著者
近藤 和都
出版者
日本映像学会
雑誌
映像学 (ISSN:02860279)
巻号頁・発行日
vol.95, pp.5-23, 2015-11-25 (Released:2017-08-07)
参考文献数
42

Recently, an increasing number of researchers have tried to reveal the mode of exhibition during early cinema period, and shown that film exhibition was originally influenced from the prior theater practices and audiences experienced something beyond the screen. This kind of research is significant in the point that they demonstrate how film experiences are shaped by the environment of showing. However, they usually assume that there was a clear distinction between early cinema period and classical Hollywood cinema period, and based on this binary opposition of attractions versus narrative, they allot a diversity to the former and uniformity to the latter. Therefore, these researches tend to abstract various exhibition practices during classical Hollywood cinema period. In contrast to this current, this paper focuses on the mode of exhibition during the 1920’s in Japan and examines how the various experience was mediated through that mode.
著者
近藤 和都
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.87, pp.137-155, 2015

In traditional research on film reception, the cinema experience has been defined by the time period and the space in which audiences experienced the film. However, audiences also experience the cinema before and after going to the movies through the media, such as through film magazines, trailers, posters, and so on. Understanding how the film is received by audiences, researchers should consider other forms of media surrounding the film-going experience. From this perspective, this paper focuses on brochures that were published by almost all of the prewar movie theaters and analyzes the reading practices of audiences. We first compare exhibition practices by movie theaters with those by opera theaters, and argue that movie theater brochures were formed out of Western modern theater publications. The results show that prewar film exhibitors struggled to contextualize the movie into traditional theater exhibitions because cinemas were considered to be of a lower social standing than prior theater exhibitions. After exploring the origin of brochures, we focus on the contributors' column in which audiences expressed their opinions and differentiated themselves from each other to elevate their status. These contributions were regarded as a kind of literature and audiences usually read them before and after watching films. Some audiences were attracted to brochures and collected them. In particular, brochures published by movie theaters in Tokyo gained popularity. Because of the distribution system, a considerable number of films were only shown around the Kanto region. Instead of receiving original text, rural audiences experienced films vicariously through reading the brochures. Through the analyses above, we conclude that the way of watching films during 1920s in Japan was related not only to the film's text but also other practices such as writing and reading and audiences experienced something beyond the screen.
著者
近藤 和都
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.4, pp.485-501, 2019 (Released:2020-03-31)
参考文献数
53
被引用文献数
1

スクリーンにおける映像の現れ方は,たとえば映画であれば「映写機・フィルム・スクリーン」といった器機の複合およびそれらを操作する主体の技法本稿では器機と技法を包括する語として〈技術〉を用いるの節合関係に応じて変容せざるをえない.この意味において,映像的なテクストは「移ろいやすい」性質を持つといえよう.したがって,映像受容のあり方は作品テクストの存立の基盤となる〈技術〉によって条件づけられる.以上を踏まえるならば,映像受容のあり方を捉えるためには,作品テクストを規定する〈技術〉をめぐる問いが不可欠となる.ここから本稿は,プロパガンダ映画の効果を最大化するために,作品テクストを理想的な〈技術〉において呈示することに国家的力点がおかれた映画法制定以降を対象時期として,統制側のアクターと興行側のアクターが交渉/協働しながら上映環境を再構成していく過程を描き出す.具体的には,スクリーンの「移ろいやすさ」を制御することでどの映画館においても同一の経験が媒介されることを目指して,上映作品・上映回数・映写技師・映写機器・従業員といった諸要素が「規格化」されていく様相に焦点を合わせる.考察を通じて,スクリーンにおける映像のあり方が〈技術〉の水準でいかに条件づけられるのかを示し,その上で,映像文化史を「移ろいやすさ」をめぐる制御の観点から展開することの含意について示す.
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

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
谷川 建司 小川 順子 小川 翔太 ワダ・マルシアーノ ミツヨ 須川 まり 近藤 和都 西村 大志 板倉 史明 長門 洋平 木村 智哉 久保 豊 木下 千花 小川 佐和子 北浦 寛之
出版者
早稲田大学
雑誌
基盤研究(B)
巻号頁・発行日
2019-04-01

本研究は、日本映画史上最大の構造的転換期・構造的変革期をなす1960年代末~70年代を対象とし、その社会経済的実態を次に掲げる問題群の解明を通して明らかにし、その歴史的位相を確定する。即ち、①スタジオ・システムの衰退・崩壊の内実とその産業史的意味、②大量宣伝・大量動員手法を確立した角川映画の勃興、③映画各社が試みた経営合理化と新たな作品路線の模索、④「ピンク映画」の隆盛の実態とその影響、⑤異業種からの映画産業界への人材流入の拡大とそのインパクト、である。上記の五つの括りに因んだ映画関係者をインタビュイーとして抽出し、研究会一回につき1名をゲストとして招聘し、精度の高いヒアリングを実施する。
著者
近藤 和都
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.87, pp.137-155, 2015-07-31 (Released:2017-10-06)
参考文献数
28

In traditional research on film reception, the cinema experience has been defined by the time period and the space in which audiences experienced the film. However, audiences also experience the cinema before and after going to the movies through the media, such as through film magazines, trailers, posters, and so on. Understanding how the film is received by audiences, researchers should consider other forms of media surrounding the film-going experience. From this perspective, this paper focuses on brochures that were published by almost all of the prewar movie theaters and analyzes the reading practices of audiences. We first compare exhibition practices by movie theaters with those by opera theaters, and argue that movie theater brochures were formed out of Western modern theater publications. The results show that prewar film exhibitors struggled to contextualize the movie into traditional theater exhibitions because cinemas were considered to be of a lower social standing than prior theater exhibitions. After exploring the origin of brochures, we focus on the contributors' column in which audiences expressed their opinions and differentiated themselves from each other to elevate their status. These contributions were regarded as a kind of literature and audiences usually read them before and after watching films. Some audiences were attracted to brochures and collected them. In particular, brochures published by movie theaters in Tokyo gained popularity. Because of the distribution system, a considerable number of films were only shown around the Kanto region. Instead of receiving original text, rural audiences experienced films vicariously through reading the brochures. Through the analyses above, we conclude that the way of watching films during 1920s in Japan was related not only to the film's text but also other practices such as writing and reading and audiences experienced something beyond the screen.