「岸旗江という女優 ― その売り出し方にみる1950年代《独立プロ映画》のイメージ戦略」
The term dokuritsu puro is derived from the Japanese words “independent” and “production” and thus could refer to any type of film production situated outside of the major film studio system. H owever, in Japan, this term is almost exclusively associated with the film movement that occurred in the early 1950s, when leftist filmmakers were forced to leave the major film studios due to their ideological beliefs and political activities. This paper attempts to explain the reasons behind this limited use of the term dokuritsu puro, while simultaneously presenting a new and more productive way of approaching the body of films associated with it. Leftist films created by independent auteurs in the 1950s were advertised as a radical alternative to the existing mode of filmmaking, yet shared a number of important similarities with commercial genre cinema. A similar paradox is found when analyzing the media presence of Kishi Hatae (1927-2008), one of the leading actresses involved in the making of dokuritsu puro cinema. For example, in the pages of popular magazines, Kishi was defined by her proletarian background but also by her visual affinity with Hara Setsuko (1920-1923), a major Japanese film star associated with the cultural and ideological mainstream. The seemingly contradictory nature of dokuritsu puro’s image policy must be reevaluated as a strategic approach adopted by leftist filmmakers in order to maximize their presence in early postwar Japan.