This paper focuses on the position of “Ju-ken” matches and their promoter, Kenji Kano, in Japanese boxing history. A “Ju-ken” match was a match between a judoist and a boxer, and such bouts were held from the middle of the Taisho era to the early Showa era in Kobe, Tokyo and Osaka. The main organizer of these matches was the “International Ju-ken club”, whose owner Kenji Kano was the nephew of Jigoro Kano. This study divides the history of Ju-ken into three periods, each with respective features.
  The first period was from October 1919 to April 1921. Ju-ken at this time was intended to reform judo into a competitive sport through fighting with boxing. Although judo had been well established at that time, it was facing a challenge due to loss of its spirit and form as a martial art during the process of sportification. Jigoro Kano, the founder of Judo, was unhappy with this change. By studying boxing, karate, aikido, stick fighting and other martial arts, he aimed at creating a ‘Martial Art Judo’. His nephew Kenji Kano pursued martial art-oriented judo as well, but his approach to reconstructing judo as a martial art was through mixed martial arts games, the “Ju-ken match”.
  The middle period was from May 1921 to March 1925, when Ju-ken evolved into a spectator sport that encapsulated the struggle for superiority in terms of nationality and ethnicity. Because Kodokan prohibited their members from participating in any mixed-martial arts match from April 1921, Ju-ken became a spectator sport. In addition, after charity matches following the Great Kanto Earthquake, in order to bring more excitement to the game, Ju-ken heightened the opposition and rivalry based on the nationalities and ethnicities of the athletes.
  The final period was from April 1925 to August 1931, when Ju-ken changed into a show that was intended to provoke nationalistic emotions among the audience. After the development of “normal” boxing, Ju-ken held normal boxing matches in their games and adopted new boxing-like rules. These new rules and the point systems put foreign boxers at a disadvantage when fighting against Japanese judoists, ensuring that Japanese would always defeat foreigners.
  Finally, through assimilation of knowledge and focusing on boxing, this study argues that Ju-ken matches created a background for localization of modern boxing in Japan.

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Although Japan is becoming multicultural, as is evident in the country’s growing number of foreign migrants; racist policies, and racial slurs persist. Japan had expected to host a large number of foreign visitors during the 2020 Tokyo Olympics and Paralympics. Although these events have been postponed until the summer of 2021, due to the ongoing Coronavirus pandemic, such events allow for reflective inquiry into Japan’s foreign population as it relates to the Japanese sense of national identity.

In order to participate in the Olympic Games, some mixed-race athletes have relinquished their Japanese nationality and opted for their non-Japanese parent’s nationality. These athletes actively pursue their goals of participating in their own chosen sport. In addition, in recent years, a growing number of foreign migrants have contributed to Japanese sports by becoming professional sumo wrestlers. Finally, this paper explores current Japanese laws and ordinances that restrict and ban the hate speech of the far-right organizations, which target racial minorities. Such proactive laws and ordinances require wider support to eliminate discrimination, thereby putting an end to the structural violence, which surrounds migrant communities.

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This research examines how the image of the Other excluded from "national memory" was represented in Japanese television documentaries of the 1950s and 1960s as well as clarifies how intellectuals, journalists, and filmmakers had to resist the contradiction and incoherence of linking "public memory" with "national memory." After World War II, Japan's political, economic and social systems, which had maintained continuity before and during the war, were shaken substantially. Japanese recognition of their role in the war as promoted by the American General Headquarters lacked awareness of the perspective of the Asian nations Japan colonized. Nevertheless, critical television documentaries were made one after another during this time. This paper first examines how Asia's political, economic, and social history as well as changes in the skills and techniques necessary for making television programs influenced the representation of Korea in television documentaries. It then examines the changes in said representation by analyzing program images and interviewing the directors of several television documentary programs. First is Nihon no Sugao: Nihon no Naka no Chosen [The Real Japan: Korea in Japan] (1959: NHK), which was the first television documentary after the end of the war to focus on Koreans in Japan (Zainichi). Second is Daitokai no Ama [Women Divers in the Big City] (1965: Asahi Broadcast), which was made by Japan's first Korean television director. Finally, some documentary programs which portray Korean soldiers who were mobilized as part of the Japanese Army during the war are studied, including Wasurerareta Kogun [Forgotten Imperial Soldiers] (1963: Nihon Broadcast) , directed by Nagisa Oshima. Based on the findings of this study, I concluded that few documentary programs focused on Korea in the early days of television in Japan; however, those that did exist expressed some signs of responsibility for Japanese imperialism and colonialism in Korea.

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本論文は、製作の重要性に着目し、特にこの分野で長い歴史をもつ欧州各国の協力的振興政策のメカニズムついて考察を加えることを目的とする。そのために本論文は、欧州市場における国際共同製作の現状をみながら、(1) の国際共同製作に関する二国間条約、(2) の国際共同製作に関する欧州協定、(3) 超国家レベルで運用される製作支援制度という3つのレベルにおける欧州各国の協力政策に着目し、その構造と政策的背景を考察する。そしてこれら協力政策とともに国際共同製作にとって重要なインパクトを持つ欧州各国の直接的補助金制度の現状についても簡単に触れる。そして最後に、コンテンツ産業の国際競争力の向上を重要課題として位置づける我が国の採るべき施策の方向性について、若干の示唆を述べる。

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　2018年のサッカーワールドカップで、VAR（ビデオ・アシスタント・レフェリー）が導入され話題となった。一方で、日本ではインスタント・リプレイを見ること自体はスポーツ中継には当たり前の光景になっているばかりか、1969年の大相撲では既にビデオ判定が導入された。本稿では、ビデオ判定導入に至る過程がメディア経験の変化でもあったことに着目し、メディア論を用いて「リプレイ」にアプローチする。
　スポーツ中継の歴史の中で1964年の東京オリンピックは、「テレビ・オリンピック」と称され、放送技術の革新が喧伝された大会であり、スローモーションVTRもそのひとつであったことがこれまで明らかにされている。しかし、VTR導入以前には、リプレイは写真やフィルムによって可能になっていた。本研究の目的は、そうしたリプレイ技術の開発・導入の過程を具体的に明らかにすることである。
　理論的には、メディア論における技術の社会的構成という立場から分析を行う。この理論は、技術の開発・導入に直接携わる科学者や技術者だけでなく、一見すると無関係に見える人びとに注目する。放送技術の社会的構成を問う本研究の場合は、テレビの演出に関わる制作陣やアナウンサー、解説者といった人びとを対象とする。技術の開発・導入状況と、そうした人びとのリプレイへの解釈を明らかにするために、当時の放送技術や放送文化の専門誌を資料として分析を行う。
　結論として、VTRの導入はそれ以前の技術の混在した状況をまとめあげる転機となったが、リプレイへの期待はVTR導入以前から存在していた。リプレイは、スポーツ中継の新しい演出として模索され、スポーツの専門性への視聴者の要求に応えることができる技術として期待されたのである。一方で、VTRは「機械の眼」の威力を人びとに実感させた技術でもあり、東京オリンピック後には大相撲のビデオ判定につながっていったのである。

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