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.