著者

丸山 友美

出版者

日本マス・コミュニケーション学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.95, pp.143-162, 2019-07-31 (Released:2019-10-25)

参考文献数

28

被引用文献数

1

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The purpose of this paper is to explore how television documentaries as aparticular mode of expression were formed through an investigation of thecomposition of sound recording as a prehistory of television documentaries. By tracing the genealogy of the radio programs Man on the Street, whichstarted broadcasting during the occupation of Japan at the end of World WarII, and Social Survey, one of its spinoffs, this paper examines the formation processof television documentaries from the following three points. First, thispaper focuses on the fact that particular documentary aesthetics were importedunder the leadership of the General Headquarters (GHQ), and examine thesemodes of expression within the dynamic of broadcast policy. Second, it examineshow Japanese staff who actually produced these programs merged theirideas with the occupation army’s to create a unique form of Japanese radio documentary.Thirdly, it demonstrates how the democratic program ideas presentedby GHQ became sharply distinguished as what would be called Rokuon-Kōsei. These points are investigated from a detailed technical, historical andformal analysis. This paper presents two concluding points: 1) that opinions of socially vulnerablecommunities became newly accessible in radio broadcasting afterWorld War II and 2) that this was made possible by a brusque and minimalistediting method that was developed with the intention of broadcasting thesesubaltern opinions with little modification. This genealogically leads us to thetelevision documentary The Real Face of Japan, which was produced with anew montage theory that until then had not been done in the documentariesand culture films, and was subsequently highly praised by documentarists andcritics. Thus, this paper offers a new analytical point of view for reviewingearly television documentaries through describing the formation process of documentarymodes of expression called Rokuon-Kōsei in earlier radio documentaries.

著者

丸山 友美

雑誌

福山大学人間文化学部紀要第23巻 = Journal of the Faculty of Human Cultures and Sciences of Fukuyama University Vol.23

巻号頁・発行日

vol.23, pp.1-15, 2023-03-01

著者

丸山 友美

出版者

法政大学社会学部学会

雑誌

社会志林 = 社会志林 (ISSN:13445952)

巻号頁・発行日

vol.60, no.3, pp.77-98, 2013-12

著者

丸山 友美

雑誌

福山大学人間文化学部紀要 = Journal of the Faculty of Human Cultures and Sciences of Fukuyama University

巻号頁・発行日

vol.22, pp.15-27, 2022-03-01

著者

丸山 友美

雑誌

福山大学人間文化学部紀要 = Journal of the Faculty of Human Cultures and Sciences of Fukuyama University

巻号頁・発行日

vol.21, pp.13-25, 2021-03-01

著者

丸山 友美

出版者

日本マス・コミュニケーション学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.95, pp.143-162, 2019

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<p>The purpose of this paper is to explore how television documentaries as a</p><p>particular mode of expression were formed through an investigation of the</p><p>composition of sound recording as a prehistory of television documentaries.</p><p> By tracing the genealogy of the radio programs Man on the Street, which</p><p>started broadcasting during the occupation of Japan at the end of World War</p><p>II, and Social Survey, one of its spinoffs, this paper examines the formation process</p><p>of television documentaries from the following three points. First, this</p><p>paper focuses on the fact that particular documentary aesthetics were imported</p><p>under the leadership of the General Headquarters (GHQ), and examine these</p><p>modes of expression within the dynamic of broadcast policy. Second, it examines</p><p>how Japanese staff who actually produced these programs merged their</p><p>ideas with the occupation army's to create a unique form of Japanese radio documentary.</p><p>Thirdly, it demonstrates how the democratic program ideas presented</p><p>by GHQ became sharply distinguished as what would be called Rokuon-</p><p>Kōsei. These points are investigated from a detailed technical, historical and</p><p>formal analysis.</p><p> This paper presents two concluding points: 1) that opinions of socially vulnerable</p><p>communities became newly accessible in radio broadcasting after</p><p>World War II and 2) that this was made possible by a brusque and minimalist</p><p>editing method that was developed with the intention of broadcasting these</p><p>subaltern opinions with little modification. This genealogically leads us to the</p><p>television documentary The Real Face of Japan, which was produced with a</p><p>new montage theory that until then had not been done in the documentaries</p><p>and culture films, and was subsequently highly praised by documentarists and</p><p>critics. Thus, this paper offers a new analytical point of view for reviewing</p><p>early television documentaries through describing the formation process of documentary</p><p>modes of expression called Rokuon-Kōsei in earlier radio documentaries.</p>

著者

丸山 友美

出版者

日本マス・コミュニケーション学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.83, pp.135-153, 2013-07-31 (Released:2017-10-06)

参考文献数

22

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In order to re-examine the value and significance of documentary films, this study adopted an approach that utilizes the concept of aleatoric elements. Until now, producers and critics have regarded the documentary as a self-explanatory genre that differs from news and drama. However, issues surrounding the discourses on the subjectivity and objectivity of documentaries have always surfaced in response to the question "what is a documentary-" In other words, it is this dualistic framing that has prevented visibilities in the main issue regarding the potential of the documentary format itself. In order to break free from this framing, it was necessary to first examine the types of discourses on subjectivity and objectivity that have been discussed, in addition to examining where exactly they have positioned documentaries. This study then examined factors that have been overlooked in these discourses and considered the introduction of the concept of aleatoric elements as a supplemental approach. This study referred to story studies of literature, semiology studies of cinema and image studies of cinema for building this concept. Furthermore, to demonstrate the effectiveness of this approach, this study attempted to analyze A, a 1998 film by Tatsuya Mori, using the concept of aleatoric elements. Based on the findings of this study, the following was concluded. What has become clear through the analysis of the film is that documentary films are capable of not only containing both fictitious and non-fictitious elements but also creating friction between depicted reality and implied reality to highlight new, elusive realities that cannot be firmly defined on account of their ambiguity.