映?が100年以上近く日本だけではなく多くの?で?自的に?展したことにはその?の?統文化との積極的な交感が必要だった。イタリア映?が初期から現在まで?倒的にオペラで豊かな素材を得たし、中?映?が道?の信仰を土台にする京劇や?劇の延長線上にあるように日本映?も日本文化の土?の上で開化した芸術である。それで本稿においては忠臣?映?を深く理解するために?統文化のひとつである歌舞伎との密接な?係についての考察が先行されなければならないと判?した。歌舞伎の?係者たちが最初映?を見下したと前に言及した。それにも映?は大衆演劇である歌舞伎からたくさん影響を受けたという事?を確認した。紙面?係上、今度は 史的考察にとどまるようになったが、次に機?が?えられたら忠臣?映?をただ?に?酷な復讐劇としてではなく<47人の刺客>のような映?をそのナラティブ(narrative)分析を通じてもう一つの新しい解?の可能性を模索してみたい。Positive communion with the traditional culture of the country was necessary for a film having developed uniquely soon in not only Japan but also many countries more than 100 years. An Italian movie got rich material with opera for overpowering to date from the early days, and the Japanese film is art civilized on a thing of the soil of the Japanese culture so that there is a Chinese movie on the extension line of Beijing opera to base it on faith of the Taoism. Thus the research about close relations with Kabuki which was one of the traditional culture judged it to understand Chushingura Film in this report deeply when it must be gone ahead. When the people concerned of Kabuki looked down on a movie first, I mentioned it before. The movie confirmed a fact affected from Kabuki which was a popular play a lot to miss it. In space relations, I came to remain in historic research this time, but want to already grope for possibility of the new interpretation of the one through the narrative analysis by the movie which seems to be as the revenge drama that is merely only cruel by Chushingura Film if an opportunity is given next.