著者

宮川 創

出版者

関西大学アジア・オープン・リサーチセンター

雑誌

KU-ORCASが開くデジタル化時代の東アジア文化研究 : オープン・プラットフォームで浮かび上がる、新たな東アジアの姿

巻号頁・発行日

pp.323-336, 2022-03-31

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This paper discusses the differences and suitable uses of three handwritten text recognition (HTR) programs developed in Europe: Transkribus, eScriptorium/Kraken, and OCR4all. It commences with an overview of deep learning, HTR, and OCR (optical character recognition) before progressing to review the three programs of interest from the perspectives of history, developer, accuracy rate, layout recognition (including writing orientation), user experience, and cost. All three programs use deep-learning machine-learning technologies. They have also all been proven to reach accuracy rates of close to one hundred percent when appropriately trained depending on the quality of the images of handwritten text, training data, and validation data. Second, the user experience is very important; Transkribus has the simplest installation procedure and graphical user interface, while OCR4all and eScriptorium require users to have expert computer skills. Third, in terms of cost, users of Transkribus are required to purchase credits to access the system and use HTR models to recognize a new text, while eScriptorium and OCR4all do not rely on credit purchase. Finally, we conclude this paper with an overview of suitable cases for each program.

著者

乾 善彦

出版者

関西大学アジア・オープン・リサーチセンター

雑誌

KU-ORCASが開くデジタル化時代の東アジア文化研究 : オープン・プラットフォームで浮かび上がる、新たな東アジアの姿

巻号頁・発行日

pp.47-59, 2022-03-31

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The Kansai University Library has many textbooks, those have many notes written into by scholars of the Japanese classics in late Edo period. This paper explains how much information can be gained by digitizing the text. For example, Yoshitaka Iwasaki's "Hyakunin Isshu Kaikansho" contains notes by Motoori Norinaga. Yoshitaka wrote Norinaga's notes in red ink, and then added his thoughts in light black ink. There are many other materials in which have Norinaga's notes, and by organizing them, we can learn how scholars of the Japanese classics studied the master's thinkings. The Kansai University Library has "Manyoshu" texts, those have many notes writen into Norinaga's thinking. One of texts is very similar to Norinaga's autographed text, that is Motoori-norinaga-kinenkan has. Another text has Nagase Masaki's notes. This is written with three colors ink, red blue and black. Red is Norinaga's notes, blue is another person's notes, and black ink is his own notes. In this way, a lot of information can be read by digitizing the text and organizing notes of meny texts written into by scholars of the Japanese classics in late Edo period.

著者

菅原 慶乃

出版者

関西大学アジア・オープン・リサーチセンター

雑誌

KU-ORCASが開くデジタル化時代の東アジア文化研究 : オープン・プラットフォームで浮かび上がる、新たな東アジアの姿

巻号頁・発行日

pp.279-293, 2022-03-31

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Established in 1943 to exclusively screen Japanese movies, Roxy Theatre was located at the frontline of the "movie war" conducted by the Japanese military government. The theatre and its operator, the China Film Company, tried to open the way for Japanese films to expand into the Settlement, which was Japanese film policy's aim during wartime; however, this project of Japanese films' expansion did not proceed according to plan. One of the most rigid barriers to the project was that moviegoers in Shanghai paid little attention to Japanese films. This led the theatre to take various actions to arbitrarily manipulate Shanghai moviegoers' impressions of Japanese films. The theatre not only excluded Japanese films that contained elements they considered inappropriate but also re-edited original films to cut scenes that they thought misled Chinese moviegoers. Utilizing the cinema brochure, "Roxy," as their propaganda tool was their most significant action. According to the collection of the Asia Open Research Center of Kansai University, which has been digitalizing sixty-two volumes of Roxy, the brochure introduced a large number of Japanese movie stars by claiming that they had an "oriental appeal" to differentiate them from Hollywood movie stars and also that they deserved to replace Hollywood movie stars. Further, the theatre insisted on introducing Japanese historical drama, jidaigeki, to spread the notion of bushido, or the spirit of the samurai warrior, but in vain. The theatre also tried to organize a fan community for Japanese films, and the Japanese Film Fan Club was formed in January 1944, but it was discontinued seven months later. All these failures of the theatre indicated that it was not fully able to contribute to the expansion of Japanese films into the Settlement, although the staff operating the theatre was faithful to their mission.