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全文: "コミックマーケット" 問題
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  • 東 園子
    マス・コミュニケーション研究
    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
    人間関係学研究
    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
    日本青年心理学会大会発表論文集
    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
    映像情報メディア学会技術報告
    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
    アニメ、漫画、ゲームなどのコンテンツ作品においてキャラクターは重要な要素である。しかし、キャラクターの要素の一つである服装のジャンルである「ゴシック&ロリータ(以下ゴスロリ)」は現実と架空において、デザインのルールが異なるという問題がある。そこで本研究では既存のゴスロリキャラクター103体を調査することでゴスロリ要素の分析を行い、その結果7種類のデザインタイプに分類することができた。調査分析結果から得られた要素によってゴスロリキャラクターを検索できるスクラップブックを開発し、ゴスロリキャラクターを制作するための発想支援の有用性を評価した。
  • 稲垣 智花
    日本文学
    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
  • 平井 智尚
    情報通信学会誌
    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
    本論ではウェブで炎上がなぜ起こるのかという問題を日本のウェブ文化の観点から明らかにする。炎上とはブログ、ミクシィ、ツイッターなどに投稿されたメッセージの内容に対して、批判や非難が巻き起こる現象を指し、ブログの普及以後、たびたび発生している。それに伴い、炎上に対する社会的な認知も高まり、新聞、雑誌、ニュースサイトなどで言及が行われている。しかし、学術的なアプローチをとった考察は今のところ多くはなく、考察の余地も残されている。
    本論ではまず炎上の事例を歴史的に整理する。次いで、先行研究への言及をかねてフレーミング現象との比較検討を行う。この作業を通じてフレーミングと炎上の違いを示したうえで、電子掲示板2ちゃんねるの文化と、若年層が担う携帯電話の文化の両面から炎上が起こる理由の説明を行っていく。そして最後に、炎上とは対極に位置するように見えるウェブと公共性に関する考察を展開していく。
  • 永井 純一
    ソシオロジ
    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.
  • 伊藤 正彦
    可視化情報学会誌
    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
    ソーシャルメディアにより,人々が自身の興味,活動内容,社会問題や商品に対する主観的意見などを,いつでもどこでも発信できるようになって久しい.文章だけでなく,写真や動画,ユーザ間のコミュニケーション,さらには位置情報までも含めた膨大データが日々生み出されている.時間・社会状況とともに変化する人々の生の声は,製品,人物,政策等の評判,社会インフラに対する意見など,マーケティング,社会分析,都市計画など様々な観点から重要なデータになる.本稿では,著者らがこれまで構築してきたソーシャルメディア時系列解析のための3次元情報可視化システム群(1.ブログ上のインフルエンサー追跡システム,2.係り受け解析を用いた話題追跡システム,画像のクラスタリングを用いたトレンド可視化システム,放送・Web間の話題伝搬追跡システム,位置参照表現に着目したイベント時空間可視化システム)に関して,探索事例を中心に紹介する.
  • 小山 友介
    システム/制御/情報
    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
  • 濱崎 雅弘
    デザイン学研究特集号
    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
    本稿では集合知を創発する場、特にウェブ上における場のデザインに関して議論する。ウェブ上に生まれた創造活動の場は、膨大な参加者と、デジタル空間であるため場(プラットフォーム)を自由にデザインできるという特徴を持つ。これは大きな可能性を秘めている一方、そのデザインには多くの知見が新たに必要となると考えられる。本稿ではウェブ上に生まれた創造活動の中でも多数の人々の参加による創造活動、つまりは集合知に着目する。本稿ではまずウェブに限定しない、集合知一般に関するこれまでの議論を振り返り、集合知が創発されるための要件と、そのための場のデザインはどうあるべきかについて述べる。次にウェブ上で展開される様々な試みをもとに、ウェブ上での場のデザインの可能性について述べる。最後に知識や道具などとは異なる個人的主観性の高いコンテンツを生み出す集合知の場のデザインについて実データの分析を交えながらその可能性を議論する。
  • 濱崎 雅弘, 武田 英明, 西村 拓一
    人工知能学会論文誌
    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
    日本建築学会計画系論文集
    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".
  • 吉田 正高
    情報の科学と技術
    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

    我が国の戦後のコンテンツ文化(漫画,アニメーション,特撮,ゲームなど)における様々な物理的蓄積について,先行する歴史「資料」の保存管理も念頭に置きながら,コンテンツ文化における「資料」の位置づけと特性,保存管理,さらに展示について,これまでの経緯と今後の課題について概説した。

  • 早川 洋行
    日本都市社会学会年報
    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
  • 幸田 国広
    日本文学
    2002年 51 巻 12 号 41-49
    発行日: 2002/12/10
    公開日: 2017/08/01
    ジャーナル フリー
  • 富田 英典
    教育社会学研究
    2005年 76 巻 77-94
    発行日: 2005/05/30
    公開日: 2011/03/18
    ジャーナル フリー
    This study analyzes the relationship between the usage of media and subculture in extended adolescence. The media seen as most characteristic of people in extended adolescence include chatting and electronic bulletin boards on the Internet, and comic magazines. Sherry Turkle thinks that the use of the Internet has influenced the establishment of the identity of adolescents since they can experiment with multiple identities in the world of the Internet. She also presented the concept of an “online persona, ” where one can assume a fluid and multiple identity and act differently from one's true self.
    During the 1960s and 1970s, young people were fond of popular television programs known as teen dramas, which were set in high schools and involved young teachers and their students. The shows were based on themes such as “effort, ” “dreams” and “love, ” and the heroes fulfilled their dreams, overcoming various obstacles. One effect of these shows was that during this period, young Japanese people discovered their own stories of adolescence by reproducing the teen drama programs in their everyday lives. However, after the 1980s, young people started to read comic magazines targeted at teens and the postadolescence stories gained in popularity. At that time, animated cartoons such as “Mobile Suit Gundam, ” “Dragon Ball” and “Neon Genesis Evangelion” became very popular. Their heroes all experienced an “awakening, ” in which they became super-heroes. Unlike the heroes of the teen drama shows, who were regular high school students, they realized that they had latent superhuman powers. In these animated cartoons, the “adherence to identity” is typically represented in the form of an ominous alien.
    The sense of liberation from one's actual self through means such as chatting and electronic bulletin boards, as well as the post-adolescence stories, is thought to be closely related to the problem of extended adolescents who are a focus of social attention in the present world. It is clear that the adolescent strategy toward the media, which uses the media as a means to arouse one true self, has a parasitic relationship with the media.
  • 増本 貴士
    オフィス・オートメーション学会誌
    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
  • 高原 朗子
    特殊教育学研究
    2002年 40 巻 4 号 363-374
    発行日: 2002/11/30
    公開日: 2017/07/28
    ジャーナル フリー
    本論文では、青年期の自閉症者に対する心理劇の効用について検討することを目的とした。対象者は、自閉症者3名であった。彼らは知能レベルではそれぞれ軽度・中度・重度の障害があり、強迫的な行動様式など自閉症の症状を有していた。そこで10年間を大きく3期に分けて心理劇を実施した。また、心理劇のさまざまな技法を適宜取り入れ、本人たちの気持ちを表出できる状況づくりにつとめた。第1期では、3名とも役割レベル・自発性ともに低かったが、第2期・第3期になるにつれ役割レベルおよび自発性が高まっていった。あわせて、保護者や指導員の評価も行ったところ、心理劇の実施により他者の気持ちの理解や関心が増し、自分自身の気持ちの表現が豊かになったことが明らかになった。この報告を通して、青年期の自閉症者に対する心理劇は、彼らにとって生涯発達援助のひとつの方法として効果的であることを考察した。
  • 團 康晃
    マス・コミュニケーション研究
    2014年 85 巻 205-224
    発行日: 2014/07/31
    公開日: 2017/10/06
    ジャーナル フリー
    Inoue (1998) pointed out differences in the reading experiences of manga between men and women. In this paper, I develop Inoue's findings by analyzing two surveys. Firstly, I present data from a "school library survey," and report the following. For instance, as boys and girls grow older, boys stop reading the monthly comic magazines, such as "Corocoro-comic," that they read in elementary school, and start reading weekly comics, such as "Shonen Jump," in junior high school. In contrast, girls change from reading the monthly girls' comic magazines, such as "Ribon," that they read in elementary school, and start reading monthly fashion magazines, such as "Seventeen," in junior high school. Secondly, a questionnaire survey on youth culture and communication was conducted in 2010 that targeted young people in Nerima-ku in Tokyo. The aim of the survey was to identify youth opinions and behavior in relation to hobbies and culture. Some of the findings in the analysis concern comics. In terms of the media, although men and women mainly read comics as collected volumes, men tend to read magazines while women do not. In terms of reading volume, men read an average of 4.8 collected volumes and 2.8 magazines per month, while women read an average of 4 collected volumes and 0.7 magazines. Additionally, it was found that there is a positive correlation between how frequently women read comics as collected volumes or magazines, and how frequently they discuss comics, go to manga stores with friends, and make friends through such discussions about comics. This correlation was not seen in the men. The survey results suggest that the culture of reading comics may be dominated by men, while for women, it is more of a subculture. It is rare for women to read comics; therefore, reading comics becomes a resource for communication.
  • 後藤 嘉宏
    情報の科学と技術
    2007年 57 巻 11 号 519-525
    発行日: 2007/11/01
    公開日: 2017/05/09
    ジャーナル オープンアクセス
    本稿では国立国会図書館の納本制度を考え,その際,初代副館長の中井正一(1900-1952)の思想を手がかりにした。中井は納本制度と表裏一体の関係にある支部図書館制度の産みの親の一人ともされる。中井の「機能概念の美学への寄与」(1930)での「機能概念」,「委員会の論理」(1936)での「印刷される論理」,『美学入門』(1951)での映画のカットの議論(「コプラの不在」)を紹介し,それらと彼の図書館思想との関係を考察した。その上で彼の描く支部図書館制度は,それを通じての納入の仕組みとは異なるということを,彼の商品としての本(書籍)に対する二律背反的な態度を踏まえつつ考察した。さらに納入物として望ましいものと情報アクセスの射程として望ましいものとの区別を考えていく必要性があると指摘した。
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