著者

大久保 遼

出版者

日本メディア学会

雑誌

マス・コミュニケーション研究 (ISSN:13411306)

巻号頁・発行日

vol.78, pp.209-230, 2011-01-31 (Released:2017-10-06)

参考文献数

30

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This article analyzes the page layouts of photography magazines during the Russo-Japanese War, and it thus reveals the emergence of the "photographic construction of vision" in photography magazines, or the mutual referencing and montage between the photographs and the text on the same page. The page layouts of photography magazines are visually constructed not only by the photographs themselves but also by the relationship between the photographs and the text such as articles or captions. Such "photographic construction of vision" in these magazines is a historic phenomenon. Through an examination of the Records of the Russo-Japanese War (Nichiro senso jikki) and its special issue Photographic Pictorial of Russo-Japanese War (Nichiro senso shashin gaho), a study of the photography correspondents dispatched by these magazines, and a comparative analysis of the page layouts and the moving pictures of that time, this article reveals that the concept of photographic construction emerged in photography magazines around 1900. This finding can be confirmed by the following observations: (1) the editor's reflective consideration of photo editing, (2) mutual referencing between the photographs and the text, and (3) the photographic style of the montages used in the magazine. Finally, this article concludes that such photographic construction became more complicated and established in later periods, and that it came to be a precursor of the modernist movement in the 1930s and the war propaganda by means of photographs in the 1940s. Moreover, it caused distraction and lead to readers cursorily examining the relationship between the text and photographs without deconstructing this relationship.

著者

大久保 遼

出版者

日本社会学会 ; 1950-

雑誌

社会学評論 = Japanese sociological review (ISSN:00215414)

巻号頁・発行日

vol.69, no.2, pp.179-195, 2018

著者

大久保遼

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

no.80, 2008-05-25

著者

大久保 遼

出版者

日本メディア学会

雑誌

メディア研究 (ISSN:27581047)

巻号頁・発行日

vol.101, pp.157-174, 2022-08-10 (Released:2022-11-22)

参考文献数

40

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This article examines the media theory developed by Jussi Parikka under the influence of the new materialism during the 2010s and clarifies its potential in current media studies in Japan. Parikka’s media theory is widely discussed from the recent philosophical trends of the Anthropocene and post-humanity in addition to the new materialism perspective. In contrast, this article emphasizes Parikka’s re-evaluation of Kittlerian and post-Kittlerian German media theory (including cultural techniques) and his attempt to reconsider the issues of cultural studies and political economy confronting the recent transformation of the media. Similar to the former media theorists such as Marshall McLuhan or Friedrich Kittler, Parikka’s media theory enables us to reconsider the materiality of the media and expands the field of media studies by reframing the question "What is media?" and the concept of the "media" itself. However, as Parikka declares, not only is his focus on materiality and ecology theoretically important, but it is also significant for the critical and political analysis of the material aspects of digital media and culture, such as the circulation of digital devices and e-waste, and programming as labor. Although his discussion is wide-ranging, this article outlines Parikka’s materialist media theory and elaborates in two directions: (1) its expansion of the research fields of media ecology and (2) its detailed analysis of the cultural techniques of cognitive capitalism. Finally, I discuss the theory’s potential in the development of empirical media studies and media history in the Japanese context, based on its theoretical perspectives.

著者

飯田豊編著 大久保遼 [ほか執筆]

出版者

北樹出版

巻号頁・発行日

2017

著者

大久保 遼

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.78, pp.209-230, 2011

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This article analyzes the page layouts of photography magazines during the Russo-Japanese War, and it thus reveals the emergence of the "photographic construction of vision" in photography magazines, or the mutual referencing and montage between the photographs and the text on the same page. The page layouts of photography magazines are visually constructed not only by the photographs themselves but also by the relationship between the photographs and the text such as articles or captions. Such "photographic construction of vision" in these magazines is a historic phenomenon. Through an examination of the Records of the Russo-Japanese War (Nichiro senso jikki) and its special issue Photographic Pictorial of Russo-Japanese War (Nichiro senso shashin gaho), a study of the photography correspondents dispatched by these magazines, and a comparative analysis of the page layouts and the moving pictures of that time, this article reveals that the concept of photographic construction emerged in photography magazines around 1900. This finding can be confirmed by the following observations: (1) the editor's reflective consideration of photo editing, (2) mutual referencing between the photographs and the text, and (3) the photographic style of the montages used in the magazine. Finally, this article concludes that such photographic construction became more complicated and established in later periods, and that it came to be a precursor of the modernist movement in the 1930s and the war propaganda by means of photographs in the 1940s. Moreover, it caused distraction and lead to readers cursorily examining the relationship between the text and photographs without deconstructing this relationship.

著者

毛利 嘉孝 清水 知子 近藤 和都 大久保 遼 日高 良祐

出版者

東京藝術大学

雑誌

国際共同研究加速基金(国際共同研究強化(B))

巻号頁・発行日

2019-10-07

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2020年代初頭のメディアテクノロジーの発展が表現やエンターテインメント、文化芸術とそれを享受する人々の生活様式にどのように影響を与えているのか日本とアメリカのメディア環境、社会の比較研究を通じて明らかにする。特に(1)企業やサービス提供者、文化実践者(アーティストや開発者)(2)これを享受している若者層(主として大学生を中心とした男女)(3)大学研究者に対するフィールドワーク、聞き取り調査を中心とした質的な調査と資料収集・文献調査を通じて分析を行う。

著者

大久保 遼

出版者

Japan Society of Image Arts and Sciences

雑誌

Iconics (ISSN:13454447)

巻号頁・発行日

vol.11, pp.7-26,57, 2014-04-10 (Released:2019-08-08)

参考文献数

55

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This article analyzes the magic lantern show and its spectators during late nineteenth-century Japan, through an examination of two types of lantern shows and their different spectators.  In Japan, magic lanterns (gentô) began to be used as an educational tool during lectures in elementary schools in the late 1880s. During these educational lantern shows (Kyôiku gentô kai), the devices, the lecture's explanation and the instructions were managed in such a way that the students were encouraged to concentrate on the projected images in silence.  However, during Sino-Japanese War lantern shows (Nisshin sensô gentô kai), which were held between 1894 and 1895, the spectators clapped their hands, shouted banzai, sang military songs, and even played music instruments. In addition, the role of the benshi in the Sino-Japanese War lantern shows was different to that of the lecturer who merely gave instructions using slides and textbooks in the educational lantern shows. Indeed, the benshi's skill in narrating and performing had a direct effect on the spectators' emotions and reaction. Moreover, auditory stimuli such as music, songs, and narration all helped to keep their attention during the shows.  These two types of lantern shows were completely different in terms of the spectators' reaction. However, they were similar in that they were both organized to produce a homogeneous reaction by managing the spectators' perception.

著者

大久保 遼

出版者

Japan Society of Image Arts and Sciences

雑誌

Iconics (ISSN:13454447)

巻号頁・発行日

vol.10, pp.75-95, 2010-03-31 (Released:2019-08-07)

参考文献数

51

著者

大久保 遼

出版者

早稲田大学坪内博士記念演劇博物館

雑誌

企画展図録「日活向島と新派映画の時代展」

巻号頁・発行日

pp.60-62, 2011-12-03

著者

大久保 遼

出版者

日本社会学会

雑誌

社会学評論 (ISSN:00215414)

巻号頁・発行日

vol.69, no.2, pp.179-195, 2018 (Released:2019-09-30)

参考文献数

47

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明治期に活躍した元良勇次郎は, 東京帝国大学で初めての心理学担当教授であり, 心理学実験室の開設に尽力するなど, 一般的には日本における近代心理学の祖として知られている. しかしながら, アメリカ留学中の学位論文において, 元良は社会学に焦点を当てたことがわかっており, 帰国後も黎明期の社会学や社会心理学, 社会調査について論文を執筆するとともに, 1898年には社会学研究会の設立に発起人として加わるなど, 一貫して学術分野としての社会学の確立に貢献した.本稿では, これまで比較的知られてこなかった元良の活動の社会学的な側面に焦点を当て, 膨大な業績のなかからその「社会の学」の構想を再構成することを目指す. 社会学史において元良が果たした役割は, アメリカ社会学を中心とする心理学的社会学, および統計を用いた実証的な研究手法の導入といえるだろう. 元良の構想において, 実験心理学と社会学, 感覚の理論と社会の理論は, ともに総合的な「社会の学」のなかに位置づけられる. こうした元良の立場は, 当時の主流派を形成していた建部遯吾らの国家主義的な社会有機体説に対し批判的な役割を果たした. 日本における最初期の社会調査の実施にも尽力し, また社会学研究会等を通じて後進の育成に努めたことも考え合わせるならば, 「日本社会学の源流の1つ」として, 元良の業績を位置づけることが可能である.

著者

大久保 遼

出版者

日本社会学会

雑誌

社会学評論 (ISSN:00215414)

巻号頁・発行日

vol.68, no.1, pp.150-151, 2018-06-30

著者

大久保遼

出版者

日本映像学会

雑誌

映像学 (ISSN:02860279)

巻号頁・発行日

no.83, 2009-11-25