The economic and social status of the Ainu has remained lower than that of the Wajin, even after various welfare measures were implemented. This paper attempts to clarify the reasons for this by focusing on the education system of Ainu people and the formation process of their occupational hierarchy, with a particular focus on the Ainu labor market, which consists of occupations unique to the Ainu people. The university entrance rate of Ainu people is still lower than that of the Wajin, and the dropout rate from both high school and university is high. The reasons why the Ainu give up going to school or quit school can be categorized into four major groups: poverty and economic reasons, aversion to studying and school, discrimination, and parental intentions and family circumstances. The background that facilitates school dropout is the Ainu labor market. The Ainu labor market can be categorized into“ethnic”and“regional” types, and the ethnic type can be categorized into“tourist ”and“administrative”types, providing jobs that do not require a high level of education for Ainu. While the Ainu labor market has advantages such as serving as a safety net and inspiring pride in the Ainu people, it also has disadvantages such as low wages, instability, heavy workloads, and sometimes blatant discrimination. In recent years, the Ainu labor market has been losing its influence, and in some areas, employment has become more precarious. On the other hand, some Ainu have been able to improve their economic status by not relying on the Ainu labor market.

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It is necessary to focus on Ainu culture to understand the present situation of Ainu people. Because Ainu culture has played an important role in the rehabilitation movement of the Ainu people. Then, this paper examines and clarifies the historical transition of Ainu culture by paying particular attention to the postwar period. Through this, we will clarify the characteristics of current Ainu culture practice. In the“Ainu Culture Preservation Measures Period”（1945-1973）, Ainu culture was the subject of“preservation”. Although the elderly person practiced Ainu culture, it was intentionally avoided to pass on to the next generation. There was fierce discrimination in the background. However, in the“Utari Welfare Measures Period”（1974-1996）, the promotion of Ainu culture transmission activities has progressed at the institutional and policy levels. At the level of people's lives, the Ainu culture revival movement developed based on organizational activities. In that sense, the intentional transmission of Ainu culture begun. Furthermore, during the“Ainu Culture Promotion Law Period”（1997-2018）, Ainu culture was practiced under the support of the legal system called the“Ainu Culture Promotion Law.” In 2019, the“Ainu Policy Promotion Law”was enacted. The“National Ainu Symbiosis Space（Upopoy）”may have great significance not only in terms of hardware development such as the Ainu Museum, but also in terms of human resource development. Regarding the“Ainu Policy Promotion Area Plan,”there is a possibility that the tourism industry business will be weighted and the business related to cultural inheritance will be relatively weak. Therefore, the concrete operation of the plan will be important in the future. Based on the above, the“Ainu Policy Promotion Law”has the potential to change the way Ainu people practice Ainu culture.

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“Tokusatsu”（ live-action films） are a genre of Japanese pop culture. Tokusatsu, beginning from the 1950s through to the 1970s were often presented as experimental films or documentaries. At first, these works often depicted undiscovered lands. In that respect, they can be viewed as documentaries. Later, as in the“ Ultraman” series（ an exemplar of the early use of special effects） in the depiction of the social problems of the era, such films can again be seen by in this light. This paper explores this point and shows what these properties were and why they appeared in Tokusatsu. My point will be made referencing a several examples. Through this, the history and its key features will be clarified. A link will be made between how pre-World War II documentaries used experimental methods to increase their impact and then how those documentaries influenced the avant-garde that increased in postwar Japan. We will arrive with a clearer picture of how these early documentaries and experimental films influenced the trajectory of Japanese films. I pay attention to the work of Sasaki and Jissoji and examine“How were Tokusatsu films influenced by earlier documentaries and experimental films?”.

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Currently in local regions, many towns and villages have faced the crisis of natural extinction. They sincerely need to get back especially young people from cities and foster them as the personnel to support their towns and villages development for forming sustainable societies. For it, it is very important for them that those migrant young people become the members of their society development activities. They must have a fostering power in order to make their migrant young people take interest in the problems that their societies have faced and to make them take part in the activities concerning to overcome the problems. I have expected a new movement of the increase in migration called“ turn to rural areas”. In such cases it is important for the migrant young people to be able to form the identities to their societies and to get their own places and meanings for their lives. I would like assert that the ability of local societies for fostering the migrant young people as members of their society development is really important thing. In this paper I intend to examine that in following the processes of the forming a village development in Showa village in Fukushima prefecture. Showa village has been famous for its village development symbolizing its traditional textile production called Karamushi-Ori. And they have succeeded in fostering the migrant young people as members of their society development. I would like to clarify how they have formed such abilities in the formation of their society development symbolizing the tradition of Karamushi-Ori.

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