著者

小川 博司

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.193-194, 2011

著者

内田 力

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.97, pp.87-104, 2020-07-31 (Released:2020-09-26)

参考文献数

21

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In the publishing world in the 1980s, as the number of publicationsincreased, visual expression came to be more pronounced in both magazinesand books. How did this change in publishing media affect the content of thepublications and their authors? By focusing on the case of Amino Yoshihiko(1928-2004)―a historian on the Japanese Middle Ages―this articleexamines the relationship between published media in the 1980s and thevisualization of history. In particular, it explores the extent to which Amino’scommitment to visualizing history was of his own accord. This article analyzes publications by Amino from the 1980s to elucidatehow his history books were connected with visual expression in the process oftheir production. After receiving opportunities to write in a PR magazine published by a company, he began to write on the subject of color and costumein history. Afterward, he acquired knowledge on historical paintings whileproofreading the Pictopedia of Everyday Life in Medieval Japan, New Edition(1984), and he made the best use of this experience to write his own bookThe Grotesque Emperor( 1986), which became one of his primary works.After writing The Grotesque Emperor, he collaborated with a painter toproduce a picture book for children and participated in two large-scaleprojects featuring visual expression. This article reveals that although he wasreluctant to commit to the work of visualizing history initially, he deepenedhis understanding of the subject through various publishing projects.Additionally, the publishing projects that he participated in grew in scale andrequired more initiative. This article also found that Amino collaborated witheditors as well as at times a painter to complete all of his works, as early asthe proposal stage.

著者

荒牧 央

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.77, pp.59-75, 2010-07-31 (Released:2017-10-06)

参考文献数

26

被引用文献数

1

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Due to the decrease of response rate and the inspection limitation of basic resident register recently, the execution of public opinion poll faces many difficulties. At once the response rate of face-to-face interview had from 70% to 80%, but because of the increase of temporary absence and refusal, recent response rate decreased to 50% level. Especially the increase of refusal become remarkable and in addition to the increase of privacy consideration as a background, the shortage of understanding for meaning of survey and the evasion feeling of visitation by interviewer may exist. To deal with such a temporary absence and refusal, there are some movements of reevaluation of self-registering investigation such as drop-off/pick-up and postal survey. Once postal survey has a shortage of low response rate, some examples show the high response rate recently. And the opinion pools which can use such register has been limited due to the change of inspection system in the basic resident register and electoral roll. Moreover, there are issues that criteria and procedure of right or wrong of inspection are not unified each autonomy level. Recently, while public opinion polls conducted by mass-media are mainly persuaded by telephone survey of RDD, RDD has some issues that the increasing of young people who does not have fixed-line causes distortion of samples. To study more about these issues related to public opinion polls, it may be needed to share and discuss with the fielding methods among survey organizations.

著者

栗田 宣義

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.55, pp.131-152, 1999

著者

卓 南生

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.47, pp.60-79,239, 1995-07-31 (Released:2017-10-06)

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"Nanpo"is the term used during the war era to describe South-east Asia. Extensive coverage of the region by the Japanese press began in September 1940 after the Japanese army invaded and occupied the French colony of Indo-China. The event sparked a five year long"Nanpo"news reporting craze. It was not untill the late 1960s, when the Japanese economy advanced rapidly Southward that the Japanese media would again to start to pay attention to South-east Asia. This study seeks to discuss and compare the changes in the stance of Japanese press reports on South-east Asia since 1940. A study of war correspondents' news reports on"Nanpo", as well as the lessons and experiences of post-war journalism will also be made.

著者

小川 有希子

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.54, pp.96-112, 249, 1999-01-31

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The purpose of this study was to propose a method of 'qualitative' content anlysis, and to examine its methodological usefulness by relating its results to the viewers' reactions. A televised drama, in which a committed teacher dealt with the problem of bullying the classroom was analyzed, and viewers' reactions to the drama were collected by a questionnaire and summarized. The content analysis was done in the following manner: First, the development of the drama was analyzed and then segmented into units. Second, the units were categorized into three negative stages and two positive stages in terms of the characters' mental state. It was found that this method of content analysis was quite informative for identifying the segments of the problem that probably induced each reaction of the viewers.

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

新聞学評論 (ISSN:04886550)

巻号頁・発行日

no.39, pp.78-105, 1990-04-30

著者

佐藤 潤司

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.85, pp.185-204, 2014-07-31

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In this paper, I will specifically and objectively identify critical opinions on the mass media that have developed on the Internet about a report giving the real names of the Japanese victims of the hostage crisis of January 2013 in Algeria, and consider the structural factors of such criticism. The targets of this analysis are 1262 cases of opinions output from highly-ranked Web pages displayed on a search engine listing using fixed criteria. 7.1% of the opinions supported the news report, 68.5% of opinions did not support it, with other opinions accounting for 24.4%. The results of an analysis of opinions that did not support the report by using a text-mining approach did not necessarily indicate criticisms of the report that used the real names of the victims, but were an accumulation of various feelings of distrust against the mass media expressed on the Internet that were triggered by this news report. In addition, opinions that did not support the report were formed using language structures peculiar to the Internet; namely, a cyber-cascade that began at the point where people critical of the mass media became sympathetic and radicalized as unclear information spread on the Internet.

著者

山本 昭宏

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.79, pp.153-170, 2011

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This paper analyzes articles about nuclear energy in three science magazines, Kagaku Asahi (Asahi Science), Shizen (Nature), and Kagaku (Science), which were published in Japan in the 1950s. The analytical methodology used in the study is a combination of quantitative analysis and theory concerned with the agenda-setting function of the media. The study aims to reveal the relationship between the discourse found in the articles and Japanese opinions concerning nuclear energy development and radioactive substances, and to explore the qualitative changes in the discourse of the articles and the reasons underlying such changes. One conclusion that emerges from the quantitative analysis is that the number of discourses concerning nuclear energy increased between 1954 and 1955, and following this started to steadily decrease. Generally speaking, the Lucky Dragon 5 incident in 1954, in which the crew of a Japanese fishing vessel was exposed to nuclear fallout from US nuclear testing on Bikini Atoll, is considered to have started the anti-nuclear movement in Japan. At this time, in the science magazines, there was an increase in specialist discourses concerning topics such as nuclear reactors and methods of measuring nuclear fallout. In reality, almost all the scientists involved in nuclear energy research and development thought that they had no connection to the anti-nuclear movement. Based on a purely dualistic conception of good and bad, they continued to position nuclear energy as something to be used for good. From this perspective, it can be seen that in the Japanese science magazines of the 1950s, the nuclear bombing of Hiroshima and Nagasaki and its effects were understood only in a very limited sense.

著者

谷本 奈徳

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.246-247, 2015-07-31

著者

小黒 純

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.219-220, 2015-07-31 (Released:2017-10-06)

著者

山森 宙史

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.82, pp.153-172, 2013-01-31 (Released:2017-10-06)

参考文献数

51

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This study aims to reexamine the historical perceptions of the Japanese comic book medium, particularly the "magazine culture" which began in the late I960s, by tracing the historical process of creating "Shinshoban comics" during the 1960s and 1970s. Prior historical studies of postwar manga have not fully examined manga comic magazines, and manga has usually been defined as one type of comic magazine, not as its own independent form of media. Accordingly, in this article, I focus on the "Shinshoban comics" that predated present-day manga comics in order to understand the transformations in the comic industry during the late 1960s and early 1970s. Unlike the manga comics of today, due to the lack of modern industry and marketing systems, Shinshoban comics were very marginalized and crossed over various manga publishing borders. However, as series of Shinshoban comics based on particular comic magazines became the dominant publication style of manga comics, they were gradually perceived to be one type of comic magazine in the comic industry. Moreover, in the political and cultural climate of that time, the publication of some Shinshoban comics was delayed while others were screened out. Some of the works filtered out of the major public companies were published by small publishers as well as Kashihon publishers, which published for book-lending shops. As a result, though Shinshoban comics were subsumed by the comic publishing industry as a part of magazine culture, they were also relatively independent and established themselves as an original publishing medium. Therefore, an investigation of the historical process of creating Shinshoban comics clarifies that the industrialization centering around comic magazines produced by the major publishers beginning in the late 1960s contained within it a complexity that gave rise to an "independent" or "derivative" media culture.

著者

佐藤 潤司

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.185-204, 2014-07-31 (Released:2017-10-06)

参考文献数

10

被引用文献数

2

---

In this paper, I will specifically and objectively identify critical opinions on the mass media that have developed on the Internet about a report giving the real names of the Japanese victims of the hostage crisis of January 2013 in Algeria, and consider the structural factors of such criticism. The targets of this analysis are 1262 cases of opinions output from highly-ranked Web pages displayed on a search engine listing using fixed criteria. 7.1% of the opinions supported the news report, 68.5% of opinions did not support it, with other opinions accounting for 24.4%. The results of an analysis of opinions that did not support the report by using a text-mining approach did not necessarily indicate criticisms of the report that used the real names of the victims, but were an accumulation of various feelings of distrust against the mass media expressed on the Internet that were triggered by this news report. In addition, opinions that did not support the report were formed using language structures peculiar to the Internet; namely, a cyber-cascade that began at the point where people critical of the mass media became sympathetic and radicalized as unclear information spread on the Internet.

著者

木村 忠正

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.93, pp.43-60, 2018-07-31 (Released:2018-10-13)

参考文献数

32

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People’s activities on the Internet are becoming digitized, and substantiveanalysis methodologies such as quantitative content analysis and network analysisare developing rapidly. Meanwhile, they cultural anthropology is methodologicallycharacterized as essentially qualitative, with ethnography at their core.How can cultural anthropology approach our online activities and our lives ingeneral with the Internet as a component through the method of ethnography?It is necessary to fundamentally revisit the conventional methodology built onthe premise of the analog age with regard to ethnography in the context of thecyberspace field. Accordingly, cultural anthropologists who are interested in Internet studiesand communications researchers who engage in an ethnographic approach haveaccumulated diverse developments in methodological discussions surroundingonline ethnography, virtual ethnography, digital anthropology, and so on. Based on the author’s awareness of these issues and the developments inscientific discussions, has been proposed hybrid ethnography. The aim of thispaper is to clarify the methodological subject of media studies pertaining to thedigital network age based on the research the author conducted in online publicopinion as part of the larger framework of the changes in ethnographicalapproaches, while attempting to propose concrete arguments on the methodologyof hybrid ethnography by presenting research examples that include theelements of: 1. quantitative content analysis, 2. data structure analysis( variousmethods of multivariate analysis), and 3.( social) network analysis.

著者

樋口 喜昭

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.67-88, 2014-01-31 (Released:2017-10-06)

参考文献数

48

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This paper first examines how the Japan Broadcasting Corporation broadcasted in each region prior to the Pacific War, and how they regarded regional characteristics in each broadcast, based on data from journals such as The Japan Broadcasting Corporation journal from that time, in order to clarify discussion of locality in broadcasts prior to the Pacific War. From this research, it is clear that the locality of early radio broadcasts in Japan had three different aspects as follows: 1) the locality of broadcasting that existed initially, 2) the subsequent centralization of Japanese Broadcasting, and 3) the resumption of local broadcasting for wartime emergency broadcasts. The first aspect stemmed from the fact the Corporation organized entertainment centered programs and had been trying to provide programs to suit the taste of listeners in each region. The second aspect stemmed from the fact when the ratio of program leadership grew nationwide, regionalism in broadcasting was often emphasized by the Corporation through strengthening central control, and it was possible to broadcast relative to the political background of the time. The third aspect stemmed from the fact since it had become necessary to acknowledge practical issues such as increased production and promotion of the war, local broadcasts were once again emphasized. The first and third aspects prioritize local circumstances in broadcasting for different reasons. However, the second aspect deals with standardized local broadcasts, used by the Corporation, to influence the Japanese public.

著者

加藤 裕治 舩戸 修一 武田 俊輔 祐成 保志

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

vol.85, pp.165-183, 2014-07-31 (Released:2017-10-06)

参考文献数

27

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In this paper, by interviewing the TV program creators of Akarui Noson-Mura no Kiroku, a program on agricultural affairs that was broadcast on NHK (Japan Broadcasting Corporation) from the late 1950s to early 1980s, The authors examined the transition in the approach of the program's production and the viewpoints of the creators, and analyzed the construction process for the representational model of Japan's post-war agriculture and agricultural communities. Consequently, these interviews revealed the presence of a unique mind-set held by the program creators (a "village mentality") that differs from the rest of creators at NHK, and the process of the transition of their perspectives on agriculture and agricultural communities in relation with changes of the times throughout the years they worked with agriculture and agricultural communities. Mura no Kiroku, originally in line with agricultural affairs programs, was a program with the objective of providing education on and improving agriculture and its communities. From the mid-1960s onward, however, due to the rapidly changing agricultural environments and viewer demand, it became necessary to create a program from the perspective of agriculture and its communities as victims. At the same time, food and agriculture issues in the 1970s demanded a "critical perspective on agriculture and agricultural communities" to be included in the program. But at the end, neither the victimizing nor critical perspective on agriculture and rural villages was considered suitable for the program and its viewers. The transition in the perspectives of the creators of Mura no Kiroku is a history of broadcasting that reveals the construction process for the representational model of the post-war agriculture of Japan. Furthermore, based on these considerations, This paper presents a statement to the effect that the analysis of this program can be a threshold for the reevaluation of the relations between today's agriculture and rural villages on the one hand, and the television media on the other.

著者

丸山 友美

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.143-162, 2019-07-31 (Released:2019-10-25)

参考文献数

28

被引用文献数

1

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The purpose of this paper is to explore how television documentaries as aparticular mode of expression were formed through an investigation of thecomposition of sound recording as a prehistory of television documentaries. By tracing the genealogy of the radio programs Man on the Street, whichstarted broadcasting during the occupation of Japan at the end of World WarII, and Social Survey, one of its spinoffs, this paper examines the formation processof television documentaries from the following three points. First, thispaper focuses on the fact that particular documentary aesthetics were importedunder the leadership of the General Headquarters (GHQ), and examine thesemodes of expression within the dynamic of broadcast policy. Second, it examineshow Japanese staff who actually produced these programs merged theirideas with the occupation army’s to create a unique form of Japanese radio documentary.Thirdly, it demonstrates how the democratic program ideas presentedby GHQ became sharply distinguished as what would be called Rokuon-Kōsei. These points are investigated from a detailed technical, historical andformal analysis. This paper presents two concluding points: 1) that opinions of socially vulnerablecommunities became newly accessible in radio broadcasting afterWorld War II and 2) that this was made possible by a brusque and minimalistediting method that was developed with the intention of broadcasting thesesubaltern opinions with little modification. This genealogically leads us to thetelevision documentary The Real Face of Japan, which was produced with anew montage theory that until then had not been done in the documentariesand culture films, and was subsequently highly praised by documentarists andcritics. Thus, this paper offers a new analytical point of view for reviewingearly television documentaries through describing the formation process of documentarymodes of expression called Rokuon-Kōsei in earlier radio documentaries.

著者

東 園子

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.83, pp.31-45, 2013

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Today, it is easy for ordinary people to widely disseminate their message and works over the Internet. Nevertheless, many people still disseminate information by paper media. For example, people known as otaku - fans of Japanese anime, manga, video games, etc. - often create fanzines binding manga and novels they produced themselves. They then sell these fanzines at events in Japan in which fanzines are sold. With the growth of the Internet, otaku also exhibit their works on the web. But many otaku, especially female otaku, still use paper media to publish their works. This paper considers the influences of electric media on paper media and the merits of using paper media as a tool for personal publications, by analyzing ways to use media in creative activities, and it also examines the female otaku's media awareness based on my research and interviews. Originally, fanzines created by otaku have four functions: publishing fan works, informing others about their creative activity, talking about one's favorite works and characters, and interacting with others who share the same interests. Events where trading fanzines takes place also have these four functions. As otaku use online tools for their creative activities, electric media have replaced paper media for informing others about their creative activity and discussing their favorite things. But paper media have advantages in publishing works and interacting with others. Paper media is more suitable for placing manga and treated better than electric media. By selling fanzines at events, otaku can enjoy face-to-face communication with others. They can also directly gauge the reader's response to their works. Works created by fans are provided free of charge on the Internet. On the other hand, fanzines are traded with money. The people I interviewed who create fanzines regard receiving payment for their works as a sign of appreciation for them. But readers enjoy their works without any cost on the web. So, creators of fanzines feel strongly that their readers should accept their works when they publish them by paper media rather than electric media. For these reasons, the creative female otaku I interviewed prefer paper media in this age of the rising Internet.

著者

小川 豊武

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.89-107, 2014

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The purpose of this paper is to clarify how the category that applies to young people was carried out in national newspapers in Japan. Recent research in Japan criticizing discourses on the youth in mass media through empirical data has increased. Researchers insist that many of the discourses on the youth were stereotypes that ignored their diversity. However, in the only studies that are intended to dismantle the clarity of discourses on the youth, the question of why non-empirical discourses have been accepted by the reading public has been overlooked. Given these issues of concern, this research uses conceptual analysis in ethnomethodical research to understand how the category that applies to young people was carried out. Ethnomethodology aims to clarify the operational norms that make it possible to understand their act by describing how people use categories and concepts. In precious studies, other researches have focused on seinen and wakamono: seinen roughly means youth while wakamono means young people. The subject of analysis is articles in national newspapers from the 1950s to the 1960s, which used seinen and wakamono categories. This analysis revealed that in mass media the carrying out of seinen and wakamono as categories actually had various activities. These categories were never intended to be only stereotypes, rather they have allowed for many activities other than understanding the actual conditions of young people. Seinen was associated with organized institutions, with strong ties to educational oppotunities for men and women. Wakamono was associated with non-institutional groups, and it was also associated with the mass media's self-describing and synthesizing practice. By way of this function, these categories were affecting the way of segmentation and how newspapers create an understanding of young people.

著者

岡澤 康浩 團 康晃

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.89, pp.63-81, 2016

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In this paper, we examine the role of literary taste among youth in Japan.Pierre Bourdieu's theory of taste assumes that individuals are ranked accordingto their taste from the most refined to the most vulgar. Reading novels appearsto be a perfect example of Bourdieu's theory, as reading is taught directly inschool. However, Bourdieu's theory seems to be at odds with the Japanese situation,where influential literary critics have witnessed the 'downfall' of onceesteemedliterature that, as they saw it, has now ceased to be relevant to societyand become merely entertainment. Even when the popularity of" light novels" and" cell phone novels" causedcontroversy in the 2000s regarding their quality due to the former's anime/manga-like characters and the latter's unconventional style of writing andexcessively sentimental plots, scholars and journalists countered the disparagingdiscourse on these supposedly "lowbrow" novels. Although Bourdieuassumes individuals to be taste-sensitive and taste to be a fundamental capitalin every field of cultural practice, for the case of novel reading in Japan, thisvery assumption must be called into question. Drawing from the 2010 Youth Culture and Communication Survey in Nerima(Tokyo), we explore whether literary taste is still relevant to the sense of distinctionamong young novel readers. We examine the difference between selfcategorizednovel hobbyists and non-hobbyist novel readers, and we testwhether what they read accounts for the gap between the two groups. The findings show that the types of novels are relevant to their self-categorization.In particular, those who read classical novels are more likely to regardreading novels as a hobby and those who read cell-phone novels are less likely.Against literary critics' skepticism about the cultural authority of literature inJapan, these findings indicate that even urban youth conform to the conventionalhierarchy of literary taste.