This paper examines the relation between Mae West and “camp” with reference to her biography and some films in which she stars. The examination focuses on the 1930s and 1970s, two significant periods for West's acting style; in the 1930s, she appropriates performing techniques from several unorthodox entertainers of the Belle Epoque—Bert Williams, Eva Tanguay and female impersonators—in order to establish her queer acting style (which was highly theatrical in its nature, and is later described as “camp”); but in the 1970s we see a cultural phenomenon in which her images are appropriated and commodified as an icon of camp in the field of pop culture, making a contrast with her active position in the 1930s when she appropriated other acting techniques for her style. Truly, her camp becomes a kind of “pastiche” appropriated by cultural industries in the 1970s, but this brings about a situation where her camp images circulate again in the cultural market, and this consequently saves her from oblivion. This way of regaining social visibility, though following the dominant cultural order, has potential for the strategic camp associated with “queer, or gay/lesbian, politics” in the 1990s.

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Ken WAKASAKI (1947- ) is a Japanese novelist whose works are familiar to those who spent their youth in the late Showa era: 1978 to 1989. In fact, in those days, he was very popular among teenagers through his tireless novelization of all the Space Battleship Yamato series and other well-known anime and manga such as The Galaxy Express 999, Mu's White Whale, and Triton of the Sea. Although his fame appears to have been from these novelizations, he has written a large number of entertaining novels out of his own imagination.
This paper introduces Ken WAKASAKI's 51 original novels for young people published during the later years of the reign of Emperor Showa. Aside from his readable OKITA Souji, which deals with the historical figure, the best swordsman of the Shinsengumi police force in old Kyoto, and his best-seller Hakkyuu-wo-tatake! (Hit a Smash!), which describes how a female high school table tennis player with heart trouble wins championships, WAKASAKI's favorite genres were science fiction and mystery: above all, the Esper series, which consists of five novels about exciting battles between the high school students of various superhuman abilities and the wickedly powerful Satan people from outer space, is excellent. The mystery counterpart is the series of Akira SHIRATORI, the 14-year-old boy who is a Tokyo public prosecutor as well as a devout Mormon, the best of which is the first novel Kobaruto-buruu-yuukai-jiken (Cobalt Blue Kidnapping) with an unforgettably unexpected ending.

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A talented producer Yoshinobu NISHIZAKI (1934-2010), who is famous for his legendary anime movie Farewell to Space Battleship Yamato (1978), was disgraced as a "scoundrel" in his first biography titled The Man Who Made Space Battleship Yamato: The Madness of Yoshinobu NISHIZAKI (2015). Farewell to Space Battleship Yamato and its TV series Space Battleship Yamato II (1978-79) were recently remade as Star Blazers: Space Battleship Yamato 2202 (2017-19) by Harutoshi FUKUI, novelist known for film versions of his original works such as Lorelei and Gundam Unicorn. Contrary to Yamato fans’ expectations, the new Yamato 2202 turned out to be a sheer failure, or another disgrace to the lamented NISHIZAKI.
In this paper, a close comparison is made between Farewell to Space Battleship Yamato and Space Battleship Yamato 2202, with some reference to NISHIZAKI's other Yamato films and FUKUI's own novels. As a result, their themes are proved to be opposed to each other: NISHIZAKI, belonging to the war generation, evaluated "Tokko" suicide attacks as respectable acts to protect compatriots, while FUKUI, postwar democrat, blindly believes in the "Peace" Constitution of Japan given by the US general Douglass MacArthur, from which protagonist KODAI's unbelievably obsessive, pacifistic deeds originate.

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Ken WAKASAKI (1947- ) novelized as many as 27 titles of Japan's popular anime, manga, and TV dramas from 1978 to 1990. As a multi-talented novelist who graduated from Tokyo University, he was able to create unique books retaining the very essence of the original visual works by using his knowledge of not only science, but also human beings both male and female. So, it was quite natural that the intelligent author became very popular among young Japanese from junior high school to high school students as soon as his novel version of the epoch-making anime movie Farewell to Space Battleship Yamato came out in August, 1978.
Just after the success of this book, he was recognized as a master hand at novelization. His works include The Galaxy Express 999, Mu's White Whale, and Triton of the Sea, not to mention all the Space Battleship Yamato series. In addition to these major heroic fantasies, he also novelized the TV animations of King Arthur and Marco Polo, both of which are now almost completely forgotten in Japan. WAKASAKI's less known novelizations of manga and TV dramas dealing with everyday lives of junior high school baseball players, junior high school teachers, girl actresses, and high school baseball players with beautiful female students are respectively Akio CHIBA's Captain, Tokyo Broadcasting System Television's 1-B Class Teacher Shinpachi-sensei, Suzue MIUCHI's Glass Mask, and Mitsuru ADACHI's Nine, all of which are masterpieces as novels. Which means you can enjoy reading them without knowing the originals.
While Japan's Agency for Cultural Affairs boasts of "Cool Japan" anime and manga, it ignores the important contribution of WAKASAKI's hard work. It is lamentable that his old books have become less and less accessible at online bookstores and even in public libraries. Now is the time when his novels are properly stored for future generations of those who love Japanese pop culture, regardless of nationalities.

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本研究では、インターネット上の著作権侵害による経済効果について、ゲーム産業を対象に実証分析を行う。問題意識は、著作権法違反であるゲームプレイ動画について、ゲームソフト販売本数に与える影響を理論的に整理し、その効果を定量的に分析することにある。分析では、ゲームプレイ動画のゲームソフト販売本数に対する影響を明示的に組み込んだ、ゲームソフト需要モデルを用いた。また、推定においては、観察出来ないゲームソフトの質が高いためにゲームプレイ動画再生回数が多くなり、結果的にゲームプレイ動画再生回数とゲームソフト販売本数の間に正の相関がみられるといったような、いわゆる内生性問題に対処する必要がある。そのため、操作変数を用いた2段階GMMによって推定を行い、識別を行った。操作変数には、動画投稿者の人気を表す変数を用いた。
まず、外生変数のみの誘導型モデルで推定を行った結果、動画投稿者の人気を表すお気に入り登録され数は、ゲームソフト販売本数に有意に正の影響を与えていた。このことから、より人気の高い動画投稿者がゲームプレイ動画を投稿し、消費者の視聴機会が増えることは、ゲームソフト販売本数を増加させる効果があることが確認された。次に、構造型モデルで推定を行った結果、ゲームプレイ動画の再生回数は、ゲームソフト販売本数に有意に正の影響を与えており、その大きさは、再生回数が1%増えると販売本数が約0.26%増加するというものだった。さらに、ジャンル別の推定では、ノベルゲームとレースゲームを除く5つのジャンルで有意に正の影響を与えており、それら2つについても有意に負の影響は見られなかった。このことから、ゲームプレイ動画は、消費者余剰を確実に増加させることと合わせると、社会的厚生に正の影響を与えていることが確認された。
以上の結果を踏まえると、ゲームプレイ動画を違法としている現在の著作権法は、社会的最適点より過剰な規制であると判断される。また、目前に迫っているTPPによって著作権侵害の非親告罪化がなされれば、ゲームプレイ動画投稿のリスクの増加、投稿の委縮に伴い、ゲームプレイ動画の持つ経済効果を失って社会的厚生を低下させる可能性がある。そこで、日本版フェアユースの導入等、より柔軟な規制の在り方を考えていく必要があるだろう。

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