黄金期が過ぎた香港映画では、監督や俳優の高齢化が産業の衰退との関連で問題視されてきた。しかし、香港人アイデンティティが1970年代ごろから定着しはじめたものであれば、老いた香港人は2000年代以降に描かれはじめた新しいイメージである。とりわけ身体を酷使するカンフー映画のにとって、老いはスター・イメージの維持において否定的に作用しやすい。本論文は黄金期香港映画を代表するアクション・スターのジャッキー・チェンをとりあげる。1990年代までの彼は若く健康で強靭な身体を誇示していたが、2000年代以降は老いの演技を実践しながらCGIをとりいれるようになる。これはとしての退化ではなく、彼の演技が新たなモードにはいったことを示している。それは、1990 年代までの虚構に打ち勝つ実体的な身体イメージからデジタル映像をとりこみ生成変化する身体イメージへの移行であり、老いた彼の身体は柔軟なマスキュリニティを手にいれる。

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 An actor died in the mid-summer of 1987, His death became an event far more momentous in Japan than that of any other actors. Thousands of people from all over the country crowded to his funeral. The newspapers and magazines issued special numbers, and TV stations released special programs about him. They generally discussed his daily life in exhaustive detail.

 His real life has been elevated to a mythology. One of the reasons for this is that the characters he played in most of his films symbolized the youthful ardors of the Post-War generation in Japan or its desire for the ideal youth. Besides this, there is a simple confusion between the characters he played and the character as he is.

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In Japan, some people believe that RoboCop (1987), one of America's finest sci-fi films, was inspired by Robot Detective (1973), Japanese superhero TV drama comprised of 26 episodes now available at Prime Video. Is it true? Although some advertisements affirm it, both the author Shotaro ISHINOMORI (1939-98) himself and his son Jo ONODERA have actually denied the direct influence on the American counterpart. The truth is, ISHINOMORI, not only the King of Manga whose Cyborg 009 series remains popular, but also the giant creator of Japan's superheroes such as Masked Rider and of course Go-Rangers, the progenitors of Power Rangers, was extremely irritated by the sheer fact that he was NOT internationally acknowledged as the first to come up with the idea of a robot police officer as a superhero. In other words, he was disappointed that Robot Detective had been almost forgotten even in his own homeland, obviously thinking that the quality of the children's program did not meet his satisfaction and preferring his own manga version for young adult readers.
However, the TV original of Robot Detective is truly worth watching, deserving reevaluation among people all over the world. In the drama, Robot Detective K (often called just "K") learns how to get along with his human colleague SHINJO (played passionately by Jiro CHIBA, younger brother of Sonny CHIBA) and his irascible but humane boss Daizo SHIBA, not to mention that he, using both martial arts and powerful weapons, fights a variety of villain robots. Just as charmed by RoboCop Murphy and his partner Anne Lewis, you will be also fascinated by the good example of Japan's male relationships which were to help achieve the "Japan as Number One" position from the late 1970s to the early 90s, whose dominant influence can be seen in RoboCop 3 (1993), the worst in the series because the very American essence of Paul Verhoeven's masterpiece was damaged by the completely different values. While it is not unusual that Robot Detective K is helped spiritually by Japanese women including his "Mother," the huge female robot resembling Buddhist deity of mercy, it is really discouraging to see the once invincible RoboCop saved by a nine-year-old American girl at the climax of the movie.
Having seen the culmination of Japan's economic power, Kaku TAKASHINA (1919-94), the actor who played older detective SHIBA, passed away in the following year. He had made his debut in the 1938 war movie Mud and Soldiers as the First Class Private who is killed in action, saying "For the sake of His Majesty the Emperor." I rediscovered Robot Detective as a drama of Japan's high economic growth by paying more attention to TAKASHINA's marvelous acting which undoubtedly contributes to the immortal merit of this TV program for children as if he had left his secret message of encouragement to the future generations of his country.

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武術学校とはスポーツ化した「競技武術」の専門課程をもつ中国における私立の体育系学校であり, 1980年代までの間に大学やナショナルチームを中心に発展してきた. 本稿は武術学校における再生産戦略とアイデンティティ構築に着目し, 競技武術の民間普及をもたらした社会的背景と, 実践者にとっての競技武術の意味を明らかにする. 具体的には以下の点を明らかにした.
第1に, 武術学校への転入学は農村の教育問題や都市の住居問題を解決するために, 農民や農民工の親によって決定された再生産戦略の一部であったこと. 第2に, 武術を学歴取得や就職のための技能として受入れ, 親の用意した再生産戦略を自分自身の戦略として受け継いだ生徒のみが, 中学部以上に進学していくこと.
第3に, 卒業生の多くは武術教師や警備員として都市で就職していくこと. 他方で豊富な身体資本を蓄積した生徒はステート・アマに, 豊富な文化資本を蓄積した生徒は体育大学・教育大学の武術科の大学生となること.
第4に, 卒業後, 武術は本人の出世と親子での都市移住を達成させるための経済資本となること. くわえて武術に打ち込むことで, 武術がナショナルかつ私的なアイデンティティを生み出す「身体化された文化資本」となること.
最後に競技武術の民間化をもたらした社会的背景, 武術文化が生み出す公的で私的な文化的アイデンティティ形成の可能性と危険性, 武術のローカリゼーションに関する諸問題を指摘した.

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