테라야마 슈지 <전원에 죽다>에서의 주관적 기억과 허구성

A Study on Subjective memories and Fictitiousness in the “Pastrol: To Die In The Country”

This study is to look into the reproduction process when the ‘subjective memories’, which appear in the literature, plays and movies of Terayama Shuji in common, is reproduced in film. In order to facilitate the progress of this thesis, the study was focused on how the event elements taking place in the process, where the ‘subjective memories’ are reorganized into fictions, are described was studied in the aspects of image formation and the formal aspects of anti-narrative through reviewing ‘Pastoral: To Die in the Country’, a film which is the masterpiece of the director, containing his own autobiographical stories. The stories concerning both ‘I’ who used to be 20 years ago and ‘I’ at present time, which are dealt with in ‘Pastoral: To Die in the Country’ starts off his boyhood 20 years ago, and as the story keeps going, ‘I’ is transfigured into someone else who is different from the director at present by meeting with characters in the film and coming into conflict with them. In the relationship between the boy and mother, the boy and ‘I’(the director) at present time, the boy and the woman(Kajima) dealt with in ‘Pastoral: To Die in the Country’, the director tries to characterize the self-reflexive elements. The self-reflexive thoughts of the director in the relation map may be regarded as the one made intentionally by Terayama, but spectators would rather put the character and the director in the same category. For Terayama in his early years, looking at things with his eyes was the consciousness in a state of insomnia, but after growing up he destroys the insomnia and shows his effort to ‘have an in-depth look into things’, destroying common senses.