@article{oai:kanagawa-u.repo.nii.ac.jp:00013540,
 author = {鳥越, 輝昭},
 issue = {180},
 journal = {人文研究, Studies in humanities},
 month = {Sep},
 note = {Three Coins in the Fountain, the 1954 American film that narrates the fulfillment of three loves with the city of Rome as its background, is likely to be slighted for its supposed shallowness both in theme and in its treatment of Rome. Because of its deliberate popularity, however, this Jean Negulesco movie presents several interesting problems. 　Surprisingly, this color picture represents Rome as a city of water. This illusory representation is fabricated by adroit selection and accumulation of the water scenes of this city: fountains, ponds, waterfalls and a river, and also by a clever insertion of scenes from Venice, a real city of water. And this illusory image of the city, combined with the watery themes that appear on the important stages of the development of the narrative, makes possible this story of the magical power of the Fountain of Trevi. In this movie the fountain helps three couples to surmount difficulties, leading them to happy marriages. 　This film, although it takes one theme and some episodes from an earlier novel, Coins in the Fountain, differs very much from the novel in its main theme:　the film is about love and marriage whereas the novel is about the question of belonging. The protagonist in the novel ponders on the question of staying in or leaving Rome, in which he has worked for fifteen years, finally deciding to leave for his home, the United States. 　There are, however, some interesting features in common between these two works. 　Firstly, both these works conform to the dominant love-match custom. The heroines in both works unhesitatingly search for love that leads to marriage, unlike heroines in contemporary Antonioni films such as Le amiche and L’avventura. 　Secondly, both the film Three Coins in the Fountain and the earlier novel are based on the extreme economic disparity between the United States and Italy, the Marshall Plan provider and its receiver in the post-World War II period. Precisely because of this disparity the young American heroines who work in Rome in both the film and the novel, while living in relative affluence, cannot find proper dates among Italian men. 　Thirdly, both the film and the novel, written in an atmosphere in which “Asiatic” locals are despised, bless the couples who surmount this cultural prejudice.},
 pages = {37--73},
 title = {『愛の泉』とその原作（？）のなかのローマ},
 year = {2013}
}