In 2017, NHK’s cooking program Kyou no ryouri (Today’s Menu) celebrated its 60th anniversary of broadcasting, and its health and gardening programs, Kyou no kenkou (For Your Healthy Life) and Shumi no engei (My Gardening), their 50th anniversary. The three programs dealing with daily-life themes have been loved by many people, with the names of the programs and their theme tunes having become household names.What these programs share in common is that while they cover topics that fit with the times, they also introduce forward-looking items in the genres that try to help viewers live productive lives. Furthermore, with the publication of guide books on the programs, they were among the first to utilize websites actively.Kyou no ryouri has introduced around 40,000 recipes. The program not only shows how to make basic dishes, but also keeps placing importance on useful recipes, such as quick dishes, to meet the needs of the times. The content has been expanded to a recipe searching site, short videos, social media, etc.The number of episodes of Kyou no kenkou aired during the five decades is over 10,000. The program has been offering information on health maintenance and disease prevention, with topics ranging from the prevention of infectious diseases to the recent lifestyle-related disease and how to prevent or live with cancer. The accumulation of the episodes led to the launch of NHK’s health website NHK kenko ch.Shumi no engei features bonsai, gardening, growing vegetable, etc. to reflect the trends of the times. The program makes suggestions on not only how to grow, but also how to display or photograph the plants, and promote online community building among the viewers.As we have entered the age of social networking and the media forms are becoming more diversified, the three programs on NHK ETV respect their own brands as long-established TV shows and secure the simple direction style, but at the same time they keep expanding their horizon, utilizing new media platforms.
In order to explore the direction of appropriate bikago (beutification honorifics) usage in broadcasting, the author viewed NHK’s information program Asaichi [first in the morning] to examine the usage of bikago in the broadcast and conducted interview surveys on specific bikago, aiming at both announces who actually used the bikago expressions and viewers who heard them, to qualitatively study their attitudes towards bikago. This paper analyzes announcers’ awareness on bikago usage and viewers’ impression on it, by occasionally introducing some specific responses.- It is found that announcers take into consideration the human relationship and the situation at each scene of the program when they seek effective ways to portray themselves and featured objects or events, in the course of which they decide to use or refrain from using bikago.- The decision on whether to use bikago or not is influenced by the tendency of the bikago usage of the announcers themselves and how commonly these words are used in society.- While the viewers are generally favorable about bikago used by the announcers, but some feel unconfutable about the overuse of honorific prefix “o” or the lack of it for some cases. These attitudes have a heavily linked to gender difference.- In general, viewers want to hear bikago in broadcast programs, and announcers tend to use bikago for many occasions as they try to respond to the viewers’ expectations. At the same time, announcers try not to overuse bikago as their norm consciousness tells them that too much honorifics should be avoided. As a result, the appropriate bikago usage is maintained.
The vol.1 of this report overviewed how Japan’s transcribed broadcasts were launched during the war and developed along with the war, and analyzed Byoin Sen [hospital boat] that was broadcast in May 1941 to see its completion level as a transcribed program.In the vol.2, the author first listens to a radio program Honkon Koryakusen [attack on Hong Kong]. Programs recorded by staff dispatched to battle fields were called “front-line recording.” Among such programs, Honkon Koryakusen was the first to have solid “structure.” As the Japanese troops continued to advance victoriously, this new method, “structure,” seemed to have unlimited potential towards the bright future.However, the evolution of transcribed programs during the war was not eternal. Before long, it lost its luster and turned to merely propaganda programs.
The Flood Control Act amended in 2015 stipulates that prefectural and municipal governments set the “inland flood danger water level” in sewer systems prone to flood risks that may cause severe damage to underground facilities such as shopping malls, and issue “inland flood danger information.” This article examines the characteristics of the “inland flood warning” from the viewpoint of emergency communication. The findings include the following.- “Inland flood danger information” is issued when the water height in a designated sewer pipe reaches the “inland flood danger water level”. Each level is set according to the expected lead time needed for the transmission of information and evacuation during water rising. The Ministry of Land, Infrastructure, Transport and Tourism (MLIT) gives examples of the lead times for local governments. These lead times are much shorter than the expected lead times set for flood forecasting for large rivers and water-level notification for mid-size rivers, as well as for newly specifying the “storm surge/flood danger water level” in each designated coastal region.- The lead times set for the “inland flood danger water level” are inevitably shorter mainly due to the high speed of water rising in sewer pipes. As sewer pipes have smaller capacity to hold water than the rivers specified for the “flood forecast,” the water levels in the pipes are prone to surge in a short amount of time at the time of heavy rain. If the lead times were set longer, the “inland flood danger water level” would become lower and local governments would have to issue the “inland flood danger information” many times.- The lead times set for the “inland flood danger information” are shorter, therefore the information is issued when, for example, an underground shopping mall faces with an imminent risk of inundation caused by the sewer overflowing. The hazardous level of this information is set between the “heavy rain (inundation) warning” and the “heavy rain (inundation) emergency warning.” This shows the urgency level of the “inland flood warning” is very high.
Tokyo Docs was launched by the Association pf All Japan TV Program Production Companies (ATP) in 2011 with an aim to encourage independent producers and directors to take part in international co-productions and deliver their own content to global market. In the past seven years, the forum received 528 project proposals, among which 160 projects were selected to be pitched at Pitching Session. Pitching Session serves as an opportunity for Japanese producers and directors to seek the possibility of international co-production. They deliver presentations of their proposals in front of overseas and domestic decision-makers such as persons in charge of programming or production departments of broadcasters. The analyses of the pitched 160 project proposals show that many of the projects deal with social issues or humanity, which indicates that Japanese producers and directors are trying to portray universal themes that can be shared across the globe by filming human activities. It is also revealed 70 of the pitched proposals are project to be shot mainly in Japan to take the geographical advantage. The seventh year of Tokyo Docs achieved some good results: 42 proposals either “have found co-production partners and completed the production” or “are in a negotiation process,” and about 25% of the pitched projects are proposals that have potential for overseas distribution. One of the initial targets of Tokyo Docs was to “nurture 20 globally competitive producers by 2020,” which now sees a number of aspired candidates, especially among young producers. Therefore, the future task will be to provide them with more hands-on experiences. The author, who has taken part in Tokyo Docs since its first forum, keenly feels that it is growing steadily as a good opportunity for Japanese program makers to develop their capacity to appeal their projects in the global market place.