The NHK Monthly Report on Broadcast Research
Online ISSN : 2433-5622
Print ISSN : 0288-0008
ISSN-L : 0288-0008
Volume 71, Issue 9
Displaying 1-5 of 5 articles from this issue
  • Findings from the 2020 Nationwide Public Opinion Survey on Attitudes Towards Media
    Takanobu SAITO, Akihiro HIRATA, Ryota UCHIBORI
    2021 Volume 71 Issue 9 Pages 2-41
    Published: 2021
    Released on J-STAGE: October 20, 2021
    RESEARCH REPORT / TECHNICAL REPORT FREE ACCESS
    Currently in Japan, about 70% of people have television and use internet devices. People who view television (real time) almost every day account for about 80%. While the majority of the respondents use YouTube “about three or four days a week” or less, about 70% of young males (aged 16 through 29) use the service almost every day. For viewing news, many of those aged 30 and older use television and newspapers. Many young people use television and LINE. YouTube is also used by many young males, and Twitter by young females. For watching entertainment content, traditional media are used by many middle-aged and elderly people, and YouTube is used by most of young people. People overwhelmingly appreciate television when it comes to “for knowing what's happening in the world.” In terms of “for comfort and relaxation,” different types of media are rated high by different respondents, with young men rating YouTube high, and young women social media. As for behavior and attitudes when watching television or internet videos, for television, women tend to “view the content while doing something else” and “share their opinions about the content with others” more than men do while no gender difference is found for internet video viewing. Many people “make time for viewing” or “pay attention to time and days of week in order to view certain content” for television viewing, but about 30% of young people do the same for viewing internet video. Among middle-aged and elderly people, “looking forward to watching” or “repeating watching” particular content is almost limited to TV programs while half of young people says they “do the same” for internet videos. Young people use diverse media differently for what to view. Many people use television (real time) for “weather forecast” and “politics, economy, society” (real time), YouTube for “music” and “game/game play,” and both television (real time) and YouTube for “celebrities/idols.”
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  • Comparison with Overseas Media
    Takatoshi SHIOZAKI
    2021 Volume 71 Issue 9 Pages 42-52
    Published: 2021
    Released on J-STAGE: October 20, 2021
    RESEARCH REPORT / TECHNICAL REPORT FREE ACCESS
    The trust in the traditional media is falling. Each news outlet has its code of ethics or guidelines for journalists on their news gathering/reporting activities. However, a scandal involving a top prosecutor and press reporters betting on mahjong came to light, revealing the fact that those rules were not observed strictly. After the scandal was unveiled, The Asahi Shimbun revised its code of conduct for reporters. Confidentially of sources is one of the most important principles for securing trust of sources. In Japan, however, it is not fully guaranteed by law, and its significance is stipulated only in the code of ethics of each organization. At the same time, there are cases of deviations from rules in codes of ethics on the relationships with sources and the conflict of interests with them; this fact shows a self-contradiction in news organizations. This article overviews provisions in codes of ethics and guidelines set by Japanese and overseas media organizations regarding the relationships with sources as well as the conflict of interests with them in the hope of serving as a catalyst for further discussion on how to restore trust in the media.
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  • Blossoming in the Tumultuous Year of 1960
    Akira MIYATA
    2021 Volume 71 Issue 9 Pages 54-87
    Published: 2021
    Released on J-STAGE: October 20, 2021
    RESEARCH REPORT / TECHNICAL REPORT FREE ACCESS
    This series elucidates the production method of Nihon no sugao (Japan Unmasked) (1957-1964) that built a foundation of Japanese TV documentaries. In Part IV, the author selects and analyzes eight texts featuring distinctive production styles from 43 texts aired in the FY 1960 (April 1960 through March 1961). In this fiscal year, amidst an unprecedented economic boom, Japan saw a series of social upheavals including the Anpo struggle, or protests against the Japan-US Security Treaty, which led to the blossoming of production styles for investigative television documentaries such as reportage and investigative reporting. Meanwhile, there were episodes still depending on a traditional style that had been used since the launch of the series, where the filmmaker criticizes current affairs in the footage from an authoritative viewpoint. Some of them lost the independent nature of criticism in the face of turbulence of the era. Beyond the texts, the names of program directors that had been credited at the end of each episode were deleted from November 1960 onwards, this shows a significant change in the status of TV documentarists as creators.
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  • Hiroyuki INOUE
    2021 Volume 71 Issue 9 Pages 88-89
    Published: 2021
    Released on J-STAGE: October 20, 2021
    RESEARCH REPORT / TECHNICAL REPORT FREE ACCESS
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  • Tomoko KAMEMURA
    2021 Volume 71 Issue 9 Pages 90-93
    Published: 2021
    Released on J-STAGE: October 20, 2021
    RESEARCH REPORT / TECHNICAL REPORT FREE ACCESS
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