著者

大石 泰彦

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.70, pp.17-27, 2007-01-30 (Released:2017-10-06)

参考文献数

1

被引用文献数

1

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The purpose of this article is to review select important studies (both books and articles) on ethics of mass media (or of journalists) published in the last decade in Japan. The themes of these studies can be categorized into three, which pertain to independent regulatory commission (e.g.press council), professional education for journalists (or for future journalists), and rules on routine newsgathering and editing. The most recent studies have focused more on social system of media ethics than on norms and behaviors of journalists.

著者

片桐 早紀

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.157-175, 2015-07-31 (Released:2017-10-06)

参考文献数

26

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This is a study on jukeboxes in kissatens (coffee shops, cafes, and teahouses in Japan) during the 1960s and 70s based mainly on interviews with jukebox collectors, former employees of major jukebox manufacturers in Japan, self-employed engineers and salespeople, and kissaten owners. Since jukeboxes force others to listen to music that someone has chosen, I assumed that the experience of playing jukeboxes would be different from that of playing records at home or going to concerts. So, applying the basic ideas of musicing and auditory culture, this paper focused on how a particular kissaten, jukebox, and music were selected - rather than what was played on jukeboxes - in the following three phases: 1) What distinguished ordinary kissatens with jukeboxes from other music specific cafes like jazz-kissa and how did people choose to go there?; 2) Why were jukeboxes chosen in kissatens where other means of playing music, like cable broadcast services, were available?; and 3) What was it like selecting songs on jukeboxes - i.e., the touch of the buttons, the designs, and gimmicks that fascinated the audience? By examining the interviews, this study found that when it comes to jukeboxes, the standards for selecting music are ambivalent. That is, on one hand, people were so mesmerized by the jukebox's colorful lighting and the sound and sight of the record picking mechanism inside, that, at some point, the music itself did not matter. On the other hand, the music they chose represented what they wanted to say or do, using jukeboxes as a way to convey messages to others - a boy asking out a girl he just met there, for example. Therefore, jukeboxes can be described as a unique media that provided two very opposite kinds of experiences - sensuous and personal, or contextual and social.

著者

横山 智哉

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.41-49, 2019-07-31 (Released:2019-10-25)

参考文献数

28

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With the dramatic changes in the media environment in recent years, thetraditional models of mass media influence are being reconsidered. In this article,the author considers these research trends and introduces the empiricalinsights of survey experiments that examine the effects of information exposurein the current media environment. Specifically, the author introduces the argumentssurrounding the minimal media effects theory, which were first raised inthe 2010s. Next, the author focuses on the concept of cues that function as heuristics,and delves into the social consequences that result from changes in themedia environment by laying out the insights provided by survey experimentsrelated to the effects of media exposure. Finally, the author argues the importanceof explaining the insights gained through experimental research carriedout in the context of the real-world media environment by referring to thearguments surrounding the problems of external validity and exposure-basedpretreatment.

著者

北村 匡平

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.88, pp.77-96, 2016-01-31 (Released:2017-10-06)

参考文献数

43

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The aim of this paper is to align Kyo Machiko's performance style as a vamp actress with the history of Japanese cinema, and explore postwar public consciousness and desire through her star persona. The voluptuous Kyo Machiko made her film debut in 1949 and went on to become one of the leading actresses of the postwar generation. Her rise to stardom was closely related to many of her roles that embodied social phenomenon amid a trend for kasutori culture, in the sexually liberated climate following the Second World War. In contrast to the intense characters on screen, she portrayed herself as modest and graceful, which enabled her to convey multiple messages within the context of her fame. She depicted a dual-star persona as a result of the contrast between her vamp characters in films and her modest, feminine personality in fan magazines; accordingly, she gained fame as a star across generations. Through the 1950s, she appeared in works by some of the greatest Japanese filmmakers, which catapulted her to international stardom. She was sometimes referred to as "the Grand Prix actress." Following the success of Akira Kurosawa's Rashomon (1950), a growing tendency to promote Japanese cinema overseas emerged, eliciting the gaze of Orientalism from Western spectators. International stardom led to an even more complicated gaze on Kyo Machiko's body. Star/Celebrity studies have developed certain methodological frameworks since Richard Dyer's Stars. From a theoretical perspective, this paper focuses on the film star Kyo Machiko as a cultural text, and analyzes how fans or critics viewed both her cinematic persona, performing acts of violence on screen, and her own persona, which represented traditional Japanese imagery in fan magazines. This research concludes that Kyo Machiko's cinematic body became a national body and functioned as an esthetic vehicle, reflecting both the desire of a trans/national identity and the desire to localize her star image for Japanese spectators.

著者

長谷川 一

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.62, pp.98-115, 2003-01-31 (Released:2017-10-06)

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This paper criticizes the current situation of electronic scholarly publishing in the United States from a cultural politics point of view. In most of the humanities, monographs are the central media. Being their main publishers, the university presses have always been inseparable from the knowledge production system. However, the commercialization of the presses accelerated rapidly after the 1990s. This has not only made it difficult for untenured young scholars to publish monographs, but has also had a negative impact on the cycle of knowledge production. To solve the issue, various possibilities of electronic publishing have been discussed. The History E-Book project is expected to play a central role. This large-scale project has participants from many historical studies associations and leading university presses, as well as considerable foundation support. In this paper, I would like to present an outline of the project, which is led by the well-known historian Robert Darnton. It will become clear that Darnton has only replaced paper with electronic forms, without any structural changes. In other words, he has automatically shifted the structure of the present knowledge production system based on a codex to cyberspace. The fundamental element which forms the monograph is the idea of "work," a coherent concept or idea unique to the author. This "work" is secured by the codex as physical form. How then can the electronic monographs with no physical form sustain the idea of "work"? Furthermore, given the fact that the significance of humanities, including historical studies, has declined remarkably in the United States in the 1990s, the History E-Book project is also expected to redress the "humanities crisis." However, the project has no such potential. The current situation should be understood as a sign of conflict caused by changes in the constellation of modern knowledge.

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

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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

市川 孝一

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.76, pp.7-22, 2010-01-31 (Released:2017-10-06)

参考文献数

16

著者

金 成玟

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.76, pp.237-254, 2010-01-31 (Released:2017-10-06)

参考文献数

44

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The purpose of this study is to examine the influences of‘ broadcast spilloverfrom Japan’ in Pusan, Korea in the 1950-70s and understand the culturalmeaning of the historical process. Japanese broadcast by spill-over not only hasinfluenced on Korean broadcast system deeply, but also has been enjoyed bypeople as a kind of popular culture in everyday life in the situation that it hadbeen banned to import Japanese popular culture. What this study showed wasthat a number of attitudes, gazes, and strategies on political, economical, socialand cultural levels have been involved complicatedly in this issue.

著者

日本マス・コミュニケーション学会

出版者

日本マス・コミュニケーション学会

巻号頁・発行日

1993

著者

北村 智

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.51-63, 2019-07-31 (Released:2019-10-25)

参考文献数

30

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With the spread of information and communication technology, variousforms of log data are constantly being accumulated. In this article, the authorexamines the use of log data in quantitative media studies. First, in the context of the growing amount of social focus on log data, orbig data, the author offers a general view of computational social science, whichhas been proposed as a field of research that uses big data in social scienceresearch. The author also examines the relationship between computationalsocial science and media studies. Based on this, the author outlines the problemof how the approach of computational social science alone is insufficient on thebasis of concern regarding media studies. Finally, as a solution to these problems,the author introduces case studies of a comprehensive analytical approachthat tie together statistical social survey data and log data.

著者

渡辺 武達

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.66, pp.146, 2005-01-31 (Released:2017-10-06)

著者

松山 秀明

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.80, pp.153-170, 2012-01-31 (Released:2017-10-06)

参考文献数

42

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The majority of research on television in Japan has concentrated on its influence and effect as a medium. There has been little research about content ; i.e., the television programs themselves. This research demonstrates the potential of studies into television utilizing television archives. Through extensive use of the NHK archives, it focuses on the way television, especially documentary programs from the 1950s to 1960s, have portrayed Tokyo as an urban space. The transformation of these images of Tokyo from the 1950s to 1960s is demonstrated through an analysis of the content of television programs and their context. The television documentaries of the late 1950s portrayed Tokyo as an urban space of the lower classes. The first television documentary series, entitled Nihon no Sugao [The Real Japan] (1957-64), presented images of Tokyo from the viewpoint of the lower classes. In other words, this series featured the lives of people living in the outskirts of Tokyo, portraying them in a condescending way. In the early 1960's, the images of Tokyo in documentary programs underwent a great transformation, as these programs began to take on the character of public relations. The reason for this change was that the 1964 Summer Olympics were held in Tokyo and its image needed to be clean and orderly so as to portray Tokyo as a city ready to host the Olympic Games. Thus, following the announcement of the decision to hold the 1964 Summer Olympics in Tokyo, the images of Tokyo began to shift from internally oriented to externally oriented ones and images of Tokyo as an urban space of the lower classes were excluded. The analysis of archival television images of Tokyo from the 1950s to 1960s reveals the historical context by whether or not the images portray the city from the viewpoint of the lower classes.

著者

坪井 りん

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.66, pp.111-128, 2005-01-31 (Released:2017-10-06)

参考文献数

6

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This paper examines what kind of roles journalism played on the foundation of Modern “Art” at the Meiji era in Japan. It first looks at how arts were reported by journalism when it had not yet been established as a system and discusses the intimate relation between two. It then examines how the relation gradually changed with the commencement of art exhibitions, focusing on the newspaper coverage on the “Hakubakai” exhibitions. Finally, it looks at the Bunten, the national art exhibition held by Ministry of Education, and discusses how journalism shifted to overheated reports, naturally resulting to affect the viewers.

著者

橋本 晃

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.62, pp.165-177, 2003-01-31 (Released:2017-10-06)

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The U.S. Military exercised almost perfect media control and propaganda during the Persian Gulf War. How did they develop their skills of media control at a time of limited wars during the Kosovo War? This study attempts to answer this question and should be suggestive of media control and propaganda in future limited wars conducted by the United States. A critical review of the literature, including items collected in Belgrade during the war shows that a tendency toward "invisible war" has emerged, in which the military does not have to introduce any media control.

著者

浜田 幸絵

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.79, pp.111-131, 2011-07-31 (Released:2017-10-06)

参考文献数

23

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This article examines media representations of the 1932 Olympic Games in Japanese newspapers. In Japan, the Olympics attained a certain level of popularity for the first time in 1932. Previous studies have shown that the Japanese mass media, particularly after the Manchurian Incident of 1931, played an important role in the militarization of the country. On the other hand, idealistic universalism has been claimed globally in the realm of international sports. This research attempts to explore the relationships between extreme nationalism and internationalism in Japanese media coverage of international sports in the early 1930s. Methodologically, the study uses both quantitative and qualitative textural analysis. First, the coverage of the 1932 Games in three newspapers (Tokyo Asahi Shimbun, Tokyo Nichinichi Shimbun, and Yomiuri Shimbun), and that of the 1928 Games in Tokyo Asahi Shimbun is analyzed quantitatively. Second, newspaper articles about the departure of the Japanese team, the opening and closing ceremonies, and the victory of a Japanese athlete, are analyzed qualitatively with a view to explore the roles of Olympic media reports in reconstituting nationalism. The results suggest that Japanese media coverage of the 1932 Olympics, differing from that of previous Olympics, was characterized by (1) the frequent appearance of national symbols of Japan (for example, the national flag, the national anthem, and representations of the emperor) and deictics (for example, "our athletes" and "homeland"), (2) the differentiation of "Others" (for example, stereotypical portrayals of non-Japanese athletes admiring "our Japanese athletes"), (3) the frequent use of the metaphor of warfare, and (4) representations of social relationships in Japan (for example, the dramatization of Japanese athletes and their families). Rather than being merely jingoism, this contains two elements: one is a discourse that makes people feel a belonging to the nation, which is a part of the international community, and the other is a discourse that is essentially nationalistic and patriotic, emphasizing the divinity of the Japanese national symbols.

著者

毛利 嘉孝

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.88, pp.216-217, 2016

著者

北田 暁大

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.53, pp.83-96,213, 1998-07-31 (Released:2017-10-06)

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Offering the proposition "Media is the messages, " Murshall McLuhan indicated that the modality of media consumption can define our kinetic sense and thoughts. The unfortunate acceptance of McLuhan's arguments invited the lack of the sociological scrutiny. This paper will rethink the theoretical implication of McLuhan's proposition from the viewpoints of social system theory developed by Niklas Luhmann. His theory clarifies the theoretical difference between face-to-face communication and mediated communication, and the concept of "observation" will give us the alternative idea of "Medialiteracy".

著者

片山 慶隆

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.86, pp.161-180, 2015-01-31 (Released:2017-10-06)

参考文献数

80

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The purpose of this article is to investigate Japanese newspaper reports on the Korean Secret Mission to the Second Peace Conference at The Hague and the Third Japanese-Korean Treaty in 1907. This paper analyzes ten Japanese Newspapers-Osaka Mainichi Shimbun, Tokyo Nichinichi Shimbun, Miyako Shimbun, Yorozu Cyoho, Tokyo Niroku Shimbun, Osaka Asahi Shimbun, Tokyo Asahi Shimbun, Kokumin Shimbun, Jiji Shimpo, Hochi Shimbun-especially Osaka Mainichi Shimbun. Although there has been much academic research on the history of Japan-Korea relations in the past, there have been few media history studies. Takaishi Shingoro, special correspondent at The Hague for the Osaka Mainichi Shimbun, reported the Korean Secret Mission to the Second Peace Conference at The Hague objectively. Three Koreans accused Japan of ruling Korea in the newspaper Courrier de la Conference. Some Japanese newspapers feared that foreign journalists expressed sympathy with Korea. Much of the Japanese press supported the Third Japanese-Korean Treaty. In contrast, much of the Japanese media criticized The Second Japanese-Korean Treaty in 1905 and few newspapers insisted on Japan's Annexation of Korea. Almost all of the Japanese media were calmer then compared to two years ago. Probably foreign journalists' sympathizing with Korea influenced this change in much of the Japanese media.

著者

韓 永學

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.85, pp.123-141, 2014-07-31 (Released:2017-10-06)

参考文献数

27

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The objective of this article is to explore the status of the right to know in the special secrecy law. I found that the law gives much attention to safeguarding "special secrets" but has no regard for the people's right to know. Firstly, the law virtually admits its classification of what is a special secret is too wide-ranging, but restricts the declassification and disclosure of such secrets. Also the law has a chilling effect on whistle-blowing. Secondly, there is little guarantee of the Japanese Diet, the court and third party organizations checking on the enforcement of the special secrecy law. Thirdly, the provision in consideration of press freedom in the law does not have a substantial effect. In view of these serious defects, the law should be abolished or radically amended.

著者

山腰 修三

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.90, pp.47-63, 2017-01-31 (Released:2017-10-06)

参考文献数

34

被引用文献数

1

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This paper argues for the need to draw on political and social theory in the field of media and communication studies. Hegemony is the main focus in this paper. This theoretical term was introduced into media and communication studies in Japan through cultural studies in the 1980s. Stuart Hall, who is the theoretical figurehead of cultural studies, applied the concept of hegemony in media and communication studies. His theoretical model, “encoding/decoding,” became one of the “standard” theories in this field. However, since the decline of cultural studies, media and communication studies in Japan has not concerned itself with the theoretical development of this concept. This paper examines how new theories of hegemony and discourse were developed by political theorist Ernest Laclau. As pioneers of the theory of radi