著者

伊藤 高史

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.50, pp.140-154,230, 1997-01-31 (Released:2017-10-06)

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This paper puts forward a republican view on freedom of expression to discuss the legitimacy of the media's self-regulation of so-called hate speech in Japan. The issues concerning such self-regulation make it evident that the idea of free speech has lost its real meaning and I argue that going back to the idea of republican freedom is indispensable to reconstruct the idea of free expression. By discussing the republican view, I suggest that the problem with the current way of settling the arguments of hate speech is that a third party is eliminated from negotiation processes between the media and complaints.

著者

牛山 佳菜代 石黒 公 川又 実 岩佐 淳一

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

巻号頁・発行日

vol.71, pp.135-136, 2007

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

no.64, pp.150-163, 2004-01-31

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This article reconsiders critical communication theory with reference to the theoretical turn of Stuart Hall's communication model. The focus is on three aspects: social and political change in post-war UK; neo-Marxist concept of "discourse" and "ideology": Hall's political project as New Left. During the late 70's to early 80's, Hall had changed his communication theory dramatically in order to stand against the political project of Thatcherism. I examine that Hall's perspective had changed from "encoding/decoding" model, which leads to "semiotic democracy," to "struggle over meaning," which can be connected with new theoretical trends.

著者

田村 千穂

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.74, pp.115-132, 2009-01-31 (Released:2017-10-06)

参考文献数

13

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In the early 1910s, when stage actresses emerged, the so-called “Katsudō-Actresses” appeared i n the cinema scene. I examine how they differed fromcontemporary film actresses and how they were received by audiences backthen. I analyzed the earliest film magazine of Katsudōshashinkai from 1909 to1912. The activities of Katsudō-Actresses were not limited to acting on screen.They also performed on stage as actors of chain-dramas, and dancers of sideshows played i n movie theaters. Katsudō-Actresses appealed to the audiencethrough both presentation and representation. Such uniqueness was sustainedby the circumstance of the early Japanese cinema.

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

寺田 輝介 野村 彰男 植田 康夫

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

no.48, pp.260-261, 1996-01-31

著者

小林 直毅 上丸 洋一 ファクラー マーティン 遠藤 薫 谷原 和憲

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

no.81, pp.41-64, 2012-07-31

著者

河津 孝宏

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.72, pp.59-77, 2008

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This article aims to describe the viewing experiences that white-collar women living in Tokyo go through when watching the American TV series "Sex and the City". The ethnographic approach used in cultural studies in the 80's has been adopted to analyze the subject. The audiences extract a realism from the textual world, and adopt a viewing position that aligns with their own life stage. Furthermore, the experience of viewing is linked to their life history and reflexively updates their self-identity. This article presents an alternative approach which discusses TV viewing in terms of diachronic experience of audience.

著者

新藤 雄介

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.133-152, 2012

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This paper aims to examine local cooperative action with regard to books during the third and fourth decades of the Meiji Period (1897-1912). It hopes to reveal the changes in the modes of cooperation concerning books and the effect these had on community-based organizations. The paper will focus primarily on cooperative action and local associations within Saitama Prefecture, using the example of reading rooms and traveling libraries with elementary schools, teachers, and youth groups (seinen-kai). Before the introduction of the traveling library in the third decade of the Meiji Period (1897-1906), elementary schools were utilized as the primary function hall for all local community events. Reading rooms for youth groups were set up in these elementary schools. However, the establishment of such communal reading rooms required many resources, from finding or even building new rooms, gathering books to staffing them. Consequently, reading rooms were largely managed by teaching staff and were used exclusively for educational purposes. The fourth decade of the Meiji Period (1907-1912) saw a proliferation in interest from local people in cooperative action concerning books. The central prefectural administration introduced traveling libraries, and held various events in elementary schools throughout Saitama Prefecture. While the initial impetus was the aim to provide schools with books for youth groups, the traveling libraries soon also targeted the community at large. This change to the function of traveling libraries represented a move away from cooperative action concerning itself exclusively with educational purposes, and towards everyday matters, including amusement. In order to fulfill these duties, the traveling library needed day-to-day bases to work from. In the case of Saitama Prefecture, new youth groups were established or old ones revitalized to support these endeavors. As such, the traveling library played a vital role in the rebuilding of local communities throughout the entire prefecture.

著者

永田 大輔

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

no.88, pp.137-155, 2016-01-31

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This paper discusses the Video Tape Recorder (VTR) spread process in the 1960s and 1970s. Previous studies on videos have mainly focused on two aspects: (1) sexual media and (2) leisure communities' unique consumption. This paper examines how functions such as slow motion, which were usually used by the leisure communities only were prepared in the first process of family spread. This paper researches the industry paper Video Journal in the period 1968-1978. This industrial magazine has a different focus than that of leisure magazines. This magazine discusses multiple markets in the spread process. This paper will examine each market's demands, according to the industry magazine. From the 1960s to the 1970s the video market was supported by an educational demand. Video was a revolutionary media in audio-visual education. Education has diverse functional needs and feedback regarding these needs can reach the market through study groups. These unique functional demands of leisure groups later spread to family use. In the mid -1970s, Video Journal was conscious of the family market, but its development in this market had been late. First, this may be due to a lack of good content on video. But the true reason is the cost of video recording. Thus, the market could not identify families' needs for a long time, and could not predict the time of family spread. Furthermore, educational needs continued and their demand is left. Both family and educational needs continued and their demand is left. Both family and educational needs did not utilize video functions such as slow motion, which were only used by leisure groups.

著者

宮武 実知子

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

no.70, pp.157-175, 2007-01-30

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"The Seven Professors affair" is famous as the pro-war movement of Tokyo university professors before the Russo-Japanese War. Their movement is likely to be criticized as irresponsible and silly. However the overview of the affair and their intention are not well known. In this paper, to explain the background and the overview of the affair, I will examine the public opinion to the affair, through newspaper and magazine articles at that time as well as reminiscences of those who involved. Their movement came to the first case of consumption of the intellectuals in Japan.

著者

新藤 雄介

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.83-102, 2014

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This study aims to examine deposit collections during the Taisho period (1912-1926) . Deposit collections developed in connection with community-based organizations in local society. They were founded in several different venues, such as youth groups, girls' groups, barbershops, and schools. The current study will focus primarily on deposit collections and a local community. After the Russo-Japanese War (1905), the Ministry of Education and the Home Ministry needed to solve the problem of a growing population of students who were graduating from elementary school but would not go on to junior high school. The ministries intended to establish youth groups for these young elementary graduates in order to avoid an academic decline. At the same time, they also encouraged the establishment of libraries and deposit collections for social education. Against this historical background, deposit collections increased in number throughout the Taisho period. In Saitama Prefecture, youth groups began establishing permanent deposit collections as a result of the introduction of a traveling library in 1909. Members of the public donated small amounts of money and small numbers of books to the groups. This enabled the groups to establish collections easily and at a low cost. In 1919, about 40% of youth groups had a library or deposit collection, and about 70% of youth groups used them. This shows the ubiquity of deposit collections at that time. Meanwhile, deposit collections flourished within the circle of everyday life and diversified. Unlike the traveling library in Saitama Prefecture, the traveling libraries of community-based organizations went from door to door. These deposit collections were operated by not only youth groups, but also by girls' groups, barbershops, schools, and others. They also existed not only in Saitama prefecture, but in other Japanese prefectures as well.

著者

松井 広志

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

no.87, pp.77-95, 2015-07-31

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The aim of this paper is to study the materiality of media through the experiential analysis of the history of model kits in Japan. The authors focus on the following questions: "What is materiality of media?" and "How are materiality and intermediacy related to each other?" Answering these questions requires hypothesis development for theoretical considerations based on experiential analysis of a specific medium that has materiality as its essential element. In this study, the authors examine the history of model kits in Japan. This paper analyzes the history of model kits in Japan from the 1900s through the 1960s by using a variety of materials, which include miniature model products, miniature model magazines, statistical data and yearbooks of related companies. The authors' findings show that different media were created in different periods: scientific miniature models that mediated the future before World War II; armament models that mediated the present during World War II; and scale models during the post-war period of rapid economic growth. At the same time, the creation of these media was inextricably connected with materials, such as wood, metals, substitute materials, and plastic. However, these materials and models were originally not separate entities but represented different aspects of a single medium. In other words, scientific models were the same medium as models made of wood and metals; armament models were inseparable from substitute materials; and scale models were the same as plastic models. As these examples show, analyzing the creation of media, including actors (materials), leads us to reconsider the deterministic understanding of the essence of a medium. These considerations led to the following conclusion regarding the materiality of media: Specific materials are used to form a specific medium and the resulting materiality creates dynamic changes in the intermediacy of the medium. Inversely, a medium appears to have diachronic identity due to the inextricable connection between the materiality and intermediacy of the medium, which causes its different elements to form a specific area as a group despite the variability of individual elements.

著者

吉見 俊哉

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

no.86, pp.19-37, 2015-01-31

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In postwar Japan, the Olympic Games were organized as "postwar" events in the strict sense of the term-specifically, the Olympic Games not only symbolized the history of Japan's postwar recovery and economic growth, but also the athletic facilities that provided stages for many national dramas were postwar products created by transforming facilities used for military purposes during the war. Many of the national dramas that unfolded on these stages were also products created by shifting the focus of dramaturgy from military heroism to athletic heroism. The term "postwar period" as used here refers to the transition from militarism (war) to peace. In this paper, we first verify that the major facilities for the 1964 Tokyo Olympic Games were constructed on former Japanese military facility sites. Next, we confirm that throughout Japan, after the war many athletic facilities were constructed in places where military facilities were located during the war. Then, we reveal that in the process of returning Washington Heights in Yoyogi to Japan in order to construct facilities for the Olympics, there was a gap between the intentions of the United States and the Japanese government, which was actually seeking the return of the U.S. base in Asaka. In addition, we also confirm that the Oriental Witches and Kokichi Tsuburaya, who played leading roles in the national dramas of the Olympics, were both closely tied to the process through which a poor nation turned itself into an industrialized country-the Oriental Witches as former female workers of cotton mills, and Tsuburaya as a member of the Self-defense Forces from the Tohoku region. Thus, this paper aims to throw light on the continuous elements from the war period of the 1964 Olympic Games.

著者

池上 賢

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.84, pp.109-127, 2014

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This paper examines perspectives for studying audiences in the complex media environment in contemporary society. First, I point out the following three changes in the media environment: transition to a ubiquitous society, diversification of information, and the use of two-way communication in the media. Next, based on the review of past audience studies, I point out the importance of audience identity. In past audience studies, audience identities were studied as identities of specific social groups. In this paper, however, I argue that such a perspective is inadequate for understanding the relationship between the media and audience identity in contemporary society; in order to analyze multi-faceted identities in contemporary society, it is necessary to adopt an alternative perspective. For this reason, I propose a perspective that focuses on narratives about audiences' media experience and studies how identities are constructed in such narratives. Then, based on the proposal, I review the following two analysis perspectives: First, I present a spectacle/performance paradigm. This paradigm assumes that individuals present their identities through their media experience. Identities are analyzed as narratives that are created for other individuals. Secondly, I present the perspective of ethnomethodology as an approach for analyzing narrations that cannot function as narratives. This perspective analyzes methods used by individuals to achieve actions. In this perspective, identities are resources presented by narrators to achieve interaction. These two perspectives study identities not as characteristics assigned by researchers to audiences, but as characteristics constructed by audiences themselves. In conclusion, I argue that the use of these two perspectives makes it possible to study complex and diversified audience identities in the media environment in contemporary society.

著者

加島 卓

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

no.71, pp.66-86, 2007-07-30

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The purpose of this article is to make the history of relationship the category of "Advertising Creator" with the ambiguous ability such as "Creativity" clear. The methodology of this article is discourse analysis in 1920's. First, "Shougyou-Bijyutsuka" was the origin of the "Advertising Creator", and that wasn't ambiguous category at all. Second, "Creativity" had negative meanings when "Advertising Creator" defined by distinguishing from the "Artist". Third, the positive of the "Advertising Creator" and the negative of the "Creativity" are constructed by the discourse network Psychology and Marxism. By them, this article submitted the perspective as "Formalist" for the "Advertising Creator".

著者

河崎 吉紀

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

no.63, pp.98-111, 2003-07-31

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The purpose of this paper is to analyze the qualification system for journalists in Japan by examining the interwar period. Once the newspaper industry became large-scale, journalists claimed the socioeconomic status governed by the license, as had happened in the United States. But protection and control are two sides of the same coin. Journalist protections could be transformed into restrictions, as happened in Germany and Italy, when war approached. This system was introduced in Japan at the time of World War II.

著者

佐々木 孝侍

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

no.81, pp.163-180, 2012-07-31

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In recent years, models on fashion magazines have become highly popular in Japan. Such popularity finds its explanation in the enthusiastic behavior of fans as can be noticed in big fashion events such as "Tokyo Girls Collection". This paper ethnographically describes the phenomenon of the behavior of models' fans. In order to understand their interpretation and feelings about fashion models, the author conducted a semi-structural survey asking eighteen women about their most favorite models in 2011. This paper also looks into how fashion magazines, the place of activity for models, are perceived by the fans. The participants' observation at girls' events has also been assessed. The findings of the research can be stated as follows. According to fans, fashion magazines constitute a source of information about models. In fact, the attention of fans goes straight to the features of the body, the face or to the hairstyle of models. The models' fans do not interact with each other as is usually the case. Fans are not really interested in the personality or the private life of models. The paper shows however that at girls' events, the fans are more attracted by the features of the body.

著者

西 兼志

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

no.75, pp.35-50, 2009-07-31

著者

安野 智子

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.60, pp.44-61,203, 2002

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The spiral of silence theory is known as one of the most influential public opinion theories but it has not been verified well. Though a meta-analysis reported the small but significant relationship between subjective pervasiveness of respondents' opinion and the willingness to express their opinions (Glynn et al., 1997), findings are inconsistent. One of the main reasons of inconsistency is, as many researchers have pointed out, the difficulty in manipulation of theoretical assumptions. Reexamining main assumptions of the theory and findings of the spiral of silence studies, the author suggests that further investigation of the hardcore is required from the point of view of social networks.