本稿は1925年創刊の雑誌『文藝市場』による街頭での直筆原稿叩き売りに着目し，この実践が有名性に支配された文学界への批判であり，その背景には「直筆原稿」を作家の肉体労働の痕跡とみなし，商品価値を認めるべきだとする同人の主張があったことを明らかにした．また，売上金を共同印刷争議に寄付し，構成派的な「活字」表現を駆使するなど，この試みが労働運動とプロレタリア芸術運動との交点にあったことも指摘した．

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This paper focuses on the transition of name and concept in Japanese Animated films, Senga (“line drawing”). This name was used for about half a century from late Meiji era (around 1910) to the World War II. At first, it was generally a neutral word to express animated films, and it became the genre for enlightenment and diverged with Manga (“cartoons”) to express an entertainment at the later time. But Senga is not memorized widely today. How and when was Senga born, and why did it disappear?

Japanese Anime did not develop easily, but get repeatedly into danger of disappearing, because they are suffered from a lack of human and economic resources, in addition, have also been overwhelmed in quality and quantity by Disney and other films from the United States, the producers asked themselves the significance again each time. On the other hand, How the animated films have it been hoped as the media to give the audience what kind of action and effect?

Therefore, this paper does not depend only on the content analysis. I examine the national newspaper and refer to a magazine, the book historical materials in the period mentioned the above. There are thought to related at the times when a concept of Senga changes. I argue in three questions, First, “when was Senga born?”, Second, “How has Senga be consumed?”, Third is “how did Senga disappear?”. The transition of the concept of Senga is engraved the aspects of dynamism which represents the changes in consciousness and behavior of the creators, the governments, and the audience of those days.

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　In recent years, commercial animated films have been produced in large quantities through a specialized production system. However, in the early days of making animations, only a limited number of cartoonists were engaged in producing animated films on a small scale and as a secondjob.
　Through an analysis of interviews, as well as articles appearing in movie magazines between 1928 and 1945 (with a collection of notes written by animators), the present study aims at clarifying the relationship between the war and animation by considering the purposes and subjects of animated films, and the process whereby the actual production system was established for animation-making. Special attention is given to clarifying the birth of the animator as a professional, which made the production system possible.
　The results of my investigation show that in pre-war Japan - just as in the case of other traditional arts or jobs - animation production took place within a simple apprenticeship system. In wartime Japan, the military press officer Tadao Yoneyama realized the efficiency of animated films in enhancing the appeal among the common people of National Mobilization and the idea of the Greater East Asia Co-Prosperity Sphere, by eliminating a sort of language barrier. The military thus produced numerous animated films with a propaganda purpose. As a result, the basis of the current production system was established.
　Numerous animated films were created to help in military training, such as aircraft maneuvers and bomb release. Since animation-making for this purpose requires a high degree of technical knowledge, animators were no longer simple cartoonists but rather experts who knew how to draw animation figures according to the movement of objects.
　In this way, the actual production system established by the military meant that animation was connected with the state, and institutionalized. This paper also suggests the aspect of media whereby animation films are used for a national policy.

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