著者

塙 幸枝

出版者

日本コミュニケーション学会

雑誌

日本コミュニケーション研究 (ISSN:21887721)

巻号頁・発行日

vol.44, no.2, pp.151-164, 2016-03-31 (Released:2017-01-16)

参考文献数

31

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Abstract. Kyousei, literally“ symbiosis,” or, more figuratively,“ living together in harmony,” is a term that has been used with positive connotations in many contexts in contemporary Japanese society. In particular, phrases such as“ living together in harmony with the disabled,” or“ a society that lives together,” often associate kyousei with welfare for the disabled. This type of use of the word kyousei is also intended to convey a connotation of mutual understanding. However, careful consideration will reveal that hidden in the background of this term is a great ambiguity. That is to say, while on the one hand kyousei possesses a dissimilative tendency to accept differences and diversity, it also has an assimilative tendency to suppress differences and diversity. The purpose of this paper is to clarify circumstances surrounding information accessibility for the hearing disabled in the field of art and entertainment by focusing on the issue of accessibility, which is one of the supporting concepts of kyousei. The subject of study of this paper is the captioning of Japanese comedy performances, which presuppose the sharing of a social code. My analysis reveals that this captioning has problems in terms of both technology and content.

著者

塙 幸枝

出版者

日本コミュニケーション学会

雑誌

日本コミュニケーション研究 (ISSN:21887721)

巻号頁・発行日

vol.46, no.2, pp.151-167, 2018-05-31 (Released:2018-09-01)

参考文献数

22

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The NHK TV program Baribara, which is concerned with the welfare of disabled people, has been broadcast since 2012. This program is significant in that it is critical of social stereotypes of the disabled and their general representation in the media. More importantly, this program uses the form of the “variety show,” supported by elements of laughter, to express this critical stance. In particular, there is the “SHOW-1 Grand Prix,” a comedy performance featuring disability and impairment played by disabled people, which is provocative because the performance includes two aspects of “laughter” and “performing,” raising the issue of the social position of the body of disabled people from a different angle. The purpose of this paper is to clarify how the framework of fiction/real defines both the body and disability by analyzing the performance from the viewpoint of fictionality.

著者

塙 幸枝

出版者

日本コミュニケーション学会

雑誌

日本コミュニケーション研究 = Japanese journal of communication studies (ISSN:21887721)

巻号頁・発行日

vol.44, no.2, pp.151-164, 2016

著者

塙 幸枝

出版者

日本コミュニケーション学会

雑誌

日本コミュニケーション研究 (ISSN:21887721)

巻号頁・発行日

vol.43, no.2, pp.109-124, 2015-03-31 (Released:2017-05-17)

参考文献数

21

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Since the inception of film history, disability issues have been treated in a variety of movies. Because there was little understanding of how to communicate with the disabled, until recently films have portrayed disabilities as a condition evoking discrimination, fear, and pity. In recent years, however, films have emerged that present disability as another form of diversity with which we coexist. This has happened due to improved methods of communication. At a glance these portrayals of disability appear to invite the audience to confront disability issues, but in actuality these films fail to acknowledge the variety of types of disabilities. The films are framed within a stereotypical style of communication that is no more than a mechanism used to introduce disabilities in a way that the audience can understand. This paper illustrates the depiction of disabilities in film, discussing the (im) possibility of analyzing these representations in terms of the medical and social models of disability. The paper concludes that the portrayal of disabilities in film is "a problem of communication."

著者

塙 幸枝

出版者

日本コミュニケーション学会

雑誌

日本コミュニケーション研究 (ISSN:21887721)

巻号頁・発行日

vol.44, no.2, pp.151-164, 2016

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<p><b>Abstract.</b> <i>Kyousei</i>, literally" symbiosis," or, more figuratively," living together in harmony," is a term that has been used with positive connotations in many contexts in contemporary Japanese society. In particular, phrases such as" living together in harmony with the disabled," or" a society that lives together," often associate <i>kyousei</i> with welfare for the disabled. This type of use of the word <i>kyousei</i> is also intended to convey a connotation of mutual understanding. However, careful consideration will reveal that hidden in the background of this term is a great ambiguity. That is to say, while on the one hand <i>kyousei</i> possesses a dissimilative tendency to accept differences and diversity, it also has an assimilative tendency to suppress differences and diversity. The purpose of this paper is to clarify circumstances surrounding information accessibility for the hearing disabled in the field of art and entertainment by focusing on the issue of accessibility, which is one of the supporting concepts of <i>kyousei</i>. The subject of study of this paper is the captioning of Japanese comedy performances, which presuppose the sharing of a social code. My analysis reveals that this captioning has problems in terms of both technology and content.</p>

著者

塙 幸枝

出版者

日本コミュニケーション学会

雑誌

日本コミュニケーション研究 (ISSN:21887721)

巻号頁・発行日

vol.52, no.1, pp.5-22, 2023-07-31 (Released:2023-07-31)

参考文献数

30

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Manzai, Japanese duo stand-up comedy, has a social aspect because it is based on social codes. This study focuses on ‘boyaki (blurting out) manzai’ in postwar Japan and analyzes its content from two perspectives (first, from the social context of then, and second, from the social context of now), in order to clarify its relationship with social norms. In boyaki manzai, the new culture (particularly the fashion and behavior of young women) that was introduced to the country after World War II was the subject of ridicule. However, the content of the manzai of then does not evoke laughter in the present social context. From the modern perspective, it is evident that the statements in boyaki manzai contain gender discrimination based on male-centric principles, and thus, it is sometimes perceived negatively. This study argues that the acceptable range of laughter changes with social norms.