This paper discussed the process of creating “otaku originality” within the context of their consumption. Otaku considered their culture original and distinct from that of normal anime consumers in the 1980s. In prior studies, people called otaku were those committed to worthless culture. Though people regarded otaku culture as worthless, we should observe its formation process. Otaku made it a culture of worth for their community, turning it into a high context culture. Becoming a high context culture meant it achieved interactions with people other than anime fans, but how was this happen?This paper focuses on anime fan culture, and discusses the video environment and active television viewing. The VCR diffusion rate increased from 2.2% to 66.8% during the 1980s. Otaku started to watch videos with their friends. They wanted to show their videos to their friends. However, this was considered an unnatural behavior. This paper mainly analyzes community with video consumption among anime fans and discusses their motivations. They wanted to show off the VCRs “Slowmotioning” meant “unique watching”. Originally, anime meant “animation”, but their activity enabled anime fans to enjoy “pictures”. Consumers could attain “creators literacy”. However, this literacy was marketed by the creators. Anime magazines evaluated this marketing. The culture of editing by anime fans formed a frame. They consumed the unique experience of watching anime together as consumers who had a specific literacy. Otakus’ high contextual culture, including their knowledge and literacy, was created by interactions between creators and consumers of anime magazines.

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本稿は、オタク文化を社会学的に考察するために、ＯＶＡ（オリジナル・ビデオ・アニメーション）の使用実践に着目する。中でも一九八〇年代のＯＶＡの言説的な特徴を詳らかにするために、ＯＶＡが“第三のメディア”とアニメファンの間で呼ばれていたことに着目する。 言説を検討する際に、二つの構造的な条件が重要である。一つ目は一九八〇年代中盤のビデオの急速な普及であり、二つ目はアニメーター数が、作品数が増加し質の向上が求められる中で、増加していなかった点である。そうした条件を元に、ＯＶＡというメディアをめぐる言説を検討する。 まず第三のメディアの言葉の含意を考えるために、第一のメディア（テレビアニメ）と第二のメディア（劇場版アニメ）の移行関係に着目する。その移行は一九七〇年代後半頃に起こった。テレビアニメは子供むけのものとされてきたが、一九七〇年代後半に子供だけではないファンが発見される。ファンの存在を背景とし、アニメ制作者の側も作家性を発揮することを求めるようになる。しかし、当時のテレビアニメは作家性を発揮するには制約が多かった。そこで注目されるのが劇場版アニメであった。しかし、こうした移行の段階で「作家性の発揮」と「万人に受容されること」の競合関係が存在し、両者の議論の制約としてクリエーターの人数が存在した。 本稿では、ＯＶＡが上記の論点を引き継いで語られた媒体であることに着目する。その中で制作者人口が限られた中での「商業の論理」と「作品の論理」のせめぎあいを編集者・消費者・制作者がそれぞれどのように意味づけていくのかという点からその歴史を検討し、様々なアクターの論理のせめぎあいのダイナミズムの中での歴史性を検討する。

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This paper focuses on content acceptance centered on video in the late 1970s and 1980s. In particular, we will focus on how anime fans, the early adopters of the video format, experienced the content-accepting space.

In the Japanese literature, there is a certain accumulation for the content receiving space for the anime fans, but It has not yet been discussed in connection with the transformation history of the broader content acceptance space. However, the process of transforming the receptive space of bookstores has grown, and it has become clear over time that this process historically conditions the development of a culture. However, no studies to date have specialized in video acceptance.

Outside Japan, there has been one study focused on the spatial organization processes of video stores in the United States. In it, the development of video stores is described as a “geography of tastes,” and the relationship with the movie industry and the process of forming a receiving space in each region is clarified. However, the study does not clarify for consumers specifically how such a “geography of tastes” was experienced.

To understand the relationship between anime fans and video, we used anime magazines as resources for this paper. The use of video was positioned differently in the amine fans’ groups, depending on the stage of penetration rate. While its rates were low, anime fans’ video collections were often exchanged in the informal fan community; however, as video stores became legal, the exchange of videos was discouraged. Therefore, a variety of information about video stores and the characteristics of the community of each video store were posted. Such information also tended to lose its meaning as franchising progressed. The experience history of video-receiving spaces is clarified in this paper, in light of the experiences of anime fans.

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