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.56, pp.64-77, 2000

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Inaba Michio once focused on the aethetics of Nakai Masakazu to elaborate the conception of media and mediation. Although 30 years have passed since Inaba's suggestion, the theoretical definition of MEDIA seems to remain confused. In this paper, picking up Nakai's investigation for medium and Mittel, I re-examine the ontological problems concerned with Media Studies. First, Nakai's argument about technology is examined from the two theoretical viewpoints : the concept of directedness-non-mediatedness, and the concept of cooperation. Next, I focus on his unique film theory and clarify of Nakai's theory in the present context of Media Studies.

著者

井上 禎男

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.96, pp.179-180, 2020

著者

玄 武岩

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.27-44, 2011-07-31 (Released:2017-10-06)

参考文献数

40

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This article aims to consider possibilities of studies focusing on transnational media and communication practices of ethnic minorities through an historical exploration of the media and communication networks of the Korean diaspora in East Asia. Diasporas have often been pioneers in adopting cutting-edge technologies in their media practices. Furthermore, it is a subject of growing political and social importance to analyze which aspects of transnational communication diasporic and migrant populations use to stay connected with their homeland. However, in Japan, there has been little research on the topic to date, and it could even be said that such a perspective has been lacking. By focusing on the production and consumption of media cultures by the Korean diaspora in their past and present, we can receive new insights into the areas of cultural politics and identity construction of migrant and diasporic populations in which their identity has been constantly represented, contested and negotiated in their everyday lives. Through this examination, I would like to emphasize a new dimension to and the possibilities for diasporic media studies in Japan.

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.83, pp.135-153, 2013-07-31 (Released:2017-10-06)

参考文献数

22

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In order to re-examine the value and significance of documentary films, this study adopted an approach that utilizes the concept of aleatoric elements. Until now, producers and critics have regarded the documentary as a self-explanatory genre that differs from news and drama. However, issues surrounding the discourses on the subjectivity and objectivity of documentaries have always surfaced in response to the question "what is a documentary-" In other words, it is this dualistic framing that has prevented visibilities in the main issue regarding the potential of the documentary format itself. In order to break free from this framing, it was necessary to first examine the types of discourses on subjectivity and objectivity that have been discussed, in addition to examining where exactly they have positioned documentaries. This study then examined factors that have been overlooked in these discourses and considered the introduction of the concept of aleatoric elements as a supplemental approach. This study referred to story studies of literature, semiology studies of cinema and image studies of cinema for building this concept. Furthermore, to demonstrate the effectiveness of this approach, this study attempted to analyze A, a 1998 film by Tatsuya Mori, using the concept of aleatoric elements. Based on the findings of this study, the following was concluded. What has become clear through the analysis of the film is that documentary films are capable of not only containing both fictitious and non-fictitious elements but also creating friction between depicted reality and implied reality to highlight new, elusive realities that cannot be firmly defined on account of their ambiguity.

著者

芦田 定男

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

vol.23.24, pp.51-55, 1975-03-31 (Released:2017-10-06)

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

清水 英夫

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

vol.18, pp.26-41, 1969-03-01 (Released:2017-10-06)

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.