In this paper, I analyze Tomu Uchida’s silent comedy Ase (Sweat, 1929), in order to investigate how the perspective of social criticism observed in tendency films is connected to comedic forms. At the time, Japanese society was experiencing severe poverty and widening class disparities due to the Great Depression and economic recession, and the tendencies of social criticism were increasingly widespread in art and cinema. In this social context, the director Uchida chose to describe the contradictions of reality through the use of humor and satire, rather than directly depicting social issues. This study presents a scene-by-scene analysis of Ase, examining how the relationship between capital and labor is represented by visual devices, such as the spatial contrast between the mansion and the construction site, camera composition and character movement, and costume changes. As a result, Ase indicates the process of class inversion and restoration through a story in which a capitalist becomes a laborer and then becomes a capitalist again and conveys a message of social critique that takes on comedic expressions. Although the ending looks as if it depicted an awakening through labor, it in fact indicates a return to the capitalist order and forms a structure in which lessons and irony coexist. This paper aims to reveal that the early work of the director Uchida presented a new direction in the history of Japanese films at the crossroads of tendency films and comedy films.
本稿は、内田吐夢監督の無声喜劇映画『汗』(1929)を中心に、傾向映画に見られる社会批判的視線が、喜劇的形式とどのように結びついているのかを考察するものである。当時の日本社会は、大恐慌と不況により貧困と階級格差が拡大し、芸術や映画にも社会批判的傾向が広がっていた。そのような時代において、内田監督は社会問題を直接描くのではなく、笑いや風刺を通して現実の矛盾を表現する手法を選択した。 本稿では、映画『汗』の分析を通じて、豪邸と工事現場の空間対比、カメラ構図や人物の動きなどの視覚的装置が資本と労働の関係をどのように表しているかを検討する。『汗』は資本家が労働者となり、再び資本家へ戻る物語を通して階級転倒と回復の過程を示し、喜劇的表現の中に社会批判のメッセージを内包している。結末は一見、労働による覚醒を描くようでありながら、実際には資本秩序への回帰を示し、教訓とアイロニーが共存する構造を形成している。本稿は、内田監督の初期作品が傾向映画と喜劇映画の接点において日本映画の新たな方向性を提示したことを明らかにする。
1. 들어가며
2. 영화 <땀>의 희극성과 사회적 함의
3. 대비와 전환의 영화적 생성
4. 교훈성과 아이러니의 형상화
5. 나오며
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