ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ߳ߩᢥൻ⊛ᵄ
㧝㧚ߪߓߦ
ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߪޔ1950ᐕઍᧃᦼ߆ࠄ60ᐕઍೋ㗡ߦ߆ߌߡࠗࠡ
ࠬߢ㓉⋓ߒߚ⧯ᚻᤋ↹⋙〈ߦࠃࠆᤋ↹ߩầᵹߢࠆޕ࠻࠾࠴ࡖ࠼࠰ࡦޔ
ࡦࠗࠕࡦ࠳࠰ࡦ(Lindsay Anderson, 1923-94)ޔࠞ࡞ࠗࠬ(Karel Reisz, 1926-2002)ޔ
ࠫࡖ࠶ࠢࠢࠗ࠻ࡦ(Jack Clayton, 1921-95)ޔ࡚ࠫࡦࠪࡘࠪࡦࠫࡖ(John Schlesinger,
1926-2003)ߣߞߚᤋ↹⋙〈߇ਛᔃ⊛ੱ‛ߣߥࠆޕ┵⊛ߦ⸒߁ߣޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ
࠙ࠚࠗࡧޠߪޔ50 ᐕઍࠗࠡࠬᢥቇ⇇ࠍᏨᏎߒߚޟᔶࠇࠆ⧯⠪ߚߜޠߩਥⷐߥᢥቇ
ຠߩᤋ↹ൻߣ߁േะߢࠆޕ
ߎߩޟᔶࠇࠆ⧯⠪ߚߜޠߣ߁⒓ߪޔ╙2┨ߢ⸒ߒߚࠃ߁ߦޔ56ᐕ58ᣣߦࡠࡦ
࠼ࡦߩࡠࠗࡗ࡞ࠦ࠻ࠪࠕ࠲ߦ߅ߡ࠴ࡖ࠼࠰ࡦṶߢೋṶߐࠇߡᄢ㗀ࠍ
ࠎߛ࡚ࠫࡦࠝ࠭ࡏࡦߩᚨᦛޡᔶࠅࠍㄟߡᝄࠅࠇޢߩ࠲ࠗ࠻࡞ߣౝኈߦ↱᧪ߔࠆޕ
৻⥸⊛ߦޔޟᔶࠇࠆ⧯⠪ߚߜޠߩઍߪ╙2┨ߢ⺰ߓߚࠝ࠭ࡏࡦߩޡᔶࠅࠍㄟߡᝄࠅ
ࠇޢࠍߪߓޔ࡚ࠫࡦ࠙ࠚࠗࡦߩޡᕆߢਅࠅࠈޢޔࠠࡦࠣࠬࠛࠗࡒࠬߩޡ࠶
ࠠࠫࡓޢޔࠕࠗࠬࡑ࠼࠶ࠢߩޡ✂ߩਛޢޔࠦࡦ࠙ࠖ࡞࠰ࡦߩޡࠕ࠙࠻ࠨࠗ࠳
ޢޔ࡚ࠫࡦࡉࠗࡦߩޡᐕߩᅚޢޔࠕࡁ࡞࠼࠙ࠚࠬࠞߩޡࠠ࠶࠴ࡦޢޔࠕࡦ
ࠪ࠻ߩޡᦐߩᄛߣᣣᦐߩᦺޢ߮ޡ㐳〒㔌⠪ߩቅ⁛ޢ߇ฬߢࠆޕߐࠄߦ▸࿐
ࠍᐢߍࠇ߫ޔࠪ࠺ࠖ࠾(Shelagh Delaney, 1938-2011)ߩޡⱣߩޢ(A Taste of Honey, 1958)ޔࠠࠬ࠙ࠜ࠲ࡂ࠙ࠬ(Keith Waterhouse, 1929-2009)ߩޡ߁ߘߟ߈ࡆޢ(Billy Liar, 1959)ޔࠬ࠲ࡦࡃࠬ࠻࠙(Stan Barstow, 1928-2011)ߩޡᚗࠆ⒳ߩᗲᖱޢ(A Kind of Loving, 1960)ޔ
࠺ࠗࡧࠖ࠶࠼ࠬ࠻(David Storey, 1933-)ߩޡቅ⁛ߩႎ㈽ޢ(This Sporting Life, 1960)ߥ ߤ߇ߍࠄࠇࠆޕߎߩຠ⟲ߩ․ᓽߪޔᣇߩഭ⠪㓏⚖߮ਅጀਛ↥㓏⚖りߩኅ߇
ࠗࠡࠬᢥቇผߦ߅ߡ߹ࠅขࠅߍࠄࠇࠆߎߣߩߥ߆ߞߚᏫዻ㓏⚖ߩ↢ᵴࠍࠕࠬ
࠹ࠖ࠶ࠢߦឬ౮ߒߚὐߢࠅޔᚢᓟߩ␠ળ⊛ᄌൻ߇ᓐࠄߩ␠ળᢥൻ⊛ㅴࠍน⢻ߦߒߚ৻
ᣇߢޔᱷሽߔࠆ㓏⚖ᗧ⼂߆ࠄ⬧ᑧߒᆎߚ㐽Ⴇᗵ߿ṛᗵߦኻߒߡᢥቇߩ㗔ၞߦ߅ߡ⇣
⼏ࠍߒߚ৻⒳ߩ␠ળᢥൻ⊛Ზᄌേߢߞߚޕ
ᧄ┨ߢߪޔޟᔶࠇࠆ⧯⠪ߚߜޠ߆ࠄޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ߳ߣᵄߒߚ 㓞ធߔࠆᢥൻ㗔ၞߩᢥൻ⊛ㅪേᕈࠍ⺰⸽ߔࠆߎߣࠍ⋡⊛ߣߔࠆޕ߹ߕޔ40ᐕઍ߆ࠄ50ᐕઍ ߦ߆ߌߡߩࠗࠡࠬᤋ↹ผߣޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠࠍⷰߔࠆߣߣ߽ߦޔ ߘߩ೨りߣߥߞߚᤋ↹ㆇേޟࡈࠪࡀࡑޠ(Free Cinema)ࠍᝄࠅࠅޔߘߩ⊒ዷ⊛⸃ᶖߩ
⚻✲ࠍㄡࠆޕߘߒߡޔኅࠝ࠭ࡏࡦߣṶኅᤋ↹⋙〈࠴ࡖ࠼࠰ࡦߩⱣ㑐ଥࠍ
ߦޔᒰᤨߩᢥൻᬺ⇇ߩᵹ⁁ᴫࠍᛠីߔࠆޕ߹ߚޔ50 ᐕઍࠗࠡࠬᢥൻߦᄙᄢߥᓇ㗀 ࠍਈ߃ߚ40 ᐕઍࠕࡔࠞṶߣ 50ᐕઍࠕࡔࠞᤋ↹ࠍෳᾖߒޔ⧷☨㑆ߩᢥൻ⊛⋧㑐ᕈࠍ
⏕ߒߡߊޕߎࠇࠄߩ⠨ኤࠍ〯߹߃ޔหᤨઍߩ␠ળᢥൻ⁁ᴫߦኻߔࠆ⇣⼏ࠍߒߚ⧯
ᚻኅߣ⧯ᚻᤋ↹⋙〈ߦࠃࠆᢥቇߣᤋ↹ߩᢥൻ⊛ㅪേߣ⸒߃ࠆޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ
35
࠙ࠚࠗࡧޠ߇ޔ40 ᐕઍᓟඨࠍࡇࠢߦૐㅅᦼߦߞߚᤋ↹↥ᬺࠍᵴᕈൻߐߖࠆߣߥ ࠅޔ60ᐕઍߩޟࠬ࠙ࠖࡦࠡࡦࡠࡦ࠼ࡦޠߩ㐿⧎ࠍടㅦߐߖߚߣ⚿⺰ߠߌߚޕ
㧞㧚40-50ᐕઍࠗࠡࠬᤋ↹ผ
ᦨೋߦޔ40ᐕઍ߆ࠄ50ᐕઍߦ߆ߌߡߩࠗࠡࠬᤋ↹ผࠍⷰߒߡߊޕ62ᐕߦࡑࠪ
ࡖ࡞ࡑࠢ࡞ࡂࡦ(Marshall McLuhan, 1911-80)߇ޡࠣ࠹ࡦࡌ࡞ࠢߩ㌁ᴡ♽ޢ(The Gutenberg Galaxy: the Making of Typographic Man, 1962)ߦ߅ߡޔ㔚ሶ⊛ࡑࠬࡔ࠺ࠖࠕߩ⊒ዷߦ߁ ࡔ࠺ࠖࠕ␠ળߩ᧪ࠍޟࠣࡠࡃ࡞ࡧࠖ࠶ࠫޠ(Global village)ߣߒߚࠃ߁ߦ(43)ޔ ᤋ↹ޔ࠹ࡆޔࠫࠝޔࠦ࠼ߥߤࡔ࠺ࠖࠕߩ᥉ߪੱޘߩࠗࡈࠬ࠲ࠗ࡞ࠍᄌ⽩ߐߖ ߚޕ․ߦޔᤋ↹ߪ20♿ೋ㗡߆ࠄ᥉ߒޔࡧࠔ࡞࠲ࡌࡦࡗࡒࡦߩޟⶄᛛⴚޠޔ࠹ࠝ
࠼࡞ࠕ࠼࡞ࡁߣࡑ࠶ࠢࠬࡎ࡞ࠢࡂࠗࡑߩޟᢥൻ↥ᬺޠߥߤ╙1┨ߢ⸒ߒߚᢥൻ
⎇ⓥ߆ࠄ߽⍮ߩࠃ߁ߦޔ⇇ߩᤋ↹↥ᬺߪ2ߟߩᄢᚢࠍਸ਼ࠅ߃ޔᕆㅦߦᏂᄢൻߒߡ
ߞߚޕ
ߘߩࠃ߁ߥᖱߩਛޔࠗࠡࠬߦ߅ߡ46ᐕߪᤋ↹↥ᬺߣ࠹ࡆ↥ᬺߦߣߞߡ㊀ⷐߥ࠲
࠾ࡦࠣࡐࠗࡦ࠻ߦߥߞߚޕ40ᐕઍߪࠗࠡࠬᤋ↹ߩ㤛㊄ᤨઍߣ߫ࠇࠆࠃ߁ߦޔ46ᐕߦ ߪᤋ↹ⷰቴᢙ߇ㆊᦨ㜞ߩ16ం3,500ਁੱࠍ⸥㍳ߒߚ(Caughie and Rocket 194-9)ޕ᛬ߒ߽ห ᐕߦߪᚢᓟߩ࠹ࡆㅍ߇㐿ᆎߐࠇޔ53ᐕߩᅚ₺ࠛࠩࡌࠬ2(Elizabeth II, 1926-)ߩᚬ
ᑼߩ↢ਛ⛮ࠍᄾᯏߦ࠹ࡆ߇⊒⊛ߦ᥉ߒޔ50 ᐕઍߪ࠹ࡆ↥ᬺߩ᳇ᵹߣߪㅒߦᤋ
↹↥ᬺߩㅌ߇㗼⪺ߦߥߞߚޕߘߩ⁁ᴫߪޔ51ᐕߣ60ᐕࠍᲧセߔࠆߣ⊕ߢࠆ(Caughie and Rocket 194-9)ޕᤋ↹ⷰቴᢙߪ13ం6,500ਁੱ߆ࠄ5ం1,500ਁੱߦޔᤋ↹㙚ᢙߪ4,851
㙚߆ࠄ3,034㙚ߦỗᷫߒߡࠆޕߚߛޔᤋ↹ᢙߛߌߪ102ᧄ߆ࠄ157ᧄߦჇടߒߡࠆޕ
ߎߩ⢛᥊ߦߪޔࠕࡔࠞᤋ↹↥ᬺߩઍฬ⹖ࡂ࠙࠶࠼ߩㆊߥᢥൻଚ㘩߆ࠄ⥄࿖ᢥൻ⼔
ࠍ⋡⊛ߦណࠄࠇߚࠗࠡࠬᐭߩᤋ↹↥ᬺᝄ⥝╷߇ࠆޕ20 ᐕઍࠕࡔࠞߢߪޔߔߢߦ ࡂ࠙࠶࠼ࠍ⽎ᓽߔࠆޟࠬ࠲ࠫࠝࠪࠬ࠹ࡓޠ(studio system)ߣ߁ኦභ⊛↢↥߇⏕┙
ߐࠇޔห৻ߩળ␠⚵❱߇ᤋ↹ߩ㈩⛎⥝ⴕߩ3ߟߩਥⷐㇱ㐷ࠍ৻▤ℂߒߡ⁛භᡰ㈩ ߔࠆޟု⋥⛔วޠ(vertical integration)ߦࠃߞߡࡂ࠙࠶࠼ߪ⇇ߩᤋ↹Ꮢ႐ߦำ⥃ߒߡ߈ߚ (Turner, Film 14-7)ޕ30ᐕઍߦߪޔࡂ࠙࠶࠼ࠍὐߣߔࠆࡄࡑ࠙ࡦ࠻(Paramount)ޔ20
♿ࡈࠜ࠶ࠢࠬ(20th Century Fox)ޔࡢ࠽ࡉࠩ࠭(Warner Bros.)ޔRKO(Radio Keith Orpheum)ޔMGM(Metro-Goldwyn-Mayer)߆ࠄ᭴ᚑߐࠇࠆޟࡆ࠶ࠣ5ޠ(Big Five)ߣࠦࡠࡦࡆࠕ (Columbia)ޔ࡙࠾ࡃࠨ࡞(Universal)ޔ࡙࠽ࠗ࠹࠶࠼ࠕ࠹ࠖࠬ࠷(United Artists)߆ࠄ᭴ᚑ ߐࠇࠆޟ࠻࡞3ޠ(Little Three)߇ޔ⇇ߩᤋ↹↥ᬺࠍ‧ᒁߒߡߚޕࠕࡔࠞᤋ↹↥ᬺࠍ
ᄢߐߖߡ߈ߚߘߩ⚻༡ᚢ⇛ߪޔ⁛භᱛᴺ㆑ߣ߁48ᐕߩࠕࡔࠞᦨ㜞ⵙ್ޔหᐕ ߆ࠄߩ⿒⁚ࠅߩ㐿ᆎޔ47 ᐕߩᚢᓟߩ࠹ࡆㅍ㐿ᆎߥߤߩᓇ㗀ߦࠃߞߡᓢޘߦ፣უߒߡ
ߞߚޕ
ࠗࠡࠬ࿖ౝߦ⋡ࠍะߌߡ߽ޔࡦࠢࠝࠟ࠾࡚ࠪࡦ(Rank Organization)ߣวหࠗ
ࠡࠬᤋ↹ળ␠(Associated British Picture Corporation)ߣ߁ᄢᚻ2␠ߩޟု⋥⛔วޠߦࠃࠆ
⁛භ⁁ᘒߦߞߚ߇ޔ࿖㓙⊛ߦߪࡂ࠙࠶࠼ߩᓥዻ⊛ߦ↞ࠎߓߡߚޕ50ᐕઍߦߪޔ
ࠗࠡࠬᤋ↹㙚ߩᤋᤨ㑆ߩ70㧑ࠍࠕࡔࠞᤋ↹߇භߡ߅ࠅ(Wood 193)ޔࠗࠡࠬᤋ↹
↥ᬺࠍขࠅᏎߊⅣႺߪଐὼߣߒߡ෩ߒ߆ߞߚޕߎߩࠃ߁ߥࠕࡔࠞ࠽࡚ࠗࠪࡦߦኻ᛫
36
ߔࠆ㒐ⴡ╷ߣߒߡޔࠗࠡࠬᐭߪ⼔ߣⷙࠍਛᔃߣߔࠆᤋ↹↥ᬺᝄ⥝╷ࠍዷ㐿ߔࠆޕ 48ᐕߩޟ⧷☨ᤋ↹දቯޠ(Anglo-American Film Agreement)ޔ49ᐕߩޟࠗࠡࠬᤋ↹දળᴺޠ (British Film Institute Act 1949)ޔหߓߊ49ᐕߩޟᤋ↹㧔․Ⲣ⾗㧕ᴺޠ(Cinematograph Film Production (Special Loans) Act 1949)ߦၮߠߊޟో࿖ᤋ↹Ⲣ⾗ᴺੱޠ(National Film Finance Corporation)ߩ⸳┙ޔ50ᐕ߆ࠄ⹜㛎⊛ߦዉߐࠇ57ᐕߩޟᤋ↹ᴺޠ(Cinematograph Films Act
1957)ߢᴺൻߐࠇߚޟࠗ࠺ࠖ⒢ޠ(Eady Levy)㧝ߥߤ߇ߘࠇߦᒰߚࠆޕ
ߒ߆ߒߥ߇ࠄޔ࿖ኅ⊛߽ߌ⍹ߦ᳓ߢޔᤋ↹ߩ㊂⊛Ⴧടߪᔅὼ⊛ߦ⾰⊛ૐਅࠍ߈ޔ
⥝ⴕ㕙ߢ߽⧰ᚢࠍᒝࠄࠇߚޕߘߩ⚿ᨐޔ50ᐕઍࠗࠡࠬᤋ↹ߪޔᤋ↹ᛕ⹏ኅ߆ࠄ“doldrums era” (Richards 147)ޔ“stagnant complacency” (Murphy 10)ޔ“ticked over” (Park 88)ߣߞߚᢔޘ ߥ⹏ଔࠍਅߐࠇߡࠆޕ50ᐕઍߦ㊂↥ߐࠇߚᤋ↹ࠫࡖࡦ࡞ߣ⸒߃߫ޔਛ↥㓏⚖߇ਥዉߒߚ ޟᚢᤋ↹ޠ(war film)ߢࠆޕᚢᤋ↹ߪޔ࡚ࠫࡦࠣࠕ࠰ࡦ(John Grierson, 1898-1972) ߇ᜰዉ⠪ߣߥߞߚ30ᐕઍߩ࠼ࠠࡘࡔࡦ࠲ᤋ↹ㆇേߩᚻᴺࠍขࠅࠇߚ㐳✬ࡈ࡚ࠖࠢࠪ
ࡦᤋ↹ߢࠆޕ࠾࡞࠹ࠖࠟࡦ(Neil Rattigan)ߦࠃࠇ߫ޔ50ᐕઍߩᚢᤋ↹ߪޔᄢ⧷Ꮲ
࿖⊛ࡁࠬ࠲࡞ࠫߩᷢᦸޔഭ⠪㓏⚖ߩ␠ળㅴߦ⢿ᆭࠍᗵߓߚਛ↥㓏⚖ߩ㓏⚖り⊛ߥ ࡊࡠࡄࠟࡦ࠳ߢࠅޔߘߩേ߆ࠄ60ᐕઍ␠ળᵷࠕ࠭ࡓᤋ↹ߩᯏㆇ߇㉯ᚑߐࠇߚߣ
߁(152)ޕห᭽ߩⷰὐ߆ࠄޔࡠࡃ࠻ࡑࡈࠖ(Robert Murphy)ߪޔ“War films, tremendously important in the 50s, are of decreasing interest after 1958.” (36) ߣᜰ៰ߒߡࠆޕߘࠇߦᔕߔࠆ ࠃ߁ߦޔ⠉59ᐕߦߪޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ߇⊓႐ߔࠆߩߢࠆޕ 㧟㧚ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ
ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߣ߁⒓ߪޔࠫࡖࡦ㧩ࡘ࠶ࠢࠧ࠳࡞
(Jean-Luc Godard, 1930-)߿ࡈࡦ࠰ࡢ࠻ࡘࡈࠜ(François Truffaut, 1932-1984)ࠄߦࠃࠆห
ᤨᦼߩࡈࡦࠬߩᤋ↹ㆇേޟࡧࠚ࡞ࡧࠔࠣޠ(Nouvelle Vague)߆ࠄߩᵹ↪ߢࠆޕޟ
ࡧࠚ࡞ࡧࠔࠣޠߪޔ50ᐕઍᓟඨ߆ࠄ60ᐕઍਛ㗃ߦ߆ߌߡࡈࡦࠬߢ㓉⋓ߒߚᤋ↹
ߩầᵹߢޔᤋ↹ળ␠ߩᓇᚲߢߩഥ⋙〈ߥߤߩਅⓍߺ⚻㛎ήߒߦ࠺ࡆࡘߒߚ⧯ᚻ
⋙〈ߦࠃࠆૐ੍▚ޔዋੱᢙࠬ࠲࠶ࡈޔࡠࠤᓇਛᔃޔහ⥝Ṷޔหᤨ㍳㖸ߥߤߩᚻᴺ⊛ߥ
ㅢὐߩࠆ৻ㅪߩኅຠ⟲ࠍᜰߔޕઍߦߪޔࠧ࠳࡞ߩޡൎᚻߦߒ߿߇ࠇޢ(À bout de soufflé, 1959)߿࠻ࡘࡈࠜߩޡᄢੱߪ್ߞߡߊࠇߥޢ(Les Quatre Cents Coups, 1959)ߥ ߤ߇ߍࠄࠇࠆޕᓐࠄߩ⊓႐ߪޔᒰᤨਥᵹߢߞߚᤋ↹ຠࠍߋࠆ⟤ቇ⊛ⷙ▸ࠍ⎕უߒޔ
⇇ߩᤋ↹⇇ߦⴣ᠄ࠍਈ߃ߚޕߘߩᵄࠍฃߌޔหᤨᄙ⊒⊛ߦฦ࿖ߢ⧯ᚻᤋ↹⋙〈߇บ㗡 ߒߚࠃ߁ߦޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ߽♖㕙߿ᚻᴺ㕙ߢߘߩᓇ㗀ਅߦࠆ ߎߣߪᐲޘᜰ៰ߐࠇߡࠆ(Brown 31)ޕ
ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩ․ᓽߪޔਛ↥㓏⚖ߩ㘃ဳ⊛ੱ‛߇ឬ߆ࠇࠆᣢ ᚑࠬ࠲ਛᔃߩࠬ࠲ࠫࠝᓇᤋ↹ߩࠃ߁ߥ೨ᤨઍ⊛ߥຠࠍุቯߔࠆߣߣ߽ߦޔഭ⠪㓏
⚖ࠍᛒߞߚޟᔶࠇࠆ⧯⠪ߚߜޠߩዊ⺑߿ᚨᦛߣߞߚ⋥ㄭߩᢥቇຠߦ㍈ᢅߥᔕࠍ␜ߒ ߡᤋ↹ൻߔࠆߣ߁හᤨᕈߣㄭធᕈࠍᜬߜวࠊߖߡߚὐߢࠆޕ㓞ធߔࠆᢥൻ㗔ၞߢ
ࠆᢥቇߣᤋ↹ߩㅪേߦࠃߞߡ⺀↢ߒߚޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩຠ⟲ࠍ ᐕઍ㗅ߦߔࠆߣᰴߩࠃ߁ߦߥࠆޕ㧞
37 ޡᐕߩᅚޢ㧔1958㧕ࠗࠡࠬ115ಽ
㧦ࡉ࠹ࠖ࠶ࠪࡘࠗࠝࡦ
⋙〈㧦ࠫࡖ࠶ࠢࠢࠗ࠻ࡦ
㧦࡚ࠫࡦ࠙࡞ࡈ㧛ࠫࠚࡓ࠭࠙࡞ࡈ
ේ㧦࡚ࠫࡦࡉࠗࡦ
⣉ᧄ㧦࠾࡞ࡄ࠲࠰ࡦ ਥṶ㧦ࡠࡦࠬࡂࡧࠚࠗ
ޡᔶࠅࠍㄟߡᝄࠅࠇޢ㧔1959㧕ࠗࠡࠬ101ಽ
㧦࠙࠶࠼ࡈࠜ࡞
⋙〈㧦࠻࠾࠴ࡖ࠼࠰ࡦ
㧦ࡂࠨ࡞࠷ࡑࡦ㧛ࠧ࠼ࡦࠬࠦ࠶࠻
ේ㧦࡚ࠫࡦࠝ࠭ࡏࡦ
⣉ᧄ㧦࠽ࠗࠫࠚ࡞࠾࡞㧛࡚ࠫࡦࠝ࠭ࡏࡦ ਥṶ㧦࠴ࡖ࠼ࡃ࠻ࡦ
ޡነᏨ⧓ੱޢ㧔1960㧕ࠗࠡࠬ96ಽ
㧦࠙࠶࠼ࡈࠜ࡞㧛ࡎ
⋙〈㧦࠻࠾࠴ࡖ࠼࠰ࡦ
㧦ࡂࠨ࡞࠷ࡑࡦ
ේ㧦࡚ࠫࡦࠝ࠭ࡏࡦ
⣉ᧄ㧦࡚ࠫࡦࠝ࠭ࡏࡦ㧛࠽ࠗࠫࠚ࡞࠾࡞
ਥṶ㧦ࡠࡦࠬࠝࡧࠖࠛ
ޡᦐߩᄛߣᣣᦐߩᦺޢ㧔1960㧕ࠗࠡࠬ89ಽ
㧦࠙࠶࠼ࡈࠜ࡞
⋙〈㧦ࠞ࡞ࠗࠬ
㧦࠻࠾࠴ࡖ࠼࠰ࡦ
ේ㧦ࠕࡦࠪ࠻
⣉ᧄ㧦ࠕࡦࠪ࠻
ਥṶ㧦ࠕ࡞ࡃ࠻ࡈࠖ࠾
ޡࠠ࠶࠴ࡦޢ㧔1961㧕ࠗࠡࠬ76ಽ
㧦A.C.T.
⋙〈㧦ࠫࠚࡓࠬࡅ࡞
㧦ࠪ࠼࠾ࠦ࡞
ේ㧦ࠕࡁ࡞࠼࠙ࠚࠬࠞ
⣉ᧄ㧦ࠪ࠼࠾ࠦ࡞
ਥṶ㧦ࠞ࡞ࡔ࠽
38 ޡⱣߩޢ㧔1961㧕ࠗࠡࠬ100ಽ
㧦ࡉ࠹ࠖ࠶ࠪࡘࠗࠝࡦ㧛࠙࠶࠼ࡈࠜ࡞
⋙〈㧦࠻࠾࠴ࡖ࠼࠰ࡦ
㧦࠻࠾࠴ࡖ࠼࠰ࡦ
ේ㧦ࠪ࠺ࠖ࠾
⣉ᧄ㧦ࠪ࠺ࠖ࠾
࠻࠾࠴ࡖ࠼࠰ࡦ ਥṶ㧦࠲࠻࠘ࠪࡦࡂࡓ
ޡ㐳〒㔌ࡦ࠽ߩቅ⁛ޢ㧔1962㧕ࠗࠡࠬ104ಽ
㧦ࡉ࠹ࠖ࠶ࠪࡘࠗࠝࡦ㧛࠙࠶࠼ࡈࠜ࡞
⋙〈㧦࠻࠾࠴ࡖ࠼࠰ࡦ
㧦࠻࠾࠴ࡖ࠼࠰ࡦ
ේ㧦ࠕࡦࠪ࠻
⣉ᧄ㧦ࠕࡦࠪ࠻
ਥṶ㧦࠻ࡓࠦ࠻࠾
ޡᚗࠆ⒳ߩᗲᖱޢ㧔1962㧕ࠗࠡࠬ112ಽ
㧦ࡧࠖࠢ㧛࠙ࠜ࠲ࡎ࡞
⋙〈㧦࡚ࠫࡦࠪࡘࠪࡦࠫࡖ
㧦࡚ࠫࡈࠫࡖࡦ࠾
ේ㧦ࠬ࠲ࡦࡃࠬ࠻࠙
⣉ᧄ㧦࠙ࠖࠬࡎ࡞㧛ࠠࠬ࠙ࠜ࠲ࡂ࠙ࠬ
ਥṶ㧦ࠕࡦࡌࠗ࠷
ޡቅ⁛ߩႎ㈽ޢ㧔1963㧕ࠗࠡࠬ134ಽ
㧦ࡠࡓ࡞ࠬ
⋙〈㧦ࡦࠗࠕࡦ࠳࠰ࡦ
㧦ࠞ࡞ࠗࠬ
ේ㧦࠺ࠗࡧࠖ࠶࠼ࠬ࠻
⣉ᧄ㧦࠺ࠗࡧࠖ࠶࠼ࠬ࠻
ਥṶ㧦࠴ࡖ࠼ࡂࠬ
ޡཐߟ߈ࡆޢ㧔1963㧕ࠗࠡࠬ98ಽ
㧦ࡧࠖࠢ㧛࠙ࠜ࠲ࡎ࡞
⋙〈㧦࡚ࠫࡦࠪࡘࠪࡦࠫࡖ
㧦࡚ࠫࡈࠫࡖࡦ࠾
ේ㧦ࠠࠬ࠙ࠜ࠲ࡂ࠙ࠬ
⣉ᧄ㧦ࠠࠬ࠙ࠜ࠲ࡂ࠙ࠬ㧛࠙ࠖࠬࡎ࡞
ਥṶ㧦࠻ࡓࠦ࠻࠾
39
ߎࠇࠄߩᤋ↹ຠߪߔߴߡޟᔶࠇࠆ⧯⠪ߚߜޠߩᢥቇຠ߇ේߢࠅޔ․╩ߔߴ߈ߪ
ේ⠪⥄ࠄ߇⣉ᧄࠍᜂᒰߒߡࠆຠ߇ᄙὐߢࠆޕޟࡧࠚ࡞ࡧࠔࠣޠ߇࠻ࡘ ࡈࠜߩឭ໒ߒߚޟኅਥ⟵ޠ(La Politique des Auteurs)ࠍឝߍޔᤋ↹ኅߢࠆ⋙〈ࠍഃㅧ
⊛ਥߣߒޔᤋ↹ߦ߅ߌࠆหᬺ⊛㕙ࠍシⷞߒߚߩߣᲧセߔࠆߣޔߘߩᏅ⇣ߪኻ ᾖ⊛ߢࠆޕߎߩᨵエᕈߎߘ߇ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩᱞེߢࠅޔᢥ ൻ⊛ࠦࡒ࠶࠻ࡔࡦ࠻ߪኅߣᤋ↹⋙〈ߩ␠ળᄌ㕟⊛࠹ࡑߩࠍ␜ໂߒߡࠆޕหᤨߦޔ ߘߩⓍᭂᕈ߆ࠄߪᤋ↹⋙〈߇ޟᔶࠇࠆ⧯⠪ߚߜޠߩᬺ⊛ଔ୯ࠍ⼂ߒߡߚߣ߁ᛂ▚
⊛ᗧ࿑߽ߡขࠇࠆޕߘࠇߪޔ59ᐕߩ࠴ࡖ࠼࠰ࡦߩ“It is absolutely vital to get into British films the same sort of impact and life that what you can loosely call the Angry Young Man cult had in the theatre and literary worlds.” (qtd. in Hill 40) ߣ߁⊒⸒߇‛⺆ߞߡࠆޕߟ߹ࠅޔޟᔶࠇ ࠆ⧯⠪ߚߜޠߩ㓏⚖⊛㗴ᗧ⼂ߦ⸅⊒ߐࠇߚ⧯ᚻᤋ↹⋙〈ߚߜ߇ࡆࠫࡀࠬ࠴ࡖࡦ߽ࠬⷞ㊁ ߦࠇߟߟޔᓐࠄߣหߢ㐳✬ࡈ࡚ࠖࠢࠪࡦᤋ↹ࠍߒޔᤋ↹⇇ߩࡔࠗࡦࠬ࠻ࡓߦ ㅴࠍᨐߚߒߚߩߢࠆޕ࡚ࠫࡦࡅ࡞(John Hill)߇ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ ࠍഭ⠪㓏⚖ߩޟ⊛ࠕ࠭ࡓޠ(poetic realism)ߣ⾨⾥ߔࠆࠃ߁ߦ(128)ޔߘߩຠ⟲ߪࠗ
ࠡࠬᤋ↹ผߦ߅ߡ㜞ߊ⹏ଔߐࠇߡࠆޕ㧟ߘߩ৻ᣇߢޔࠝ࠶ࠢࠬࡈࠜ࠼ᄢቇ߿ࠤࡦࡉ
࠶ࠫᄢቇりߩᤋ↹⋙〈ߩਛ↥㓏⚖⊛ߥⷞὐߦࠃߞߡഭ⠪㓏⚖ߩੱਥ⟵⊛ޔ‛⾰ਥ
⟵⊛ޔ⊛ߥ㕙߇ะᒝ⺞ߐࠇߡࠆߣ߁ࠛ࠹ࠖࠪ࠭ࡓߦኻߔࠆᛕ್߽
ࠆ(Hutchings 146-52)ޕߒ߆ߒߥ߇ࠄޔ㓏⚖⊛ࡃࠗࠕࠬ߇ౝߒߡߚߣߪ߃ޔഭ⠪㓏⚖
߇㐳✬ᤋ↹ߩ࠹ࡑߦߥࠆߎߣ⥄߇⇣ߢࠅޔᭂߡ㊀ⷐߥ␠ળ⊛ᄌൻࠍ␜ߒߡ
ࠆߣ⸒߃ࠆޕ
߹ߚޔ⾗㊄㕙ߢ߽ᵈ⋡ߔߴ߈․ᓽ߇ࠆޕᚢ೨ߩࠗࠡࠬᤋ↹ߪࠗࠡࠬᤋ↹දળ
(BFI = British Film Institute)㧠ߩ࿖ኅഥߦࠃࠆ߇ୟ⊛ߦᄙ߆ߞߚ߇ޔߘࠇએ㒠ߪࠕࡔ
ࠞ᳃㑆ડᬺߩ⾗㊄ឭଏߦࠃࠆ߇Ⴧടߒߚޕߎߩะߪޔ47ᐕߦࠢࡔࡦ࠻ࠕ࠻
₸ࠆഭౄᮭ߇ࡐࡦ࠼ߩ⥄↱឵ߦ߁࠼࡞ᵹߦࠃࠆ࿖㓙ᡰߩᖡൻߦኻᔕߔࠆ
✕❗⚻ᷣ╷ߣߒߡޔャᤋ↹ߦኻߒߡ75㧑ߩ㑐⒢⾮⺖ࠍታᣉߒߚߎߣ߇⊒┵ߣߥߞߚޕ ࠕࡔࠞߪႎᓳភ⟎ߣߒߡࠗࠡࠬ߳ߩᤋ↹ャࠍහೞᱛߒߚޕࠕࡔࠞߣߩᄖ㑐ଥ ᖡൻ߿ࡂ࠙࠶࠼ߩࡏࠗࠦ࠶࠻㐳ᦼൻࠍ࿁ㆱߒߚ߆ߞߚࠗࠡࠬᐭߪޔ48ᐕߩޟ⧷☨ᤋ
↹දቯޠߢࠕࡔࠞᤋ↹߳ߩ࠼࡞ᡰᛄߩ㒢ࠍᐕ㑆425ਁࡐࡦ࠼㧔⚂1,700ਁ࠼࡞㧕ߣߒޔ ߘࠇએߩ⋉ߪࠗࠡࠬᤋ↹↥ᬺߦᛩ⾗ߔࠆߎߣࠍ᧦ઙߦޔ㑐⒢ߩ᠗ᑄࠍදቯߒߚޕ⧷
☨ᤋ↹↥ᬺߪ⒢߿Ⲣ⾗ࠍߋߞߡኻ┙ߣ⼑ᱠࠍ➅ࠅߒߡ߈ߚ߇ޔߎߩ᩺ઙએ㒠ޔ⚿ᨐ
⊛ߦߪࠕࡔࠞ᳃㑆ડᬺ߇ࠗࠡࠬᤋ↹ߦᛩ⾗ߔࠆფ߇ᒻᚑߐࠇߚߩߢࠆޕߎ߁ ߒߡᤋ↹ߩࠬࡐࡦࠨ߇Ḱ࿖ኅᯏ㑐ߩࠗࠡࠬᤋ↹දળ߆ࠄࠕࡔࠞ᳃㑆ડᬺ߳ߣᄌ ൻߒߡߞߚታߪޔࠗࠡࠬߩㅌߣࠕࡔࠞߩบ㗡ߣ߁⧷☨ߩᴦ⚻ᷣ⊛⁁ᴫࠍ⦡
Ớߊᤋߒߡࠆޕߎߎߦߪޔࠕࡦ࠻࠾ࠝࡀࠣ(Antonio Negri, 1933-)ߣࡑࠗࠤ࡞ࡂ
࠻(Michael Hardt, 1960-)߇ޡᏢ࿖ޢ(Empire, 2000)ߦ߅ߡਥᒛߔࠆࠣࡠࡃ࡚ࠪࡦߦ
߁ޟᏢ࿖ޠߩౣ✬ޔߔߥࠊߜࠗࠡࠬ࿖ኅࠍਥߣߔࠆ19♿⊛Ꮲ࿖ਥ⟵߆ࠄࠕࡔࠞ
⾗ᧄਛᔃߩᄙ࿖☋ડᬺߩ㓸ว⊛ࡀ࠶࠻ࡢࠢߦࠃߞߡ᭴ᚑߐࠇࠆ20♿⊛Ꮲ࿖߳ߩ⒖ⴕࠍ
⏕ߢ߈ޔࠕࡔࠞ࠽࡚ࠗࠪࡦߩ1ߟߩళࠍᜰ៰ߢ߈ࠆ(xv-xvi)ޕ
ߘߒߡޔᒰᤨߩᢥൻᬺ⇇ߦ߅ߡ⧯⠪ߩ㔛ⷐ߇ᦨ߽ᦼᓙߢ߈ߚᬺ⊛ଔ୯ࠍߔࠆᢥቇ
ຠߢߞߚޟᔶࠇࠆ⧯⠪ߚߜޠߩᤋ↹ൻߣ߁ࡊࡠࠬߪޔ߹ߐߦޟᢥൻߩຠൻޠߢ
ࠅޔޟᔶࠇࠆ⧯⠪ߚߜޠ߿ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߪᄢ㊂↢↥ᄢ㊂ᶖ⾌
ࠍၮᧄ᭴ㅧߣߔࠆࠕࡔࠞဳᶖ⾌␠ળߩᏒ႐ߩ᷵ਛߦขࠅㄟ߹ࠇߚᗵ߽ࠆޕߢߪޔޟࡉ
40
࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߪࠕࡔࠞ࠽࡚ࠗࠪࡦߦቢోߦᨴࠄࠇߡߒ߹ߞߚ ߩߛࠈ߁߆ޕࠗࠡࠬߩᢥൻ⊛ࠕࠗ࠺ࡦ࠹ࠖ࠹ࠖߩⴕᣇࠍ⏕ߔࠆߚߦޔޟࡉ࠹ࠖ࠶ࠪ
ࡘ࠾ࡘ࠙ࠚࠗࡧޠߩ೨りߣߥߞߚᤋ↹ㆇേޟࡈࠪࡀࡑޠࠍᝄࠅߞߡߺߚޕ 㧠㧚ޟࡈࠪࡀࡑޠ
ޟࡈࠪࡀࡑޠߪޔ56ᐕ2߆ࠄ59ᐕ3ߦ߆ߌߡࡠࡦ࠼ࡦߩ࠽࡚ࠪ࠽࡞ࡈࠖ࡞
ࡓࠪࠕ࠲ߢᤋߐࠇߚో6࿁ߩ⍴✬࠼ࠠࡘࡔࡦ࠲ᤋ↹ߩࡊࡠࠣࡓߩ✚⒓ߢࠅޔ ᓟߦߘߩ࠼ࠠࡘࡔࡦ࠲ㆇേߩ⒓ߦߥߞߚޕਛᔃ⊛ੱ‛ߪ࠴ࡖ࠼࠰ࡦޔࠕࡦ࠳
࠰ࡦޔࠗࠬߦࡠࡦ࠷ࠔࡑ࠶࠷ࠚ࠶࠹ࠖ(Lorenza Mazzetti, 1928-)ࠍട߃ߚ4ੱߢࠆޕ ߘߩᵴേߪޔᓐࠄߩ⋙〈ຠࠍ⊒ߔࠆ 3 ࿁ߩࡊࡠࠣࡓߣᄖ࿖ߩᤋ↹ຠࠍ⚫ߔࠆ 3
࿁ߩࡊࡠࠣࡓߢ᭴ᚑߐࠇߚޕᓐࠄߪࠣࠕ࠰ࡦߩࡊࡠࡄࠟࡦ࠳ࠍᧄ⾰ߣߔࠆ࠼ࠠࡘࡔࡦ
࠲ᤋ↹ࠍᛕ್ߒޔࡂࡦࡈࠫࠚ࠾ࡦࠣࠬ(Humphrey Jennings, 1907-50)ߩ⧓ⴚᕈࠍㅊ
᳞ߔࠆ⊛ߥ࠼ࠠࡘࡔࡦ࠲ᤋ↹ࠍౣ⹏ଔߒߚޕߘߒߡޔࠕࡦ࠳࠰ࡦߪޟᔶࠇࠆ⧯⠪
ߚߜޠߣߩ⪺ߣ⸒߃ࠆነⓂ㓸ޡ⧯߈ઍߩ⊒⸒ޢᚲߩࠛ࠶ࠗޟ㘧߮ߒߡޔߖ㧍ޠ (“Get Out and Push!.”, 1957)ߦ߅ߡޔᤋ↹ߩࠅᣇߦߟߡᰴߩࠃ߁ߦㅀߴߡࠆޕ
The cinema is an industry. This is a statement which no one is likely to contest. It is also an art - and most people will allow that too. But it is something else as well; it is a means of communication, of making connections. (160-1)
ޟࡈࠪࡀࡑޠߪޔࠫࠚ࠾ࡦࠣࠬߩᔒߒߚ⥄↱ߥഃㅧᕈߣ⧓ⴚ⊛ߥߦࠃߞߡᏒ
ߩੱޘࠍឬߊߎߣࠍℂᔨߦޔᬺ⊛⚂߆ࠄ〒㔌ࠍ⟎߈ޔഭ⠪㓏⚖ߩ↢ᵴᢥൻ߿ࠦࡒࡘ
࠾࠹ࠖࠍ⊛ߥ࠼ࠠࡘࡔࡦ࠲࠲࠶࠴ߢឬߚߩߢࠆޕ
ޟࡈࠪࡀࡑޠߩᆎേ೨ޔ47ᐕ߆ࠄ52ᐕߦ߆ߌߡࠕࡦ࠳࠰ࡦߣࠗࠬߪᤋ↹ᛕ⹏
ޡࠪࠢࠛࡦࠬޢ(Sequence)ࠍ⊒ⴕߒޔᤋ↹ᛕ⹏ࠍၫ╩ߒߡߚޕޟࡈࠪࡀࡑޠߣ
߁⒓ߪޔหߢᤋ↹ᛕ⹏ኅࠕࡦࠢࠢ(Alan Clarke, 1935-90)߇ߞߚ⸒⪲ࠍࠕࡦ࠳
࠰ࡦ߇୫↪ߒߚ߽ߩߢࠆޕ߿߇ߡᓐࠄߪࠗࠡࠬᤋ↹දળߩഥࠍฃߌޔߘߩᵴേࠍ ᛕ⹏߆ࠄታ߳ߣ⒖ⴕߐߖߡߊޕೋ࿁ߩ56ᐕߦߪޔࠤࡦ࠻Ꮊࡑࠥࠗ࠻ߩᶏጯߩㆆ
ߢભᣣࠍᭉߒഭ⠪ࠍ᷆ޘߣឬߚࠕࡦ࠳࠰ࡦߩޡࠝ࠼ࡓࡦ࠼ޢ(O Dreamland,
1953)ޔ⧯ഭ⠪߇᳇᥍ࠄߒߢ㓸߹ࠆࡁࠬࡠࡦ࠼ࡦߩࠫࡖ࠭ࠢࡉߢߩ৻ᄛࠍ⸥㍳ߒ
ߚࠗࠬߣ࠴ࡖ࠼࠰ࡦߩޡࡑࡑ߇⸵ߒߡߊࠇߥޢ(Momma Don’t Allow, 1956)ޔ╙
ੑᰴ⇇ᄢᚢߦ߅ߡ࠼ࠗ࠷ァߩỗߒ᠄ߢ↟ᄢߥⵍኂࠍฃߌߚࡠࡦ࠼ࡦߩࠗࠬ࠻ࠛ
ࡦ࠼ߩ2ੱߩ⡲ໍ⠪ߦߟߡߩ࠼ࠠࡘࡔࡦ࠲㘑ࡈ࡚ࠖࠢࠪࡦߣ߁ᒻᑼࠍ ขࠆࡑ࠶࠷ࠚ࠶࠹ࠖߩޡ৻✜ߦޢ(Together, 1956)ߣ߁ 3 ຠ߇ᤋߐࠇߚޕߎࠇࠄߩ
ຠߪߔߋߦᤋ↹ᗲᅢኅߩ⹏್ࠍ߮ޔᓟߦ 3 ຠߔߴߡ߇หᐕߩ╙ 9 ࿁ࡈࡦࠬࠞࡦ
࿖㓙ᤋ↹⑂ߢᤋߐࠇࠆߎߣߦߥߞߚޕ
ᒰᤨήฬߩ⧯ᚻᤋ↹⋙〈ߩຠ߇ߎࠇ߶ߤᵈ⋡ࠍ㓸ߚߩߪޔᓐࠄ߇Ფ࿁ᚑߒߚࡊࡠ
ࠣࡓࡁ࠻ߦ⸥ߐࠇߚޟࡈࠪࡀࡑޠߩࡑ࠾ࡈࠚࠬ࠻߇ࡄࡉࠪ࠹ࠖߣߒߡᯏ
⢻ߒޔ㗴ࠍࠎߛ߆ࠄߢࠆޕࠕࡦ࠳࠰ࡦߣࡑ࠶࠹ࠖ߇⨲ߒޔ࠴ࡖ࠼࠰ࡦߣ
41
ࠗࠬߩฬ߽ടࠊߞߚ4ੱㅪฬߩೋ࿁ߩࡑ࠾ࡈࠚࠬ࠻ޟჿޠ(“STATEMENT”, 1956)ߦߪޔ
ᰴߩࠃ߁ߦ⸥ߐࠇߡࠆޕ
STATEMENT
These films were not made together; nor with the idea of showing them together. But when they came together, we felt they had an attitude in common.
Implicit in this attitude is a belief in freedom, in the importance of people and the significance of the everyday.
As filmmakers we believe that:
No film can be too personal.
The image speaks. Sound amplifies and comments. Size is irrelevant.
Perfection is not an aim.
An attitude means a style. A style means an attitude.
Lorenza Mazzetti Lindsay Anderson Karel Reisz Tony Richardson (Free Cinema 9)
ߎߩޟჿޠߢߪޔᓐࠄߩᤋ↹ߩ⏕࿕ߚࠆࠬ࠲ࡦࠬ߇ၴޘߣት⸒ߐࠇߡࠆޕ߹ߚޔ
╙ 1 ࿁ᤋળߩᢙࡩᓟߦߪޔࠕࡦ࠳࠰ࡦߩᤋ↹ᛕ⹏ޟࠬ࠲ࡦ࠼ࠕ࠶ࡊ㧍ࠬ࠲ࡦ࠼ࠕ࠶
ࡊ㧍ޠ(“Stand Up! Stand Up!”, 1956)߇ࠗࠡࠬᤋ↹දળߩᯏ㑐ޡࠨࠗ࠻ࠕࡦ࠼ࠨ࠙ࡦ
࠼ޢ(Sight & Sound)ߩ56ᐕ⑺ቄภߦឝタߐࠇߚޕࠕࡦ࠳࠰ࡦߪᒰᤨࠗࠡࠬߢᡰ㈩⊛ߛ
ߞߚ㕖ᴦ⊛ߢਥⷰࠍ߃ߥቴⷰ⊛ߥᤋ↹ᛕ⹏ߩะࠍ෩ߒߊᛕ್ߒޔߘࠇ߇ᐢߊᵹᏓ ߒߡࠆᤋ↹ߦኻߔࠆਥ⟵ߩౖဳߣߥߞߡࠆߣ⠨߃ޔᤋ↹ߪ⧓ⴚߢࠆߣหᤨߦ
⊒⊛ߥജߥߩߢࠅޔࠁ߃ߦ⟤ቇ⊛ߦ߽ᴦ⊛ߦ߽⌀ߦฃߌᱛߥߊߡߪߥࠄߥ߽ߩ ߛߣ⺰ߓߡࠆ(63-69)ޕ
ߎࠇࠄߩᤋ↹⇇ߦኻߔࠆㆊỗߥᗧᔒ߆ࠄޔࡔ࠺ࠖࠕ߽ޟࡈࠪࡀࡑޠࠍනߥࠆ
ᤋળߢߪߥߊޔᄌ㕟⊛ߥᤋ↹ㆇേߣߒߡขࠅߍޔ৻べ⣉శࠍᶎ߮ࠆࠃ߁ߦߥߞߚޕޟࡈ
ࠪࡀࡑޠ߇ᤋ↹⇇ߦኻߒߡࠍᒝߚ56ᐕߪޔᄸߒߊ߽ࠬࠛ࠭ෂᯏߣࡂࡦࠟ
ઙߩഺ⊒ޔ࠴ࡖ࠼࠰ࡦ߇Ṷߒߚࠝ࠭ࡏࡦߩޡᔶࠅࠍㄟߡᝄࠅࠇޢߩᄢỗ㔡 ߦࠃࠆޟᔶࠇࠆ⧯⠪ߚߜޠ⽎ߩ⊒↢ߣ߁ᴦ⊛ߦ߽ᢥൻ⊛ߦ߽⽎ᓽ⊛ߥᤨઍߩಾࠅ ߣߥߞߚᐕߢࠆޕޟᔶࠇࠆ⧯⠪ߚߜޠߣห᭽ߦޔߎߩ೨ᓟ߆ࠄޟࡈࠪࡀࡑޠߪ
ߩ⾗ᧄਥ⟵ߣ᧲ߩ↥ਥ⟵߆ࠄ߽〒㔌ࠍ⟎ߊ╙ 3 ߩᴦⓨ㑆ߩน⢻ᕈࠍᮨ⚝ߔࠆࠬ࠴ࡘ
42
ࠕ࠻ࡎ࡞ࠄ࠾ࡘࡈ࠻ߣធㄭߒޔᤋ↹ᛕ⹏ߦ߅ߌࠆᴦ⊛⽿છߦߟߡਥᒛߔࠆ ࠃ߁ߦߥߞߚޕ೨ㅀߒߚࠃ߁ߦޔ57 ᐕߦߪࠕࡦ࠳࠰ࡦ߇ࠝ࠭ࡏࡦޔ࠙ࠚࠗࡦޔ࠙ࠖ࡞
࠰ࡦߣߞߚޟᔶࠇࠆ⧯⠪ߚߜޠߣหߢᴦ⦡ߩᒝ⹏⺰㓸ޡ⧯߈ઍߩ⊒⸒ޢࠍ⊒
ߒߡࠆߎߣ߆ࠄ߽ޔᢥൻ⇇ߩᵹ⁁ᴫࠍ┍⍮ࠆߎߣ߇ߢ߈ࠆޕ
ޟࡈࠪࡀࡑޠߩᵴേᦼߢࠆ56ᐕ߆ࠄ59ᐕߪޔޟᔶࠇࠆ⧯⠪ߚߜޠߩᦨ⋓ᦼߣ㊀ ⶄߔࠆޕߎࠇࠍනߥࠆὼߩ৻⥌ߢ⋴ㆊߔࠆߎߣߪߢ߈ߥޕߘߎߦߪޔหᤨઍߩ⧯ᚻᢥ ൻੱ߇ߒߚ␠ળᢥൻ⁁ᴫߦኻߔࠆ⇣⼏߇ሽߒߡࠆߩߢࠆޕ╙3࿁ߩࡊࡠࠣࡓ
ࡁ࠻ߩࡑ࠾ࡈࠚࠬ࠻ޟࠗࠡࠬࠍࠃ㧍ࡈࠪࡀࡑ3ޠ(“LOOK AT BRITAIN! FREE
CINEMA 3”, 1957)ߢߪޔࠕࡦ࠳࠰ࡦߦࠃߞߡޟࡈࠪࡀࡑޠߩ⋡⊛߇ࠃࠅ⏕ߦ⺆ࠄ
ࠇߡࠆޕ
We ask you to view it not as critics, nor as a diversion, but in direct relation to a British cinema still obstinately class-bound; still rejecting the stimulus of contemporary life, as well as the responsibility to criticise; still reflecting a metropolitan, Southern English culture which excludes the rich diversity of tradition and personality which is the whole of Britain. (Free Cinema 16)
ࠕࡦ࠳࠰ࡦߩࠗࠡࠬᤋ↹⇇ߦኻߔࠆ⇣⼏ߪޔޟᔶࠇࠆ⧯⠪ߚߜޠߩઍᩰߢࠆࠕ
ࡦࠪ࠻߇⥄વޡ⑳ߪߤߩࠃ߁ߦߒߡኅߣߥߞߚ߆ޢ(Mountains and Caverns, 1975) ߦ߅ߡߒߚࠗࠡࠬᢥቇ⇇ߦኻߔࠆ⇣⼏ߣߦ╓วߔࠆޕ
The sort of working men portrayed in England by the cinema, or on radio and television, or in books, were either criminals, servants, or funny people. They were presented in unrealistic terms that working people had perhaps come to accept and expect too readily about themselves, images handed out to them which if shown often enough would, it was hoped, keep them behaving in the same jokey but innocuous fashion. They lacked dignity in fiction because they lacked depth. But it seemed obvious to me that they had as much reason as anyone else to see themselves and their lives portrayed accurately in books. (37-8)
ࠕࡦ࠳࠰ࡦߣࠪ࠻ߩਔ⠪ߪޔᢥൻ㗔ၞߦ߅ߌࠆਛ↥㓏⚖ߩఝᕈߣഭ⠪㓏⚖ߩഠ
ᕈࠍ㗴ⷞߒߡࠆޕߘࠇߪታ⇇ߩ␠ળ⁁ᴫߩᛩᓇߣഥ㐳ߢࠅޔߎߩ㓏⚖⊛㗴ᗧ
⼂ߎߘ߇⧯ᚻᢥൻੱߩᄌ㕟⊛ᵴേߩࡃࠗ࠲࠹ࠖߦߥߞߚߩߢࠆޕ⚿ᨐ⊛ߦᄙߊߩᵈ⋡
ࠍ㓸ߚޟࡈࠪࡀࡑޠߪޔ␠ળ⊛ሽߣߒߡߩഭ⠪㓏⚖ߩਥᕈߩᛚࠍ⸷߃ࠆ ߎߣߦᚑഞߒޔߘߩ⋡⊛ࠍ㆐ᚑߒߚߣ⸒߃ࠆޕ
ߘߩᓟޔ59ᐕߩᦨ⚳࿁ߩࡊࡠࠣࡓࡁ࠻ߩࡑ࠾ࡈࠚࠬ࠻ޟࡈࠪࡀࡑ6 ̆ᦨᓟ ߩࡈࠪࡀࡑ̆ޠ(“FREE CINEMA SIX: THE LAST FREE CINEMA”, 1959)ߢޔᓐࠄߪߘ ߩㆇേߦ⥄ࠄ⚳ᱛ╓ࠍᛂߟߩߢࠆޕ
FREE CINEMA is dead, Long live FREE CINEMA! (Free Cinema 24)
࠴ࡖ࠼࠰ࡦޔࠕࡦ࠳࠰ࡦޔࠗࠬߩਃੱߪ㗡ⷺࠍߒޔߘߩ߹߹ޟࡉ࠹ࠖ࠶ࠪࡘ
43
࠾ࡘ࠙ࠚࠗࡧޠ߳ߣォߓߚޕࡑ࠶࠷ࠚ࠶࠹ࠖߪ࿖ࠗ࠲ࠕߦᵴേὐࠍ⒖ߒߚޕߎ ߩ㔌ߪฃേ⊛ߥ⸃ᢔ߿⥄ὼᶖṌߢߪߥߊޔߒࠈ⢻േ⊛ߥ⊒ዷ⊛⸃ᶖߢࠆߣ⸒߃ࠃ߁ޕ ޟࡈࠪࡀࡑޠߩ․ᓽߢࠆޟ⊛ࠕ࠭ࡓޠߣ߁ࠬ࠲ࠗ࡞ޔޟഭ⠪㓏⚖ߩ⽎ޠ ߣ߁࠹ࡑߪޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩߘࠇߣ৻⥌ߔࠆޕޟࡈࠪ
ࡀࡑޠ߆ࠄޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ߳ߩ⛮⛯ᕈߪޔᒰ⠪ߢࠆࠕࡦ࠳
࠰ࡦ߿ࠗࠬߦࠃߞߡ߽⥄Ꮖ⼂ߐࠇߡߚޕታ㓙ޔޟࡈࠪࡀࡑޠߩᦨ⚳࿁ߩࡑ࠾ࡈ ࠚࠬ࠻ޟࡈࠪࡀࡑ6 ̆ᦨᓟߩࡈࠪࡀࡑ̆ޠߦߪޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ
࠙ࠚࠗࡧޠߩ᐀㐿ߌߣߥߞߚᤋ↹ޡᐕߩᅚޢߩትવ߿࠴ࡖ࠼࠰ࡦߩ⋙〈ᤋ↹ޡᔶࠅ ࠍㄟߡᝄࠅࠇޢߩ੍๔߹ߢ߹ࠇߡࠆޕߒߚ߇ߞߡޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙
ࠚࠗࡧޠߪޟࡈࠪࡀࡑޠߩࠬ࠲ࠗ࡞ߣ࠹ࡑࠍ㐳✬ࡈ࡚ࠖࠢࠪࡦᤋ↹ߩᢥ⣂ߢ⛮⛯
ߒߡߚߩߢࠅޔᓐࠄߪࠕࡔࠞ࠽࡚ࠗࠪࡦߩ⨹ᵄߦ߽ំࠄߋߎߣߥߊࠗࠡࠬ․
ߩ㓏⚖⊛㗴ᗧ⼂ࠍᄬࠊߕߦᜬߒ⛯ߌߡߚߩߢࠆޕߘߩᗧߢޔޟࡈࠪࡀ ࡑޠߪޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩᏓ⍹ߢߞߚߣ⸒߃ࠆޕ
㧡㧚ᢥൻᬺ⇇ౝߩⱣ㑐ଥ
ޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߦ߅ߌࠆ㓏⚖ߩ㗴ߦߟߡߪޔޟᔶࠇࠆ⧯⠪ߚ ߜޠߩᓇ㗀߇㕖Ᏹߦᒝߎߣߪ⊕ߢࠆޕߘߎߢޔޟᔶࠇࠆ⧯⠪ߚߜޠߩᢥቇ⇇ߣޟࡉ
࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩᤋ↹⇇ߣ߁㓞ធߔࠆᢥൻ㗔ၞࠍ൮ߔࠆᢥൻᬺ⇇ߦ ᚲዻߒߚᒰ⠪ߚߜߩⱣ㑐ଥߦߟߡޔኅࠝ࠭ࡏࡦߣṶኅᤋ↹⋙〈࠴ࡖ
࠼࠰ࡦࠍߦಽᨆߒߡߊޕ
BBCߩ࠺ࠖࠢ࠲ࠍ⚻ߡṶኅߦߥߞߚ࠴ࡖ࠼࠰ࡦߪޔ55ᐕߦṶኅ࡚ࠫࠫ
࠺ࠖࡧࠔࠗࡦ(George Devein, 1910-66)ߣ࿅ࠗࡦࠣ࠶ࠪࡘࠬ࠹ࠫࠞࡦࡄ࠾ࠍᣛ឴
ߍߒޔ㐳ᦼ⾉୫ᄾ⚂ߢ₪ᓧߒߚࡠࠗࡗ࡞ࠦ࠻ࠪࠕ࠲ࠍᧄߣߒߚޕᓐࠄߪᣂੱ
ኅߩ⊒ជߦജࠍࠇޔࠝ࠭ࡏࡦޔ࠙ࠚࠬࠞޔࡂࡠ࡞࠼ࡇࡦ࠲(Harold Pinter, 1930-2008)ޔ࡚ࠫࡦࠕ࠺ࡦ(John Arden, 1930-2012)ࠄࠍヘߒߚޕᣛ឴ߍṶߩ750ᧄએ
߽ߩຠߩਛ߆ࠄޔ࠴ࡖ࠼࠰ࡦߩᔃࠍ⓭߈േ߆ߒߚߩߪޔߚߞߚ 1 ᧄߛߌߢ
ߞߚޕߘࠇ߇ࠝ࠭ࡏࡦߩޡᔶࠅࠍㄟߡᝄࠅࠇޢߢࠅޔߎߎ߆ࠄ࠴ࡖ࠼࠰ࡦߣ
ࠝ࠭ࡏࡦߩⱣ㑐ଥ߇ᒻᚑߐࠇߡߊޕ
56 ᐕޔࠗࠡࠬṶ⇇ߢߪ࠴ࡖ࠼࠰ࡦ߇Ṷߒߚࠝ࠭ࡏࡦߩޡᔶࠅࠍㄟߡᝄࠅ
ࠇޢ߇ⴣ᠄ࠍ߽ߞߡㄫ߃ࠄࠇߚޕߘߩ⹏್ࠍฃߌߡޔ57 ᐕߦߪࠕࡔࠞ࠾ࡘ࡛ࠢ
߆ࠄᎼṶࠝࡈࠔ߇ዯ߈ޔࡉࡠ࠼࠙ࠚࠗṶߢ߽ᚑഞࠍࠆޕߐࠄߦหᐕߦߪޔࠝ࠭
ࡏࡦߩᚨᦛޡነᏨ⧓ੱޢ(The Entertainer, 1957)߇࠴ࡖ࠼࠰ࡦṶޔࠗࠡࠬߩ࿖᳃⊛
େఝࡠࡦࠬࠝࡧࠖࠛ(Laurence Olivier, 1907-89)ਥṶߢ⥰บൻߐࠇߚޕߥ߅ޔหᐕߦ ߪ೨ㅀߒߚࠃ߁ߦޔࠕࡦ࠳࠰ࡦ߇ࠝ࠭ࡏࡦࠄߣหߢޡ⧯߈ઍߩ⊒⸒ޢࠍ⊒ߒߡ ߅ࠅޔࠣ࡞ࡊනߦࠊߚࠆᢥൻᵹ⁁ᴫ߇⏕ߢ߈ࠆޕߘߒߡ59ᐕߦߪޔ࠴ࡖ࠼࠰
ࡦߣࠝ࠭ࡏࡦߣࠞ࠽࠳ੱᤋ↹⠪ࡂࠨ࡞࠷ࡑࡦ(Harry Saltzman,1915-94)ߩ3ੱ߇ ࡂ࠙࠶࠼ߩࡢ࠽ࡉࠩ࠭߆ࠄ⾗ࠍᓧߡޔࠗࡦ࠺ࠖࡍࡦ࠺ࡦ࠻♽ᤋ↹ળ␠
࠙࠶࠼ࡈࠜ࡞ࡈࠖ࡞ࡓ࠭(Woodfall Film Productions)ࠍห⸳┙ߔࠆޕ⋥ᓟߦޔ╙1ߣ ߒߡࠝ࠭ࡏࡦߩޡᔶࠅࠍㄟߡᝄࠅࠇޢ߇࠴ࡖ࠼࠰ࡦ⋙〈ޔࠝ࠭ࡏࡦ⣉ᧄޔ
44
࠴ࡖ࠼ࡃ࠻ࡦ(Richard Burton, 1925-84)ਥṶߢᤋ↹ൻߐࠇޔᅢ⹏ࠍඳߒߚޕ60ᐕߦߪޔ
ࠝ࠭ࡏࡦߩޡነᏨ⧓ੱޢ߇࠴ࡖ࠼࠰ࡦ⋙〈ޔࠝ࠭ࡏࡦ⣉ᧄޔࠝࡧࠖࠛਥṶߣ
߁⥰บߣห᭽ߩࠠࡖࠬ࠻ߢᤋ↹ൻߐࠇߚޕߐࠄߦ61ᐕߦߪޔࠝ࠭ࡏࡦߩᚨᦛޡ࡞࠲ޢ (Luther, 1961)߇࠴ࡖ࠼࠰ࡦṶޔࠕ࡞ࡃ࠻ࡈࠖ࠾(Albert Finney, 1936-)ਥṶߢ⥰บ ൻߐࠇߚޕหᤨᦼߦߪޔޟᔶࠇࠆ⧯⠪ߚߜޠߩᢥቇຠ߇⍫⛮߉ᣧߦᤋ↹ൻߐࠇޔイਗߺᄢ ࡅ࠶࠻ࠍ⸥㍳ߒߚޕ
ߘߒߡޔ࠴ࡖ࠼࠰ࡦߣࠝ࠭ࡏࡦߩ㓸ᄢᚑ߇ޔ63 ᐕߦࡋࡦࡈࠖ࡞࠺ࠖࡦࠣ
(Henry Fielding, 1707-54)ߩฎౖዊ⺑ޡ࠻ࡓ࡚ࠫࡦ࠭ޢ(Tom Jones, 1749)ࠍ࠴ࡖ࠼࠰ࡦ
⋙〈ޔࠝ࠭ࡏࡦ⣉ᧄޔ࠻ࡓࠦ࠻࠾(Tom Courtenay, 1937-)ਥṶߢᤋ↹ൻߒߚޡ࠻ࡓ
࡚ࠫࡦ࠭ߩ⪇㤀ߥ౨㒾ޢ(Tom Jones, 1963)ߢࠅޔ╙36࿁ࠕࠞ࠺ࡒ⾨ߢຠ⾨ޔ⋙〈⾨ޔ
⣉ᧄ⾨ޔᦛ⾨ߩ4ㇱ㐷ࠍฃ⾨ߒߚޕޡ࠻ࡓ࡚ࠫࡦ࠭ߩ⪇㤀ߥ౨㒾ޢߪޔหᐕߦࠨ࡞࠷
ࡑࡦ߇ߦ៤ࠊߞߚࠗࠕࡦࡈࡒࡦࠣ(Ian Fleming, 1908-64)ߩࠬࡄࠗዊ⺑ޡࡠࠪࠕࠃࠅ ᗲࠍㄟߡޢ(From Russia with Love, 1957)ࠍᤋ↹ൻߒߚޡ007㧛ࡠࠪࠕࠃࠅᗲࠍㄟߡޢ(From
Russia with Love, 1963)ߣਗ߮ޔߘߩࠛࡦ࠲࠹ࠗࡔࡦ࠻ᕈ߇ฃߌࠇࠄࠇޔ⥝ⴕ㕙ߢ߽࿖㓙
⊛ߥᚑഞࠍߚޕߘࠇߪ50ᐕઍߩ⊕㤥ߩ⟤ቇ߇⚳ࠊࠅޔ60ᐕઍߩ⦡㞲߿߆ߥᄞ⇇ߩᆎ
߹ࠅࠍ๔ߍࠆࠃ߁ߦޔᤨઍᄌൻࠍ⽎ᓽߒߡࠆޕ
߹ߚޔޡ࠻ࡓ࡚ࠫࡦ࠭ߩ⪇㤀ߥ౨㒾ޢ߇㓏⚖㗴ࠍࠦࡔ࠺ࠖᵴߦ⪇ߐߖߚὐޔޡ007 㧛ࡠࠪࠕࠃࠅᗲࠍㄟߡޢߢਥṶߩࠬࠦ࠶࠻ࡦ࠼ഭ⠪㓏⚖りߩ࡚ࠪࡦࠦࡀ
(Sean Connery, 1930-)߇ࠫࠚࡓ࠭ࡏࡦ࠼(James Bond)ᓎߢࠗࠡࠬ⚩჻ߩౖဳࠍᛂ⎕ߒ
ߚὐ߆ࠄޔ㓏⚖⊛ᵹേᕈ߿ᄢ⧷Ꮲ࿖ߩ⸃ߣߞߚ␠ળ⊛ᄌൻࠍᶋ߈ᓂࠅߦߐߖߚޕ ߐࠄߦޔߎߩ2ߪ60ᐕઍࠗࠡࠬᤋ↹߳ߩࠕࡔࠞ⾗ᧄߩᄢ㊂ᵹߩ߮᳓ߣߥߞߚޕ ߘߩ㕙ߢޔ⊹⡺ߦ߽ᄙߊߩᤋ↹㑐ଥ⠪߇ࡂ࠙࠶࠼ߦᒁ߈ᛮ߆ࠇޔࠗࠡࠬᤋ↹↥ᬺߢ ࠕࡔࠞ࠽࡚ࠗࠪࡦ߇ࠃࠅㅴⴕߒߚߎߣ߽ታߢࠆޕߘߩਔ⟵ᕈࠍ␜ߔࠃ߁ߦޔ64 ᐕߦߪࠕࡔࠞੱߩ࠴ࡖ࠼ࠬ࠲(Richard Lester, 1932-)⋙〈߇ࠗࠡࠬߩ⧯ᚻࡠ࠶
ࠢࡃࡦ࠼ࡆ࠻࡞࠭ࠍࠗࠡࠬߢኒ⌕ข᧚ߒߚᤋ↹ޡࠕࡂ࠼࠺ࠗ࠭࠽ࠗ࠻ޢ(A Hard
Day’s Night, 1964)߇ޔ⧷☨ߩ⧯⠪ߚߜࠍᾲ⁅ߐߖޔᣂߚߥᢥൻ⽎ޟࡉ࠹ࠖ࠶ࠪࡘࠗࡦ
ࡧࠚ࡚ࠗࠫࡦޠ߇ഺ⥝ߒߚޕ
ߎߩࠃ߁ߦޔࠝ࠭ࡏࡦߣ࠴ࡖ࠼࠰ࡦߩⱣ㑐ଥࠍὐߦޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ
࠙ࠚࠗࡧޠߪߘߩࠨࠢ࡞ࠍᄢߒߡߞߚޕߎߎߦߪޟᢥൻߩຠൻޠߣ߁ᶖ⾌
␠ળ⊛㕙߽ࠆ߇ޔߘࠇએߦ㓏⚖⊛㗴ᗧ⼂߆ࠄᵄߒߚㅪേᕈࠍ㊀ⷞߒޔޟᔶࠇࠆ⧯
⠪ߚߜޠ⽎߆ࠄᢥൻ⊛ㅪ㎮ᔕ߇⊒↢ߒߚߎߣࠍᒝ⺞ߒߡ߅߈ߚޕṶኅߣߒߡ⊒
ߒߚ࠴ࡖ࠼࠰ࡦޔᤋ↹ᛕ⹏ኅߣߒߡ⊒ߒߚࠕࡦ࠳࠰ࡦߣࠗࠬޔᓐࠄߪ㗅⺞ߦࠬ
࠹࠶ࡊࠕ࠶ࡊߒߡᤋ↹⋙〈ߣߒߡߩࠠࡖࠕࠍ▽ߡߞߚޕޟᔶࠇࠆ⧯⠪ߚߜޠ߽ᤋ↹⣉
ᧄࠍᚻដߌࠆߥߤߩࠍᐢߍޔߘߩᚽ⢻ߣน⢻ᕈࠍౣឭ␜ߒߚޕਥṶߩ⧯ᚻେఝߚߜ
߽৻べࠬ࠲࠳ࡓߦࠅߚޕߎߩᢥൻᬺ⇇ੱߩ㘧べ߇⸽ߔࠆࠃ߁ߦޔޟࡉ࠹ࠖ࠶ࠪ
ࡘ࠾ࡘ࠙ࠚࠗࡧޠߪࠗࠡࠬᤋ↹↥ᬺోࠍᵴᕈൻߐߖࠆߣߥߞߚߩߢࠆޕ
㧢㧚40ᐕઍࠕࡔࠞṶ
ࠝ࠭ࡏࡦߩᚨᦛ߆ࠄᆎ߹ߞߚޟᔶࠇࠆ⧯⠪ߚߜޠߣޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚ
45
ࠗࡧޠߩㅪേߢࠆ߇ޔߘߩὐߣߥߞߚ 50ᐕઍࠗࠡࠬṶࠍ⺆ࠆߢ 40 ᐕઍࠕࡔ
ࠞṶߩᓇ㗀ࠍήⷞߔࠆߎߣߪߢ߈ߥޕᚢᓟ߽࠾ࡘ࡛ࠢࡉࡠ࠼࠙ࠚࠗߩ႐ߢ ߪޔࡔࡠ࠼ࡑ߿ࡒࡘࠫࠞ࡞ߣߞߚᬺṶ߇ᄢඨࠍභߡߚޕߘߩേߣߒߡޔ 40ᐕઍࠕࡔࠞṶ⇇ߢߪޔ࠹ࡀࠪ࠙ࠖࠕࡓ࠭(Tennessee Williams,1911-83)ߣࠕࠨ
ࡒ(Arthur Miller,1915-2005)ߦࠃߞߡ࿁ᗐޔ⸥ᙘޔㅊᙘߣߞߚౝ㕙⇇ࠍߔࠆ Ṷࠬ࠲ࠗ࡞߇⏕┙ߐࠇߡߞߚޕ࠙ࠖࠕࡓ࠭ߪޡ᰼ᦸߣ߁ฬߩ㔚ゞޢ(A Streetcar Named Desire,1947)ߦ߅ߡޔㆊߩᩕశߦ᧤❈ߐࠇߡታ␠ળߦㆡᔕߢ߈ߥࠕࡔࠞධㇱߩᴚ
⪭ㄘߩᆷࡉࡦ࠴࠺ࡘࡏࠕ(Blanche DuBois)ߩ♖⊛⎕Ṍࠍឬߚޕ߹ߚޔࡒߪޡ
࡞ࠬࡑࡦߩᱫޢ(Death of a Salesman,1949)ߦ߅ߡޔᶖ⾌␠ળߩਛߢᚑഞߦ⠡ᑲߐࠇ ࠆ࡞ࠬࡑࡦߩ࠙ࠖࡠࡑࡦ(Willy Loman)ߩᝂ᛬ࠍㅢߒߡࠕࡔࠞࡦ࠼ࡓߩ
፣უࠍឬߚޕ࠙ࠖࠕࡓ࠭ߪੱߩ㗴ߦὶὐࠍᒰߡޔᣣᏱ↢ᵴࠍㅢߒߡੱ㑆ߩౝ㕙ߦ ẜߔࠆ⇣Ᏹᕈࠍ㔺ߒߚޕ৻ᣇޔࡒߪ␠ળ⊛㑐ᔃߦਥ⌒ࠍ⟎߈ޔࠕࡔࠞ␠ળߩᧄ
⾰ࠍ㓸⚂⊛ߦឭ␜ߒߚޕ
ߎߩࠃ߁ߥኻᾖ⊛ߥ㗴ᗧ⼂ࠍᜬߒߥ߇ࠄޔᚢᓟࠕࡔࠞṶߩ⅜ߣߥߞߚᓐࠄߩ
ࠕ࠭ࡓṶߩᵹࠇߪޔᚢᓟߩ⨹ᑄ߆ࠄߩᓳ⥝ࠍᮨ⚝ߒߡߚࠗࠡࠬߢ߽ฃኈߐࠇޔ
ࠝ࠭ࡏࡦ߿࠙ࠚࠬࠞࠄߦࠃࠆޟࠠ࠶࠴ࡦࠪࡦࠢࠕ࠭ࡓޠ(Kitchen sink realism) ߩ⏕┙ߦᄢ߈ߥᓇ㗀ࠍਈ߃ߚޕ㧡ޟࠠ࠶࠴ࡦࠪࡦࠢࠕ࠭ࡓޠߣߪޔഭ⠪㓏⚖ߩ↢
ᵴ⁁ᴫࠍࠕࠬ࠹ࠖ࠶ࠢߦឬߚṶࠍᜰߔޕߘࠇ߹ߢߩࠗࠡࠬṶ⇇ߢߪޔޟ␠ળޠ
(society)ࠍขࠅߍࠆߣߞߡ߽ޔߘࠇߪޟ␠ޠ߿ޟ␠⇇ޠߣߞߚਛ↥㓏⚖⊛ߥ↢ᵴ
ᢥൻߩ↥‛ߢࠅޔኅ߽ຠౝኈ߽ⷰቴ߽ਛ↥㓏⚖ߢࠅޔࠊࠁࠆޟ࠙ࠚ࡞ࡔࠗ࠼
ࡊࠗޠ(well-made play)߇ਛᔃ⊛ߢߞߚޕߘߩࠃ߁ߥ⁁ᴫਅߢޔ50 ᐕઍߦߞߡೋߡ
ࠝ࠭ࡏࡦߣ࠴ࡖ࠼࠰ࡦߦࠃߞߡ␠ળߩᐩㄝߢ៦ขᛥߐࠇߡ߈ߚഭ⠪㓏⚖ߩ↢
ᵴᢥൻࠍᤋߒߚޟ␠ળޠ(social drama)߇Ṷߐࠇߚߣ⸒߃ࠆޕߘࠇ߹ߢਛ↥㓏⚖߇⁛භ ߒߡߚṶ⇇ߦޔഭ⠪㓏⚖ߩᕁ⠨ߣᗵᖱࠍዉߒߚὐߢޡᔶࠅࠍㄟߡᝄࠅࠇޢߪޔ චಽ⹏ଔߦ୯ߔࠆᱧผ⊛ຠߥߩߢࠆޕ
ߘߩᢥൻ⊛ᗧ⟵ࠍⵣઃߌࠆࠃ߁ߥࠛࡇ࠰࠼߽ࠆޕ߆ߨߡ߆ࠄࠗࠡࠬṶવ⛔ߩޟ࠙
ࠚ࡞ࡔࠗ࠼ࡊࠗޠߩᕈࠍ“hermetically sealed off from life” (qtd. in T. Richardson 115) ߣ ᛕ್ߒߡߚࡒߪޡᔶࠅࠍㄟߡᝄࠅࠇޢࠍⷰߒߡ⛘⾥ߒߚޕหᏨߒߚࠝࡧࠖ
߽ࠛߘߩ㕟ᣂᕈߦห⺞ߒޔߘߩ႐ߢࠝ࠭ࡏࡦߦ⣉ᧄၫ╩ࠍଐ㗬ߒߚ(Miller 415-8)ޕ㧢ߘࠇ ߇೨ㅀߒߚ57ᐕߩࠝ࠭ࡏࡦߩޡነᏨ⧓ੱޢߢࠅޔ⧷☨ߢߩṶᚑഞᓟޔᤋ↹ൻߐࠇߡ
ࠆޕޡነᏨ⧓ੱޢߩࡒࡘࠫ࠶ࠢࡎ࡞ߩ⪭ߣᄢ⧷Ꮲ࿖ߩ⸃ࠍ㊀ߨวࠊߖߚౝኈߪ߽
ߜࠈࠎޔߘࠇ߹ߢߪਛ↥㓏⚖ߩᔒะߔࠆࠪࠚࠗࠢࠬࡇࠕຠࠍਛᔃߦṶߒߡฬჿࠍ⏕┙
ߒޔ“I seemed Establishment, and probably set in my theatrical ways.” (Olivier 212-3) ߣᝄࠅࠆ
ࠝࡧࠖࠛ߇ഭ⠪㓏⚖ࠍᛒߞߚࠝ࠭ࡏࡦߣ࠴ࡓࠍ⚵ࠎߛߎߣߪޔᤨઍᄌൻߣ㓏⚖⊛
㓚ოߩ፣⪭ࠍ੍ళߒߡࠆߣ⸒߃ࠆޕ
߹ߚޔ࠙ࠖࠕࡓ࠭ߩޡ᰼ᦸߣ߁ฬߩ㔚ゞޢߦ߅ߡߡขࠇࠆ߆ߟߡߩᵹ㓏⚖⊛
ߥଔ୯ⷰࠍᛄߢ߈ߕߦࠆਥੱࡉࡦ࠴ߣߘߩᆂࠬ࠹(Stella)ߩᄦߢࠆరァੱߩ
ജ⊛ߥᎿ႐ഭ⠪ߩࠬ࠲ࡦࠦࡢ࡞ࠬࠠ(Stanley Kowalski)ߩኻ┙ߣ߁㓏⚖⊛᭴࿑ߪޔ ޡᔶࠅࠍㄟߡᝄࠅࠇޢߦ߅ߌࠆࠫࡒߣࠕ࠰ࡦߩ㑐ଥࠍᗐߐߖࠆޕߎߩ৻⥌ߪޔ ᚢᓟߩ⧷☨Ṷߩⷫᕈߛߌߢߥߊޔ⧷☨␠ળߦ߅ߌࠆ㓏⚖␠ળ߆ࠄᄢⴐ␠ળ߳ߩ⒖ⴕߣ
46
߁␠ળ⊛ᄌൻߩ㗼ൻࠍᜰ៰ߔࠆߎߣ߇ߢ߈ࠆޕߐࠄߦޔ࠙ࠖࠕࡓ࠭ຠߣߩ㑐ㅪߢ ߪޔ59ᐕߦޡₐߩࠝ࡞ࡈࠚ࠙ࠬޢ(Orpheus Descending, 1957)ޔ64ᐕߦޡ‐ゞߪ߽߁ ᱛ߹ࠄߥޢ(Milk Train Doesn’t Stop Here Anymore, 1963)߇ࡠࡦ࠼ࡦߢ࠴ࡖ࠼࠰ࡦṶߦ ࠃߞߡ⥰บൻߐࠇߡࠆὐ߽ઃ⸥ߒߡ߅߈ߚޕߎߩࠃ߁ߦޔ50ᐕઍࠗࠡࠬṶߪ40ᐕ ઍࠕࡔࠞṶ߆ࠄ㗼⪺ߥᓇ㗀ࠍฃߌߡ߅ࠅޔߘߎߦߪ⧷☨㑆ߩ࠻ࡦࠬ࠽࡚ࠪ࠽࡞ߥᢥ ൻᮮᢿ⁁ᴫ߇ߞߚߣ⸒߃ޔ⧷☨㑆ߩኒធߥᢥൻ⊛⋧㑐ᕈࠍ⏕ߢ߈ࠆޕ
㧣㧚50ᐕઍࠕࡔࠞᤋ↹
40 ᐕઍࠕࡔࠞṶߦട߃ߡޔ50 ᐕઍࠕࡔࠞᤋ↹߽ࠗࠡࠬߩ⧯⠪ࠍᒝߊᗵൻߒߚޕ ࠕࡔࠞߢߪ40ᐕઍṶ⇇ߩᣓ㘑ࠍฃߌޔ51ᐕߦߘߩ⸥ᔨ⎼⊛ຠߢࠆ࠙ࠖࠕࡓ࠭ߩ ޡ᰼ᦸߣ߁ฬߩ㔚ゞޢ߇࠙ࠖࠕࡓ࠭⣉ᧄޔࠛࠕࠞࠩࡦ(Elia Kazan, 1909-2003)⋙〈ޔ ࡑࡠࡦࡉࡦ࠼(Marlon Brando, 1924-2004)ਥṶߢᤋ↹ൻޔࡒߩޡ࡞ࠬࡑࡦߩᱫޢ ߇࠭ࡠࡌࡀ࠺ࠖ࠶ࠢ(László Benedek,1905-92)⋙〈ޔࠬ࠲ࡦࠢࠗࡑ(Stanley Kramer, 1913-2001)⣉ᧄޔࡈ࠼࠶ࠢࡑ࠴(Fredric March, 1897-1975)ਥṶߢᤋ↹ൻߐࠇߚޕ
ߐࠄߦޔ55ᐕߩࠫࠚࡓࠬ࠺ࠖࡦ(James Dean, 1931-55)ਥṶߩޡℂ↱ߥ߈᛫ޢ(Rebel Without a Cause, 1955)߿53ᐕߩࡑࡠࡦࡉࡦ࠼ਥṶߩޡੂ⠪ޢ(The Wild One, 1953)ߣ
ߞߚ50ᐕઍࡂ࠙࠶࠼ᤋ↹ߪޔ⧯⠪ߩ⥄Ꮖߩᮭࠍ㜞ࠄ߆ߦት⸒ߒߚޕหᤨઍߩࠕ ࡔࠞߢߪޔ⧯⠪ߩ᛫߇りᝄࠅߩࡕ࠼ߦߥࠅޔߎߎߦࠗࠡࠬߩޟᔶࠇࠆ⧯⠪ߚߜޠ ߣߩᝄᕈࠍߔߎߣ߽ߢ߈ࠆޕหᤨᦼߩᤋ↹ߢ߽ޔ․ߦ55ᐕߩࠣࡦࡈࠜ࠼(Glenn Ford, 1916-2006)ਥṶߩޡജᢎቶޢ(Blackboard Jungle, 1955)ߩᓇ㗀ߪ⛘ᄢߢߞߚޕᛥ⊛
ߢήℂ⸃ߥᢎ⢒ᐲߦ᛫ߔࠆࠕࡔࠞㇺᏒㇱߩ⧯⠪ࠍឬߚౝኈߪ߽ߜࠈࠎޔ࠹ࡑ࠰
ࡦࠣࠍᜂᒰߒߚࡆ࡞ࡋࠗ(Bill Haley, 1925-81)ߩޟࡠ࠶ࠢࠕ࠙ࡦ࠼ࠩࠢࡠ࠶ࠢޠ (“Rock Around the Clock”, 1955)ߣ߁ࡠ࠶ࠢࡦࡠ࡞(rock’n’roll)ߩᭉᦛߪో⧷ో☨࠴ࡖ
࠻㧝ࠍ₪ᓧߒߚޕหᤨᦼߦߪޔࠛ࡞ࡧࠖࠬࡊࠬ(Elvis Presley, 1935-77)ߣ߁ࡠ࠶
ࠢߩࠬ࠲ᚻ߽⊓႐ߒޔ57ᐕߩࠪࡦࠣ࡞ޟ⋙ₐࡠ࠶ࠢޠ(“Jailhouse Rock”, 1957)ࠍ࠹ࡑ
࠰ࡦࠣߦ⥄ࠄਥṶߒߚหᐕ㐿ߩᤋ↹ޡ⋙ₐࡠ࠶ࠢޢ(Jailhouse Rock, 1957)ߪ⋧ਸ਼ലᨐߢ⧷
☨ߩ⧯⠪ߩᔃࠍឞࠎߛޕߎࠇࠄߩᭉᦛߦࠃߞߡޟ⧯⠪ߩ᛫ޠߣޟࡠ࠶ࠢࡦࡠ࡞ޠ߇⚿
߮ߟߡᝄߒߚߣ⸒߃ࠆޕߘߩ㔡േ߆ࠄޔࠗࠡࠬߢߪᤋ↹㙚ߢߩޟജᢎቶേޠ߿
ᗵൻ㒮ߢߩേ߇㗫⊒ߒߚ߶ߤߢߞߚޕ58 ᐕߦࡠࡦ࠼ࡦߢߪޔേߣੱ⒳Ꮕ߇⚿߮ߟ ߈ޔ⊕ੱߩਇ⦟ዋᐕࠄ߇ᓤൻߒޔ㤥ੱ⒖᳃ࠍⷅ᠄ߒߚޟࡁ࠶࠹ࠖࡦࠣࡅ࡞ੱ⒳േޠ(Notting Hill Race Riots)߇⊒↢ߒߚޕ⋥ᓟߦޔ⧯⠪ߩേߪࠗࠡࠬోߦ㘧߮Ἣߒޔ␠ળ㗴ൻߒ ߚޕߎߩઙᓟޔࠗࠡࠬᐭᒰዪߪ␠ળ⊛ⷰὐ߆ࠄࡠ࠶ࠢࡦࡠ࡞ߩᓇ㗀ജߦ⼊ᚓᔃࠍ ᒝޔߘߩฃኈߦߟߡߪ⾥ุਔ⺰߇ࠅੂࠇߚޕ
ᢥൻ⊛ⷰὐ߆ࠄಽᨆߔࠆߣޔࠕࡔࠞ↥ߩࡠ࠶ࠢࡦࡠ࡞ߩࠗࠡࠬᵹߪޔࠗࠡࠬ
ߢⓨ೨ߩࠬࠠ࠶ࡈ࡞(skiffle)ࡉࡓࠍ↢ߺޔᓟߩࡆ࠻࡞࠭ࠄߦࠃࠆޟࡉ࠹ࠖ࠶ࠪࡘ
ࠗࡦࡧࠚ࡚ࠗࠫࡦޠߣ߁ࠗࠡࠬࡐࡇࡘ㖸ᭉ㓉⋓ߩ⪚⧘ࠍౝ൮ߒߡߚߣ⸒߃ࠆޕ ߘߎߦߪޟᢥቇ߆ࠄᤋ↹߳ޠޔߘߒߡޟᤋ↹߆ࠄ㖸ᭉ߳ޠߣ߁ߐࠄߥࠆᢥൻ⊛ㅪേᕈࠍᜰ
៰ߔࠆߎߣ߽ߢ߈ࠆޕࠗࠡࠬᤋ↹ⷰቴᢙᷫዋߩℂ↱ߪޔනߦ࠹ࡆߩ᥉ߛߌߢߪߥߊޔ ᤋ↹ߩ࠹ࡑ࠰ࡦࠣߣߥߞߡᵹⴕߔࠆࡐࡇࡘ㖸ᭉ߇⊓႐ߒޔ⧯⠪ߩᢥൻ⊛ᔒะᕈ߇⚦
47
ಽൻߐࠇߚ߆ࠄߢࠅޔߘࠇߪᣂߚߥᢥൻ⊛ᵄᕈࠍ⸽ߒߡࠆߩߢࠆޕ
߹ߚޔࠬࠢࡦߢ⥄േゞ߿ࡃࠗࠢࠍᚲߒޔޟ⼾߆ߥ␠ળޠߩ❥ᩕࠍ੨ฃߔࠆࠕࡔࠞ
ߩ⧯⠪ߪࠗࠡࠬߩ⧯⠪ߦߣߞߡ⟴ᦸߩ⊛ߢߞߚޕߎ߁ߒߡᤋ↹ߩਛߩትવലᨐߦࠃ ߞߡᚢᓟઍߩ࠹ࠖࡦࠛࠗࠫࡖߩᶖ⾌ജ߇㗼ൻߐࠇޔ⧯⠪ኻ⽎ߩᏒ႐߇ᣂⷙ㐿ᜏߐ ࠇߡߞߚޕ15-20ᱦߩੱญߪޔ57ᐕߩ341ਁੱޔ63ᐕߩ428ਁੱޔ67ᐕߩ437ਁੱߣᕆ Ⴧߒߡߞߚ(Abrams 7)ޕ58ᐕߦޔᓐࠄߪࠗࠡࠬᐕ㑆ੱᚲᓧ✚⸘ߩ8.5㧑ߦᒰߚࠆ14ం
8,000 ਁࡐࡦ࠼ࠍⒿ߉ޔታ⾰ᚲᓧߪ 38 ᐕߦᲧߴࠆߣ 50㧑Ⴧߦߥߞߡࠆ(Abrams 7-9)ޕ57
ᐕߦߪޔ25 ᱦએਅߩ⁛り↵ᅚߩ⾼⾈ജߪᶖ⾌ోߩ 6㧑ߦㆊ߉ߥ߆ߞߚ߇ޔᓐࠄߩᶖ⾌ߪ
ࠦ࠼߮ࠦ࠼ࡊࠗࡗߩ44㧑ޔ⥄േゞ߿ࠝ࠻ࡃࠗߩ37㧑ޔᤋ↹ⷰቴᢙߩ26㧑 ࠍභߡߚ(Abrams 10)ޕࠗࠡࠬᐢ๔දળߩ⊒ߦࠃࠇ߫ޔᐕ㑆ᐢ๔⾌ߪ38ᐕߦߪ5,880
ਁࡐࡦ࠼ޔ48ᐕߦߪ7,900ਁࡐࡦ࠼ޔ54ᐕߦߪ1ం5,700ਁࡐࡦ࠼ߣฝ⢋߇ࠅߢ⤘ᒛߒ ߡࠆ(Briggs 335)ޕߎࠇࠄߩ࠺࠲߆ࠄߪޔ50ᐕઍࠕࡔࠞᤋ↹߇ࠗࠡࠬߩᶖ⾌␠ળൻ ߦ৻ጀᜉゞࠍ߆ߌߚߣ⸒ߞߡ߽ㆊ⸒ߢߪߥߛࠈ߁ޕ
㧤㧚ߔ߮
એߩࠃ߁ߦޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߦߟߡ⠨ኤߒߡ߈ߚ߇ޔ⚿⺰ࠍ 4 ὐߦⷐ⚂ߒߚޕ1 ὐ⋡ߪޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ߇೨りߩޟࡈ
ࠪࡀࡑޠ߆ࠄ৻⽾ߒߡޟഭ⠪㓏⚖ߩ⽎ޠࠍޟ⊛ࠕ࠭ࡓޠߢឬ౮ߒޔഭ⠪㓏⚖
ߩ␠ળᢥൻ⊛ᮭࠍਥᒛߒߚߎߣߢࠆޕ2ὐ⋡ߪޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠ ߩᤋ↹⋙〈ߪหߓᢥൻᬺ⇇ౝߢޟᔶࠇࠆ⧯⠪ߚߜޠߣⱣ㑐ଥࠍᒻᚑߒߡ߅ࠅޔޟᔶࠇࠆ⧯
⠪ߚߜޠߣ㡆ߒߚ⇣⼏ࠍߒߡޟᢥቇޠ߆ࠄޟᤋ↹ޠ߳ߣㅪേߒߡߞߚ⚻✲߆ࠄޟᔶ ࠇࠆ⧯⠪ߚߜޠ⽎ߩᢥൻ⊛ᵄᕈࠍᜰ៰ߢ߈ࠆߎߣߢࠆޕ3 ὐ⋡ߪޔ50 ᐕઍࠗࠡࠬ
ᢥൻ߇40-50ᐕઍࠕࡔࠞᢥൻߩᓇ㗀ਅߦߞߚߎߣ߆ࠄޔ⧷☨㑆ߦߪ࠻ࡦࠬ࠽࡚ࠪ࠽࡞
ߥᢥൻᮮᢿ⁁ᴫ߇ሽߒߡ߅ࠅޔਔ࿖ߩኒធߥᢥൻ⊛⋧㑐ᕈࠍ⏕ߢ߈ࠆߎߣߢࠆޕ4ὐ
⋡ߪޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߩຠ⟲߇ࠕࡔࠞ᳃㑆ડᬺߩ⾗ᧄߢߐ ࠇߡߚታ߆ࠄޔࠗࠡࠬ↥ߩᢥൻ߇↢↥ຠൻᵹㅢᶖ⾌ߐࠇࠆࠕࡔࠞဳᶖ⾌
␠ળ߇ᚑ┙ߒߡߚߎߣߢࠆޕ
หᤨઍߦߪࠕࡔࠞᢥൻߩࠣࡠࡃ࡞ൻ߇ᕆㅦߦㅴⴕߒߚޕࠗࠡࠬᢥൻ߇ࠕࡔࠞ࠽
࡚ࠗࠪࡦߦ㘶ߺㄟ߹ࠇߡߞߚߎߣߪุቯߢ߈ߥ߇ޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙
ࠚࠗࡧޠ߇ޟᔶࠇࠆ⧯⠪ߚߜޠߩឭ␜ߒߚࠗࠡࠬ․ߩ㓏⚖⊛㗴ᗧ⼂ߦ㡆ߒߡห
ࠍⴕߞߚᢥൻ⊛ࠦࡒ࠶࠻ࡔࡦ࠻ߢߞߚߎߣ߆ࠄޔࠗࠡࠬߩᢥൻ⊛ࠕࠗ࠺ࡦ࠹ࠖ࠹
ࠖߪ⛽ᜬߐࠇߚߩߢࠆޕߘࠇߛߌߦߣߤ߹ࠄߕޔࠕࡔࠞ߆ࠄẢᴛߥ⾗ᧄ⊛េഥߣ⧯⠪
ᢥൻߩᝄᕈߣ߁ᓟߒࠍฃߌߚࠗࠡࠬᢥൻߪޔߐࠄߦჇᄌኈߒޔࡠ࠶ࠢࡦࡠ
࡞ߥߤߩࡐࡇࡘ㖸ᭉߩ㓉⋓ޟࡉ࠹ࠖ࠶ࠪࡘࠗࡦࡧࠚ࡚ࠗࠫࡦޠߣߞߚᣂߚߥᢥ ൻ⊛⊒ዷߩน⢻ᕈࠍ₪ᓧߒߚߩߢߪߥߛࠈ߁߆ޕߎߩᢥൻ⊛ࠕࠗ࠺ࡦ࠹ࠖ࠹ࠖߩ⛽ᜬߣ ᣂߚߥᢥൻ⊛⊒ዷߩน⢻ᕈߩ₪ᓧߩ2ὐ߆ࠄޔޟᔶࠇࠆ⧯⠪ߚߜޠߣ߁␠ળᢥൻ⊛Ზᄌ
േ߆ࠄᵄߒߚᢥቇߣᤋ↹ߩᢥൻ⊛ㅪേߢࠆޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙ࠚࠗࡧޠߪޔ 㓞ធߔࠆᢥൻ㗔ၞߩ㗔ၞᮮᢿ⊛ߥᢥൻ⊛ㅪേᕈࠍ␜ߒޔޟࠬ࠙ࠖࡦࠡࡦࡠࡦ࠼ࡦޠߩ৻⠢
ࠍᜂߞߚߩߢࠆޕ
48
㧝 49ᐕߦᄢ⬿⋭ቭ࠙ࠖ࡞ࡈ࠶࠼ࠗ࠺ࠖ(Wilfred Eady,1890-1962)߇⠨᩺ߒߚ⥝ⴕ
ߩ৻ቯ㗵ߦኻߒߡ⺖⒢ᓽၮ㊄Ⓧ┙ࠍⴕޔࠗࠡࠬᤋ↹ߦഥᚑߔࠆㆶరဳࠪ
ࠬ࠹ࡓޕ
㧞 ࠛࠗࡒࠬߩዊ⺑ޡ࠶ࠠࠫࡓޢ߽57ᐕߦ࡚ࠫࡦࡏ࡞࠹ࠖࡦࠣ (John Boulting,
1913-1985) ⋙〈ޔࡄ࠻࠶ࠢࠠࡖࡦࡌ࡞(Patrick Campbell, 1913-1980)⣉ᧄޔࠗࠕࡦ
ࠞࡑࠗࠤ࡞(Ian Carmichael, 1920-2010)ਥṶߢᤋ↹ൻߐࠇߡࠆ߇ޔේߩࠦࡔ࠺ࠖⷐ
⚛ࠍࠃࠅᒝ⺞ߒߚౝኈߦ⚳ᆎߒߡࠆຠߢࠆߎߣ߆ࠄޔޟࡉ࠹ࠖ࠶ࠪࡘ࠾ࡘ࠙
ࠚࠗࡧޠ߆ࠄߪ㒰ᄖߐࠇࠆ႐ว߇ᄙޕ
㧟 1999ᐕߦࠗࠡࠬᤋ↹දળ߇ޔᤋ↹߿࠹ࡆ㑐ଥ⠪1,000ੱߦኻߒߡޔ20♿ࠗࠡࠬ
ᤋ↹ຠ߆ࠄࡌࠬ࠻100ࠍㆬߔࠆࠕࡦࠤ࠻ޟ20♿ࠗࠡࠬᤋ↹100ㆬޠ(The BFI 100 – A Selection of the Favourite British Films of the 20th Century)ࠍⴕߞߚޕߘߩ⚿ᨐޔ14
ߦޡᦐߩᄛߣᣣᦐߩᦺޢޔ32ߦޡᐕߩᅚޢޔ52ߦޡቅ⁛ߩႎ㈽ޢޔ56ߦޡⱣߩ
ޢޔ61ߦޡ㐳〒㔌ࡦ࠽ߩቅ⁛ޢޔ76ߦޡ߁ߘߟ߈ࡆޢ߇ࡦࠢࠗࡦߒߡࠆޕ
㧠 ࠗࠡࠬᤋ↹දળߪޔ1933ᐕߦࠗࠡࠬᤋ↹ߩવ⛔ߣᢥൻߩሽޔℂ⸃ߣᢎ⢒ߩଦㅴࠍ
⋡⊛ߦ⸳┙ߐࠇߚޕਥߣߒߡޔᐭߩഥ㊄ߣળຬળ⾌ߢㆇ༡ߐࠇߡࠆޕ
㧡ޡᔶࠅࠍㄟߡᝄࠅࠇޢ߇ೋṶߐࠇࠆ⚂1ࡩ೨ߩ56ᐕ42ᣣ߆ࠄޔࡠࠗࡗ࡞ࠦ
࠻ࠪࠕ࠲ߢߪޔࡒߩᚨᦛޡࠆߟ߷ޢ(The Crucible, 1953)߇࠺ࠖࡧࠔࠗࡦṶߢ
Ṷߐࠇߡߚޕ
㧢 ࡒߣࠝࡧࠖࠛߪޔᒰᤨࡒߩᆄߢߞߚᅚఝࡑࡦࡕࡦࡠ(Marilyn Monroe, 1926-1962)ࠍㅢߓߡⷫ߇ࠅޔ⧷☨Ṷߦߟߡ⼏⺰ߔࠆ㑆ᨩߛߞߚޕࠝࡧ
ࠖࠛߣࡑࡦߪޔṶߒߚࠝࡧࠖࠛ⋙〈ߩᤋ↹ޡ₺ሶߣ〭ሶޢ(The Prince and the Showgirl, 1957)ࠍࠗࠡࠬߢᓇߒߡߚޕ
49