mentalität........................................................................................................53 2.5.2. Die Bedeutung des Leidens..........................................................................................................................61 2.5.3. Religion in Japan..............................................................................................................................................62 3. METHODEN................................................................................................................................................64 3.1. FILMANALYSE...........................................................................................................................................................64 3.2. GROUNDED THEORY ...............................................................................................................................................72 4. DARSTELLUNGSWEISEN IM SPIELFILM ...........................................................................................74 4.1. REALITÄT UND FILM ...............................................................................................................................................74 4.1.1. Film­Philosophie ..............................................................................................................................................78 4.1.2. Ideologie im Spielfilm.....................................................................................................................................79 4.2. KINO UND DIE PSYCHE............................................................................................................................................82 4.2.1. Der Held und der Nihilismus.......................................................................................................................85 4.2.2. Der Dualismus und der Versuch einer Auflösung durch die Dissonanztheorie ....................86 4.3. GENREKLASSIFIKATIONEN .....................................................................................................................................88 5. DER JAPANISCHE FILM ..........................................................................................................................92 5.2. DER JAPANISCHE HELD ..........................................................................................................................................97 5.3. DIE JAPANISCHE ÄSTHETIK................................................................................................................................. 100 5.3.1. Die traditionellen japanischen Künste ................................................................................................102 5.3.2. Wabi und Sabi ................................................................................................................................................103 6. JAPANISCHE FILMGENRES................................................................................................................. 105 6.1. DER SAMURAI‐FILM............................................................................................................................................. 105 6.2. DER YAKUZAFILM................................................................................................................................................. 109 6.2.1. Die gequälte Vaterfigur .............................................................................................................................112 6.2.2. Der junge Held................................................................................................................................................113 6.2.3. Der Held im mittleren Alter......................................................................................................................113 4 6.3. DIE JAPANISCHE NOUVELLE VAGUE.................................................................................................................. 114 6.4. ANIME ..................................................................................................................................................................... 115 6.4.1. Das Japanische im Anime aus westlicher Sicht................................................................................116 6.4.2. Die Schnittstelle zwischen dem Menschen und der Technik im Anime .................................118 6.4.3. Frauenbilder im Anime ..............................................................................................................................119 6.4.4. Akira...................................................................................................................................................................121 6.5. DER JAPANISCHE HORRORFILM ......................................................................................................................... 123 6.5.1 Geister im japanischen Horrorfilm.........................................................................................................125 6.5.2. Westliche Adaptionen japanischer Horrofilme ...............................................................................126 6.5.3. Untergangsstimmung im verlorenen Paradies................................................................................127 7. FILMBEISPIELE...................................................................................................................................... 129 7.1. AKIRA KUROSAWAS TRÄUME............................................................................................................................
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