{"created":"2023-05-15T15:43:09.896197+00:00","id":995,"links":{},"metadata":{"_buckets":{"deposit":"81cc5056-4985-47ff-bbeb-2b202f5d31db"},"_deposit":{"created_by":3,"id":"995","owners":[3],"pid":{"revision_id":0,"type":"depid","value":"995"},"status":"published"},"_oai":{"id":"oai:seijo.repo.nii.ac.jp:00000995","sets":["1:981:983:154"]},"author_link":["1753","1755","1754"],"item_1_biblio_info_14":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2007-12","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"201","bibliographicPageEnd":"120","bibliographicPageStart":"150","bibliographic_titles":[{"bibliographic_title":"成城文藝"}]}]},"item_1_creator_6":{"attribute_name":"著者名(日)","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"古田, 尚輝"}],"nameIdentifiers":[{"nameIdentifier":"1753","nameIdentifierScheme":"WEKO"}]}]},"item_1_description_1":{"attribute_name":"ページ属性","attribute_value_mlt":[{"subitem_description":"P(論文)","subitem_description_type":"Other"}]},"item_1_description_11":{"attribute_name":"抄録(日)","attribute_value_mlt":[{"subitem_description":"1958年9月から64年9月までの6年間、日本のテレビ放送から日本の大手映画会社が製作した劇映画が姿を消した。本稿は、この劇映画 \"空白の6年\" に着目して、その間に映像メディアとして先行した映画産業と新興のテレビ放送の間にどのような変化が生じたかを調べ、アメリカと比較しながら、日本のマス・メディア史における6年間の意義を考察するものである。 1950年代の日本の映画産業は空前の繁栄を享受していた。しかし、その背後には劇映画の製作本数と映画館数、すなわち映画供給の伸びが、映画の需要を示す映画館入場者数の伸びを上回るという需給のアンバランスが生じていた。そして、そのいずれもが1958年から60年にかけてピークに達した後、60年代前半に急激に減少し、映画産業の衰退が決定的となった。一方、1953年に始まった日本のテレビ放送は、1959年4月の皇太子ご成婚を契機に驚異的な普及を遂げ、1960年にはNHKと民間放送を合わせたテレビ放送事業収入が映画興行収入を上回るまでに急成長した。 この間、1958年3月に大手映画会社6社は「6社協定」を申し合わせ、劇映画のテレビ放送への提供を拒否した。その一方で、東映・松竹・東宝・大映の4社は、同じ年にフジテレビジョンと日本教育テレビ(NET、現在のテレビ朝日)に出資し、東宝を除く3社は翌1959年からテレビ用の映画(テレビ映画)を製作してテレビ放送事業に参入した。しかし、大手各社の民間テレビ局の経営参画には、テレビ局設立の経緯と出資比率から来る限界があった。また、テレビ映画の製作も、当時大量に輸入されていた廉価なアメリカ・テレビ映画との競走を強いられ、各社の中核的事業には容易に成長しなかった。 アメリカでも1940年代末から50年代前半に急速に普及したテレビ放送に対抗するため、ハリウッドは映画製作そのものの変革、大型映画の開発、テレビ映画製作によるテレビ放送への進出という3つの対策を進めた。 これを日本と比較すると、まず映画製作の変革については、ハリウッドが製作本数の削減と独立プロダクションへの製作の移行を進めたのに対して、日本では濫作と言われるほどの過剰な製作と大手映画会社の強力な市場支配が原因でともに実施時期が遅れた。 次に大型映画の開発に関しては、ハリウッドがテレビ放送に対する危機感から1952年から僅か1年間に立体映画やシネマスコープ等を公開したのに対して、日本では映画産業の発展が続くなかでハリウッドの大型映画が輸入されその技術を利用して製作が始まった経緯があった。このため、日本の大型映画製作は、テレビ放送への対抗策としてではなく大手映画会社間の競争の一環として実現した。 最後のテレビ映画の製作は、ハリウッドでは収益性の高い新規事業として成長し映画事業の多様化(diversification)に繋がったのに対し、日本では廉価なアメリカ・テレビ映画との競争と放送局の購入価格の抑制が原因で各社の主要事業には成り得なかった。 このように見てくると、劇映画 \"空白の6年\" は、日本の映画産業にとっては、劇映画のテレビ放送拒否という消極的な手段では自らの衰退もテレビ放送の成長も阻止できなかった不毛な6年間ではなかったのだろうか。一方、急成長する日本のテレビ放送にとっては、劇映画の不在を自主製作のドラマとアメリカ・テレビ映画でやすやすと乗り越え、やがて映画産業を凌駕する時期ではなかったかと思われる。その意味でこの6年は、日本において映像メディアの主役交代が劇的に進行した時期であった。","subitem_description_type":"Other"}]},"item_1_description_12":{"attribute_name":"抄録(英)","attribute_value_mlt":[{"subitem_description":"From September 1958 to September 1964, feature films produced by Japan's major film studios disappeared from Japanese television. In this paper, I examine that six-year blank in feature film broadcasting with particular reference to related changes between the cinema industry, which had been the frontrunner in audiovisual media, and the emerging television industry. By comparing the situation in Japan with that in the United States, I consider the significance of those six years in the history of Japan's mass media. In the 1950s, Japan's cinema industry enjoyed phenomenal prosperity. In the background, however, a supply-demand imbalance arose whereby supply of films (the number of feature films produced and the number of movie theaters) outgrew demand for films (movie theater attendance). Supply and demand both peaked from 1958 to 1960, but then dropped sharply in the early 1960s as the cinema industry's decline became inevitable. Meanwhile, Japan's television broadcasting, which had begun in 1953, was spreading at a phenomenal rate, spurred by the televising of then-Crown Prince (now Emperor) Akihito's wedding in April 1959. By 1960, the total earnings of the television industry (NHK and commercial broadcasters combined) had surged ahead of those of the cinema industry. In March 1958, Japan's six major film studios agreed to suspend supply of their feature films for TV broadcasting. In the same year, four of the studios-Toei Co., Ltd., Shochiku Co., Ltd., Toho Co., Ltd., and Daiei Co., Ltd.-invested in broadcasters Fuji Telecasting Co., Ltd and Nippon Educational Television Co., Ltd. (NET ; now TV Asahi Corporation). The following year (1959), Toei, Shochiku, and Daiei diversified further into the television business by producing films made specifically for television (telefilms). However, because of the way TV broadcasters were set up and their shares distributed, there were limits to how far the major film studios could participate in commercial TV station management. Furthermore, in the area of telefilm production the studios faced stiff competition from the cheap American telefilms that were being imported in large quantity, and none of the studios succeeded in developing telefilm production into a core business activity. In the United States, Hollywood studios pursued three main strategies to counter the rapid spread of television in the late 1940s and early 1950s : changes in film production itself ; development of widescreen film formats, and participation in the television industry through telefilm production. These three strategies provide the basis for my comparison of the Japanese and American cases. Regarding changes in film production, whereas Hollywood studios reduced the number of films they produced and shifted toward independent production, Japan's major studios were all late to follow suit, mainly due to the momentum of their overproduction and the powerful control they held over the market. Regarding development of widescreen film formats, Hollywood started releasing such innovations as 3-D movies and CinemaScope from 1952, just one year after recognizing the threat that television posed. In Japan, however, as part of the ongoing development of the cinema industry, widescreen Hollywood films were imported and their techniques applied in domestic film production. Production of widescreen films in Japan thus came about not as a countermeasure to television but rather as an aspect of competition among the major Japanese studios. In Hollywood, telefilm production grew as a lucrative new field and tied in with the diversification of the cinema business. In Japan, the competition from cheap American telefilms, together with TV broadcasters' suppression of telefilm purchase prices, prevented telefilm production from becoming a core business activity of any of the major film studios. Viewed in this light, the six-year hiatus when feature films disappeared from Japan's TV screens was a barren period for the Japanese cinema industry, the studios' passive approach of simply blocking the televising of feature films curbing neither their own industry's decline nor television's growth. For Japan's rapidly burgeoning television industry, on the other hand, the same period was arguably the point at which it eclipsed the cinema industry by easily offsetting the absence of feature films with self-produced dramas and American telefilms. In that sense, those six years saw dramatic advances in the process by which television superseded cinema as Japan's principal audiovisual medium.","subitem_description_type":"Other"}]},"item_1_full_name_7":{"attribute_name":"著者名よみ","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"1754","nameIdentifierScheme":"WEKO"}],"names":[{"name":"フルタ, ヒサテル"}]}]},"item_1_full_name_8":{"attribute_name":"著者名(英)","attribute_value_mlt":[{"nameIdentifiers":[{"nameIdentifier":"1755","nameIdentifierScheme":"WEKO"}],"names":[{"name":"FURUTA, Hisateru","nameLang":"en"}]}]},"item_1_source_id_13":{"attribute_name":"雑誌書誌ID","attribute_value_mlt":[{"subitem_source_identifier":"AN00127552","subitem_source_identifier_type":"NCID"}]},"item_1_text_2":{"attribute_name":"記事種別(日)","attribute_value_mlt":[{"subitem_text_value":"論文"}]},"item_1_text_3":{"attribute_name":"記事種別(英)","attribute_value_mlt":[{"subitem_text_language":"en","subitem_text_value":"Article"}]},"item_1_text_9":{"attribute_name":"著者所属(日)","attribute_value_mlt":[{"subitem_text_value":"成城大学文芸学部"}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2007-12-01"}],"displaytype":"detail","filename":"pdf081247p120_150.pdf","filesize":[{"value":"629.8 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"url":"https://seijo.repo.nii.ac.jp/record/995/files/pdf081247p120_150.pdf"},"version_id":"228352c7-95e2-4cc5-a23c-6ea936c16dab"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"jpn"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"劇映画 \"空白の6年\"(完)","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"劇映画 \"空白の6年\"(完)"},{"subitem_title":"Cinema and Broadcasting in Japan : The Six Years Feature Films Disappeared from the TV Screen","subitem_title_language":"en"}]},"item_type_id":"1","owner":"3","path":["154"],"pubdate":{"attribute_name":"公開日","attribute_value":"2007-12-01"},"publish_date":"2007-12-01","publish_status":"0","recid":"995","relation_version_is_last":true,"title":["劇映画 \"空白の6年\"(完)"],"weko_creator_id":"3","weko_shared_id":-1},"updated":"2023-05-16T16:31:06.941427+00:00"}