Based on J. Gaines’ discussion of “political mimesis,” this paper examines

how Japanese television documentaries in the 60s handled the provocative

power communicated by images of struggles arising from protest movements.

Gaines’ theory is often mentioned as an independent documentary methodology

that encourages viewers to take political action. In contrast, this paper focuses

on TV documentaries’ specific treatment of provocative political mimesis

among the various broadcasting circumstances. In this media environment, this

type of biased approach was not easily allowed due to the existence of ethical

regulations such as the “equal time” rule. Consequently, this prompted filmmakers

of the time to create alternative methods for representing political images

in their works. Through this argument, this paper aims to illustrate a historical

change to the 60s documentary media environment under the emergence of

television culture and a new way for documentaries to address political issues.

　　This paper mostly addresses two themes. The first theme is related to a

dispute concerning NHK documentaries that displayed protests over the Treaty

of Mutual Cooperation and Security between the United States and Japan

（known as the ANPO protests） in 1960. Foreshadowing Gaines’ argument, the

disputers indeed confronted the provocation of these images to manage its

impact within the broadcasting media environment. The second theme is

related to the audio-visual methodologies that were used in a few TV documentaries

with respect to such protest issues around that time. Introducing R. Williams’

view of the history of media, which reveals a socio-technological shift in

communication, this analysis investigates how far the documentary producers

and their approaches inclined toward a broadcasting-style concept and method ology.

　　The results of this analysis show that almost all of the TV documentaries

that addressed protest issues were commonly produced in accordance with

broadcasting circumstances that put more weight on information distribution

than political agitation. However, these documentaries did not dispel political

mimesis from their representation at all. They used it alternatively together

with dexterous methodologies aimed at spontaneously fostering an understanding

of social issues and political awareness inside the minds of the viewers.

1970s is supposed to be a turning point in the history of Japanese television documentary by the former television studies, but Yet there have been no empirical studies systematically using commercial broadcasting’s documentary programme to test this assumption until now. So this is a study focusing on the representation forms of documentary programme in 1970s through a textual analysis of the "NNN document" which has started in 1970. In conclusion, the fusion of documentary and drama techniques, friction or collision between audio and video, and self-reference can be found in 1970s’ documentary programme.

　本研究の目的は，高度成長期にNHKで制作・放送されたテレビドキュメンタリーを分析対象として，そこにおいて「青少年問題」がいかなる問題として表象されたのかを解明することである。
　分析に先立ち，高度成長期の青少年問題に関する先行研究のレビューおよび分析対象とする番組の社会的位置づけについて整理を行い，テレビドキュメンタリーを分析対象として上記課題を解明することの意義・必要性について議論した。
　分析によって得られた主な知見は，以下の通りである。
　①青少年の逸脱を都市化と結びつけて描き出すパターンが，定番化していた。都市化は近代化による社会変動の象徴であり，個々人の意志や力を超えた巨大なうねりのようなものとして捉えられていた。
　②学校教育は「青少年問題」に対し無力な存在として早い段階から描き出されていた。特に，受験体制に飲み込まれた学校が青少年の不良化の一因であるとする認識がみられたが，受験体制自体は社会に起因する問題として捉えられていた。
　③青少年問題は，大人社会の歪みの反映として位置づけられていた。そのことは，因果関係を持ち込むことで問題の解決可能性を担保する機能を有していたが，そこには青少年の主体性を剥奪する逆機能も存在していた。それゆえ，結果的に「世代間断絶」は構築・維持され，「問題」は解決不可能なものとして再生産されるという原理的アポリアを内包していた。