月昇物語 (4K數位修復) The Moon Has Risen

日本 Japan | 1955 | DCP | B&W | 102 min

《月昇物語》是田中絹代轉執導筒的第二部長片作品，由日本電影監督協會策劃，小津安二郎和劇作家齋藤良輔共同編劇，經常與小津合作的作曲家齋藤高順則負責譜曲。全片圍繞著靜謐的古都奈良、淺井家待嫁的三姐妹，「國民父親」笠智眾則飾演戰時疏散至奈良定居的淺井家父親，又一次要讓女兒出嫁了。在準備電影拍攝時，田中絹代認為以女性觀點洞察角色的能力特別重要。若男性導演如溝口健二、木下惠介皆可描繪出立體的女性角色，女性導演或許更能捕捉到男性自身沒注意到的模樣，而她的確也做到了。本片集結小津的長期合作班底，卻在細微之處與小津安二郎的電影做出區隔。她爲小津和齋藤的劇本注入獨特的女性視角，也出演其中一個小角色，以溫婉的調性勾勒出迷人的愛情小品：古典寺院、竹林、溫婉月色，姊妹間詼諧溫馨的愛情圈套、情人間的密碼與詩句，與陷入愛河中的甜美女子們。

Devised by the Directors Guild of Japan, jointly written by OZU Yasujiro and SAITO Ryosuke, this film is TANAKA Kinuyo’s second directorial feature. It tells the story of the ASAI family leading tranquil lives in Japan’s ancient capital Nara during late autumn and the three daughters' enchanting love story. While she is also a member of the cast, The Moon Has Risen successfully encapsulates TANAKA's unique strength as a pioneering female director, adding female perspectives to the story and its characters, both male and female, which she thought to be essential to her work.

田中絹代 TANAKA Kinuyo (1909–1977)

日本影壇最具代表性的女演員、女性導演先驅。田中絹代自1924年始，從14歲演到65歲，演職生涯長達半世紀之久，一生共出演250多部電影，是少數跨足黑白到彩色、默片到有聲片的演員。作為「一代藝人」，其演出作品有如日本影史縮影，曾與多位知名大導演如小津安二郎、溝口健二、成瀬巳喜男、木下惠介、黑澤明等合作，尤以溝口健二的「繆思」身分為人所知。

對比演職生涯的極高讚賞，田中絹代的執導成就相形之下長期在國際影壇上受到埋沒，直到近年她的執導作品才被積極修復與重新檢視。1953年，她不顧周遭反對聲音，堅決執起導演筒，成為日本影史第二位女性導演 (僅晚於坂根田鶴子) ，甚至是首位也是當時唯一活躍於日本戰後電影黃金時代的女性導演。她在主流片廠的體制下完成了六部執導作品，乍看沿用常見的愛情通俗劇架構，實則挑戰了日本女性電影的既定路線，不僅碰觸其他作者極少涉及的創作主題，呈現出跳脫以往窠臼的銀幕女性形象，也主動和女性電影從業人員如編劇田中澄江、和田夏十等人合作，在體制內親手打造女性集體創作空間。

本屆影展將選映田中絹代的三部執導作品，透過她的創作軌跡，再次從當代視角重新反思日本電影中的女性主體性、性別樣態、影視產業運作、以及作者論途徑，也希冀還原田中絹代在影史上更為立體的獨特風采。

The formidable acting career of TANAKA Kinuyo, who starred in masterpieces of Japanese cinema by MIZOGUCHI Kenji, NARUSE Mikio, and OZU Yasujiro, has long overshadowed her pioneering status as a filmmaker—the second woman in Japan after wartime filmmaker TAZUKO Sakane and the only female director active during the post-war Golden Age of Japanese cinema. Between 1953 and 1962, TANAKA directed six feature films working within the mainstream cinema produced by the Japanese studio system. The six films TANAKA directed, while moving broadly within the genre conventions of the romantic melodrama to which she was mostly associated as an actress, disrupted the dominant representations of women in Japanese cinema of the time. She tackled unexplored topics such as breast cancer and questioned social issues such as women’s sexuality from an incisive perspective.

Her outstanding career in front of and behind the camera not only accompanies the history and technical transformations of cinema in Japan, from the silent era until the late 1970s. It also embodies the socio-political and cultural changes of Japanese society and its female members, offering a unique opportunity to examine the intersections between women’s authorship, representation, and gender discourses in modern Japan.