This is a brief report on the 28^th Linear Accelerator Conference (LINAC 16) that was held at Michigan State University in East Lansing, USA, during September 25-30, 2016. More than 420 participants attended it from seventeen countries and made feverish discussions on various issues, in particular on super conducting hadron linear accelerators. It was followed by the FRIB tour on the last day (Friday) afternoon.

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Zac Efron, a two-time winner of MTV Movie Award for Best Shirtless Performance, objectifies his bodies in movies such as That Awkward Moments (2014), Neighbors (2014), and Dirty Grandpa (2016). Although bodies of Hollywood male stars have been portrayed as spectacles since the beginning of movies, representations of Efron’s bodies are somewhat different from those of other macho stars. The movies in which he shows his naked body are comedies on male friendships. These relationships are not gay ones. However, the characters are conscious of gay men and portray male relationships as close to homosexuality. Therefore, Efron’s body could be shown as symbolizing homoerotic desires. Moreover, the friendships in these movies lack male dominance and aggressiveness that ordinarily characterize male buddy movies. Efron appears to be enjoying his body and looks rather cute and innocent. Male audiences can easily identify themselves with him owing to these attributes. They could be muscle men without being like “wolves.” His body could be said to be a symbol of a new kind of male body of the 21st century.

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The (Second) Red Scare inflicted deep wounds on Hollywood. In the wake of World War II, the United States countered the Soviet Union with a “containment strategy” abroad while striving to preserve its ideological “consensus” at home. As a result, the U.S. government, led by the House Un-American Activities Committee (HUAC), carried out an intense and fiery investigation of the motion picture industry in an effort to eliminate liberal and left-wing activities. During the late 1940s and early 1950s, Hollywood went “under trial” as HUAC subpoenaed a slew of filmmakers who were suspected of holding ties to communism. Some of them were “friendly witnesses” who “named names” of left-wing colleagues, while others were “unfriendlies” who refused to cooperate with the investigation. This not only led to the jailing of the so-called “Hollywood Ten,” but the denial of work for a hundreds of filmmakers in the years that followed.

This essay revisits this dark period in the history of U.S. cinema by scrutinizing how Hollywood confronted the Red Scare on the screens. During the 1950s and 1960s, filmmakers responded to the anti-communist “witch hunt” primarily by way of allegorical narratives, such as High Noon (1952), On the Waterfront (1954), Spartacus (1960), and The Planet of the Apes(1968). During the second half of the Cold War, the victims challenged the Red Scare more directly, through such films as The Way We Were (1973), The Front (1976), and Guilty by Suspicion (1991). The past two decades have witnessed the rise of fantasies (The Majestic, 2001) but filmmakers also “tried” the Red Scare through biographical presentations of actual subjects: Edward Murrow in Good Night, and Good Luck. (2005) and Dalton Trumbo in Trumbo (2015). Overall, the representation of HUAC, anti-communism, and the blacklist has become more direct through the passing of time, and the victims’ perspectives have increasingly occupied center stage. However, the cinematic “trial” of “Hollywood on trial” has not met its conclusion just yet. This lack of a consensus mirrors the larger political divide that has fractured American society over the decades.

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Recently sensory quality or ‘kansei’ quality has been focused on in any product such as cosmetics or automobile because the richness of lifestyle, comfort, performance and usability are given a lot of importance. Unlike an objective measurement using a physical or chemical method, we human being really feel them and sometimes they say “fairly like it” or “fifty-fifty” rather than say “I like it” or “I dislike it” alternatively.
So this paper discusses issues of sensory evaluation or ‘kansei’ evaluation of merchandise. The issues which this paper argues are as follows:
1) difinition of sensory evaluation and ‘kansei’ evaluation
2) characteristics of sensory/‘kansei’ evaluation
3) managerial attention of sensory/‘kansei’ evaluation of merchandise

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