Abstract

The purpose of this study is to clarify the Olympism of the filmmakers by considering both artistic and documentary aspects of the film, with an interpretation of the contents of representation of "Tokyo Olympiad." In order to interpret these messages, it is important to notice the film's context and metatext. First, as a social context, it may be argued that the 1964 Tokyo Olympic Games had a strong role to play in enhancing the national prestige of Japan. So, it was natural that the politicians, the officials of the Japanese Olympic Committee (JOC), and the sport world in Japan asserted that the IOC's official film of the Tokyo Olympic Games should record mainly the outcomes of the performances of Japanese athletes (nationalism). Second, the gap between the artistic representation and a conventional documentary record are clarified by considering the metatext of the film. The frame of reference of film viewers, which is comprehension of the film itself when they watch the film, is as follows: "This is an offi cial film of the Olympic Games," and "this is a documentary film." So, people regard this film with the understanding that "all that is represented in this film must be true." In contrast, the filmmaker's premise was also that "this film is not just a conventional documentary film but an artistic one." In conclusion, it can be said that this excellent film tried to represent not only a peaceful world (inter-nationalism) but also universal equality as human beings. The images of the film have no connection with race and class because of the representations of the universal solemnity of athletes, and human possibilities of excellent performance by winners and losers (trans-nationalism). This is the authentic representation of the Olympism of the filmmakers, and the reason "Tokyo Olympiad" was appraised as a great film worldwide. Verf.-Referat