著者

高井 昌吏

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.51, no.1, pp.31-71, 2017-10

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In the late 1960 s, Hiroshi Kawaguchi, the former movie actor and TVpersonality, felt challenged by the documentary film "A Dog's Life" (originaltitle: Mondo Cane) produced by Italian film director Gualtiero Jacopetti.While pursuing the 'authenticity' of documentary, Kawaguchi alsoperformed as an actor and was involved in the production of a televisionprogram. The program of Hiroshi Kawaguchi was different from JunichiUshiyama's television documentary "Wonderful World Travel", as theformer tried to represent the 'authenticity' of documentary whileemphasizing the impact of the image, whereas the latter pursued'education' and academics through his program. This is, in a sense, a resultof focusing on creating a program from the perspective of the 'masses'instead of from the perspective of 'modern citizens'. Their directions weredifferent, yet their educational background, parents' occupations andcultural capital were related to each other. In the mid-1980 s, however,"Kawaguchi Hiroshi Adventurer Series" directed by the former actor whoplaced great emphasis on 'authenticity' became viewed as a parody ofadventure and exploration by the audience amid a rumor that the programwas 'staged'. In other words, although Hiroshi Kawaguchi's documentaryprogram began as a pursuit of 'authenticity', it was ironically criticized interms of its 'authenticity' and ridiculed. This was due to changes in theattitudes of TV viewers, especially of the audience of documentary shows.In the meanwhile, Junichi Ushiyama also entered the academic world, suchas the "Visual anthropology", and as a result, his television documentarybecame accepted as an 'educational program'.

著者

高井 昌吏

出版者

桃山学院大学

雑誌

桃山学院大学社会学論集 = ST.ANDREW'S UNIVERSITY SOCIOLOGICAL REVIEW (ISSN:02876647)

巻号頁・発行日

vol.51, no.1, pp.31-71, 2017-10-20

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In the late 1960 s, Hiroshi Kawaguchi, the former movie actor and TVpersonality, felt challenged by the documentary film “A Dog’s Life” (originaltitle: Mondo Cane) produced by Italian film director Gualtiero Jacopetti.While pursuing the ‘authenticity’ of documentary, Kawaguchi alsoperformed as an actor and was involved in the production of a televisionprogram. The program of Hiroshi Kawaguchi was different from JunichiUshiyama’s television documentary ”Wonderful World Travel”, as theformer tried to represent the ‘authenticity’ of documentary whileemphasizing the impact of the image, whereas the latter pursued‘education’ and academics through his program. This is, in a sense, a resultof focusing on creating a program from the perspective of the ‘masses’instead of from the perspective of ‘modern citizens’. Their directions weredifferent, yet their educational background, parents’ occupations andcultural capital were related to each other. In the mid-1980 s, however,“Kawaguchi Hiroshi Adventurer Series” directed by the former actor whoplaced great emphasis on ‘authenticity’ became viewed as a parody ofadventure and exploration by the audience amid a rumor that the programwas ‘staged’. In other words, although Hiroshi Kawaguchi’s documentaryprogram began as a pursuit of ‘authenticity’, it was ironically criticized interms of its ‘authenticity’ and ridiculed. This was due to changes in theattitudes of TV viewers, especially of the audience of documentary shows.In the meanwhile, Junichi Ushiyama also entered the academic world, suchas the “Visual anthropology”, and as a result, his television documentarybecame accepted as an ‘educational program’.

著者

高井 昌吏

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.88, pp.17-33, 2016-01-31 (Released:2017-10-06)

参考文献数

27

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This study focuses on popular songs concerning "the war and women" in post-war Japan. In particular, three songs were examined: Akiko Kikuchi's "Hoshi no Nagare ni" and "Ganpeki no Haha" released in 1947 and 1954, respectively, and Yuriko Futaba's popular remake of "Ganpeki no Haha" released in 1972. These songs were analyzed in connection with the societal background in which they gained popularity, including the influence of mainstream values as well as concepts of women and mothers that were held at the time. The results of this analysis suggested that directly after the war ended, many Japanese women were despondent and pushed into prostitution because of an impoverished society. The song "Hoshi no Nagare ni" conveys the sorrows of prostitution, and this theme is directly connected to its success. The 1954 hit "Ganpeki no Haha" has strong connections to the suspicion that Japanese citizens felt toward the Self Defense Force, which was established in the same year, as well as to the massive protests in 1960 concerning the US-Japan Defense Treaty. In particular, the general public tended to be influenced by stories about "mothers' sadness," particularly in terms of mothers and children being separated by war. This had powerful correlations with peace-oriented public opinion and anti-rearmament attitudes of the time. However, Yuriko Futaba's mid-1970s remake of "Ganpeki no Haha" gained mass popularity for several reasons. The 1970s witnessed the appearance of the "kyouiku-mama" (literally "education mama") -a type of mother who stressed on education for her children above everything else. The "kyouiku-mama" was considered to be a social problem during the time, and the completely different type of mother presented in "Ganpeki no Haha" produced feelings of longing for an "ideal mother" archetype that was perceived to be lost from the society. Therefore, "Ganpeki no Haha" was highly praised by the general public.

著者

高井 昌吏

出版者

桃山学院大学総合研究所

雑誌

桃山学院大学社会学論集 (ISSN:02876647)

巻号頁・発行日

vol.51, no.1, pp.31-71, 2017-10

著者

高井 昌吏 谷本 奈穂 石田 あゆう 坂田 謙司 福間 良明 村瀬 敬子

出版者

早稲田大学

雑誌

基盤研究(C)

巻号頁・発行日

2008

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ポピュラー・カルチャーのなかで形成される戦争の表象を、ジェンダーの視点から考察した。たとえば、男らしい戦争イメージの形成では、『男たちの大和』『連合艦隊』などの映画、さらに「大和ミュージアム」や知覧という観光、あるいはプラモデルなどが大きく絡んでいる。女らしさやこどもらしさについては、むしろ『ガラスのうさぎ』『火垂るの墓』などの児童書・アニメの影響が大きい。こうした点を考慮し、それぞれの戦争(沖縄戦、原爆、空襲など)が社会的に受容されるうえで主に寄与したポピュラー・カルチャーに着目し、それらを横断しながら構築される戦争イメージについて分析した。

著者

高井 昌吏

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.65, no.3, pp.443-444, 2014 (Released:2015-12-31)

著者

高井 昌吏

出版者

東洋大学社会学部紀要

雑誌

東洋大学社会学部紀要 = The Bulletin of Faculty of Sociology,Toyo University (ISSN:04959892)

巻号頁・発行日

vol.60, no.1, pp.45-59, 2022-11