全文: "コミックマーケット"
36件中 1-20の結果を表示しています
  • 東 園子
    2013年 83 巻 31-45
    発行日: 2013/07/31
    公開日: 2017/10/06
    ジャーナル フリー
    Today, it is easy for ordinary people to widely disseminate their message and works over the Internet. Nevertheless, many people still disseminate information by paper media. For example, people known as otaku - fans of Japanese anime, manga, video games, etc. - often create fanzines binding manga and novels they produced themselves. They then sell these fanzines at events in Japan in which fanzines are sold. With the growth of the Internet, otaku also exhibit their works on the web. But many otaku, especially female otaku, still use paper media to publish their works. This paper considers the influences of electric media on paper media and the merits of using paper media as a tool for personal publications, by analyzing ways to use media in creative activities, and it also examines the female otaku's media awareness based on my research and interviews. Originally, fanzines created by otaku have four functions: publishing fan works, informing others about their creative activity, talking about one's favorite works and characters, and interacting with others who share the same interests. Events where trading fanzines takes place also have these four functions. As otaku use online tools for their creative activities, electric media have replaced paper media for informing others about their creative activity and discussing their favorite things. But paper media have advantages in publishing works and interacting with others. Paper media is more suitable for placing manga and treated better than electric media. By selling fanzines at events, otaku can enjoy face-to-face communication with others. They can also directly gauge the reader's response to their works. Works created by fans are provided free of charge on the Internet. On the other hand, fanzines are traded with money. The people I interviewed who create fanzines regard receiving payment for their works as a sign of appreciation for them. But readers enjoy their works without any cost on the web. So, creators of fanzines feel strongly that their readers should accept their works when they publish them by paper media rather than electric media. For these reasons, the creative female otaku I interviewed prefer paper media in this age of the rising Internet.
  • 中川 祐志
    2012年 18 巻 1 号 21-32
    発行日: 2012/06/26
    公開日: 2017/11/01
    ジャーナル フリー
    In recent years, attention has been focused on support for persons with Asperger's Syndrome (AS). This report discusses materials prepared from studies of the culture of Comic Market (Comiket) which is one of the Otaku culture to help in preparing special support education environments for AS persons who have lost their sense of presence. Document research has shown that the system of the Comiket that is one of the Otaku culture may function as a place that AS sufferers who have problems related to theory of mind can easily rely on. In addition, it is thought that a series of circle activities may provide hints on how AS sufferers can regain a sense of presence. The author thinks that AS research into Otaku culture is very significant towards each individual AS sufferer regaining a sense of presence, participating in society and building human relations.
  • 村澤 和多里
    2008年 16 巻
    発行日: 2008/09/10
    公開日: 2017/09/04
    会議録・要旨集 オープンアクセス
  • 香山 侑子, 茂木 龍太, 兼松 祥央, 鶴田 直也, 三上 浩司, 近藤 邦雄
    2016年 40.11 巻 AIT2016-117
    発行日: 2016/03/02
    公開日: 2017/09/22
    会議録・要旨集 フリー
  • 常川 真央, 小野 永貴, 岡野 裕行, 谷村 順一
    2018年 28 巻 4 号 314-317
    発行日: 2018/12/08
    公開日: 2018/12/21
    ジャーナル フリー


  • 稲垣 智花
    2010年 59 巻 9 号 54-55
    発行日: 2010/09/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 小町 祐史
    2017年 46 巻 1 号 34-36
    発行日: 2017/01/30
    公開日: 2019/03/15
    ジャーナル 認証あり
  • 小山 友介
    2013年 57 巻 5 号 189-194
    発行日: 2013/05/15
    公開日: 2017/04/15
    解説誌・一般情報誌 フリー
  • 永井 純一
    2002年 46 巻 3 号 109-125,220
    発行日: 2002/02/28
    公開日: 2016/11/02
    ジャーナル フリー
     This article is an ethnographical study of amateur comic writers. It is also a reconsideration of "otaku" as an audience of media from the perspective of Cultural Studies. "Otaku" is the name given to those who are self-absorbed in media-culture, such as animation, comics, video games, etc.
     They first appeared Japan in the late 1970's, increasing notably since the 1980's. This corresponds with the beginning of the information-oriented society.
     "Otaku" are frequently considered to be a pathological person who inhabits virtual reality. However, I treat "otaku" here as an active audience. The activity of an audience has been discussed in "Encoding and Decoding in Television Discourse" by Stuart Hall. We can encode a message in media and this can be read by an audience through the process of decoding. The message read can be diverse as a message encoded may be interpreted in a different way at the time of decoding. Hall suggests that the meaning of the message is decided at the point of decoding.
     "Otaku" is an audience of media-communication that receives a media message by alternative readings. For instance, amateur comic writers of home-grown publications write stories by appropriating a character and story from mainstream media and then, for example, reproduce this as a homosexual story. If they had read the original text in the way intended by the author then it would impossible for them to produce such an alternative story.
     This argument leads us to the next issue. Such readings are communicated and shared by others through the media of the widely read home-produced comics exchanged at over 1000 events held annually. The readers treat this media-communication as one experience. Considering the large number of "otaku" in Japan (estimated at some 100's of 1000's) , an understanding of their communication style is not only important but also necessary.
  • 平井 智尚
    2012年 29 巻 4 号 4_61-4_71
    発行日: 2012年
    公開日: 2012/06/22
    ジャーナル フリー
  • 伊藤 正彦
    2016年 36 巻 141 号 21-26
    発行日: 2016年
    公開日: 2017/04/01
    ジャーナル オープンアクセス
  • 水野 理, 小町 祐史
    2015年 44 巻 2 号 217-219
    発行日: 2015年
    公開日: 2016/10/31
    ジャーナル 認証あり
  • 濱崎 雅弘, 武田 英明, 西村 拓一
    2010年 25 巻 1 号 157-167
    発行日: 2010年
    公開日: 2010/01/06
    ジャーナル フリー
    The Web technology enables numerous people to collaborate in creation. We designate it as massively collaborative creation via the Web. As an example of massively collaborative creation, we particularly examine video development on Nico Nico Douga, which is a video sharing website that is popular in Japan. We specifically examine videos on Hatsune Miku, a version of a singing synthesizer application software that has inspired not only song creation but also songwriting, illustration, and video editing. As described herein, creators of interact to create new contents through their social network. In this paper, we analyzed the process of developing thousands of videos based on creators' social networks and investigate relationships among creation activity and social networks. The social network reveals interesting features. Creators generate large and sparse social networks including some centralized communities, and such centralized community's members shared special tags. Different categories of creators have different roles in evolving the network, e.g., songwriters gather more links than other categories, implying that they are triggers to network evolution.
  • 蔵田 夏美, 後藤 春彦, 吉江 俊
    2018年 83 巻 743 号 33-43
    発行日: 2018年
    公開日: 2018/01/30
    ジャーナル フリー
     As demands of consumers are getting more diverse, downtown and residential areas in Japan have changed to satisfy various image requirements, not just functional differences. It should not be overlooked that the activities of people who make, sell, and interact with their hobbies are growing to a non-negligible economic scale, with invisible change of landscape. In this research, through interview surveys at multiple exhibition spot sale meetings held in the Tokyo metropolitan area, we grasp the actual state of the hand-made craft market and the social background of their formation. We grasped the position of handmade craft market in chapter 2 and clarified the following three points.

     1) The system of the places for activities constituting the hand-made craft market of hobbies
     The places for procurement of materials diversified in the real space and the Internet space, and they came to satisfy the quality, kindness, reasonable prices, convenience for the producers. Production of handmade crafts are enhanced by outside places and services such as shared workshops and the vendor services. In addition, the places for selling works has also diversified, with exhibitions and craft market services, the producers felt delighted that their work gained empathy with the purchasers and exchanges between artists and fans were born. These facts lead to their motivation for making. Almost all of the producers are using SNS to receive information and stimulated from works of other artists, and they also try to exhibit / advertise their works in SNS. It was found that the development of SNS supported the hand-made craft market, which have physical and non-physical places on the internet, crossing the process of materials procurement, production of handcrafts, and selling of their works.

     2) Types of hobby handmade craft market participants and their characters
     Participants who started making their works and joined the handmade craft market could be classified into six types, and characters of each types are revealed, based on their motivations, sex, using of interest, working environment, school, occupation and so on. There are diverse participants, one purely enjoys making their works, while another one tries to sell their works, and some have activities for exhibitions and exchanges. It was found that these diverse participants with different purposes were gathered and formed a hand-made craft market.

     3) Space and social function of the places for making handcrafts, case study of shared studios
     In the chapter 5, we targeted at the “share studio”, which is a new working model for handmade crafts. The share studio is a space that can be flexibly changed in layout according to the purpose of use, such as the installation of wheeled equipment, and it has the features that they are located in convenient places close to the station. We had investigation at three shared studios in Tokyo. They are not only providing a place for production but also a system of support for manufacturing of both hobbies and main businesses, while they are also providing a place for exchange of artists and information. They also have a role of expanding the base of monozukuri. They are widely used as a place of production for people who are hard to make their works in their own houses. These shared studios are established as a place to support "making things by yourself that is not by mass production".
  • 石田 沙織
    2016年 41 巻 59-76
    発行日: 2016/07/10
    公開日: 2017/02/14
    ジャーナル フリー


  • 濱崎 雅弘
    2011年 17 巻 4 号 14-21
    発行日: 2011/03/01
    公開日: 2017/11/27
    研究報告書・技術報告書 フリー
  • 髙坂 康雅
    2016年 27 巻 2 号 187-191
    発行日: 2016/01/27
    公開日: 2017/05/26
    ジャーナル オープンアクセス
  • 吉田 正高
    2016年 66 巻 8 号 398-401
    発行日: 2016/08/01
    公開日: 2016/08/01
    ジャーナル フリー


  • 増本 貴士
    2006年 27 巻 2 号 29-34
    発行日: 2006/12/15
    公開日: 2019/01/15
    ジャーナル フリー
  • 早川 洋行
    2006年 2006 巻 24 号 1-8
    発行日: 2006/09/15
    公開日: 2011/02/07
    ジャーナル フリー