This paper focuses on color descriptions in The Lord of the Rings. This fantasy fiction is a story of dangerous journey in which Frodo and Sam endeavor to throw away the evil ring into the crater of the mountain. All the time, they fight against enemies under the control of the Dark Lord Sauron. The battles, for Frodo and Sam, include both internal and external conflicts. Tolkien experienced World War I and II, therefore, some of which are reflected in many battles of the story. He tried to picture the tragic wars with the symbolical use of colors and to clarify what evil is.

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映画には一作品で完結する単発映画と複数の作品で構成されるシリーズ映画がある。シリーズ映画は単発映画と比べると、興行収入が高い傾向がある。それに加え、商業的見地からすると、成功した作品の続編は他の新しい映画より収入が保証されると考えられている。しかし、前作より高い品質の続編を制作することは困難である。本研究では、シリーズ映画のシナリオ制作の執筆支援システムの高度化のため、基礎調査としてシリーズ映画におけるストーリー構造と各シーンの尺に関する傾向を調査した。調査対象はシリーズ映画の一作目とその続編とし、双方の共通性について調査した。具体的な調査項目としては、シナリオにおける「柱」の記述やキャラクタの登場回数などについて着目し、研究を行った。調査対象は、IMDBの公開データを参考に、世界興行収入の上位30位に入っているシリーズ映画を選定し、キャラクタの登場回数およびそのシーンの継続時間について比較検討を行った。調査の結果、登場人物が2名以上の場合は、その会話数とシーンの継続時間には、0.6から0.8の有意な関連性があることが確認された。これにより、2名以上の会話があるシーンに関しては、会話の文字数をもとに、新たなシリーズのシーン時間の計算予測に役立つことが示唆される。

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I would like to introduce a couple of movies directed by New Zealanders that have been shown recently in Japan. One is The Lord of the Rings, directed by Peter Jackson. This huge-scale(trilogy) movie was made possible by the strong support of NZ, with its beautiful scenery, digital effects workshop, and even an army. I feel glad about NZ movie industry booming as a result of this movie's success, but personally hope NZ wouldn't become too much like Hollywood, where everything seems so artificial. The other is The Price of Milk, directed by Harry Sinclair. This cute movie about love depicts ordinary life of NZ with a sprinkle of magic. It seems the movie is popular among independent movie-goers, especially women in their 20s and 30s.

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In most role-playing games (RPGs), non-player characters (NPCs) tend to have most initiative in conversation between the players and the NPCs. The NPCs are mainly talking to lead the players along the storylines of games, and sometimes ask the player to answer simple questions. Such a unilateral conversation is unnatural and unrealistic, and consequently, it is concerned that the player’s sense of immersion into the game will decrease. In order to improve the reality of the conversation, this study proposed a conversation method whereby an NPC adaptively switch the initiative according to the players’ preference of which of the player and the NPC has the initiative. To confirm the effect of this method, we conducted an experiment in which the participants talked with an NPC in a game scenario. This experiment compared the proposed method with the existing method that an NPC has the most initiative and the method that an NPC randomly switches the initiative. The result of the experiment suggested that the proposed method can decrease the unilateral impression compared with the existing method. Furthermore, the result also showed a probability that the proposed method motivates the players to talk to the NPC.

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VI Katherine Mansfield's birthplace and Jun ETOH Jun ETOH(1933-1999), a celebrated literary critic of Japan, had a chance to visit New Zealand in 1966 at the invitation of Foreign Office of New Zealand. He was pleased to be able to visit Katherine Mansfield's birthplace while he was still living before everything. The article on this visit refers what happened at that time and his relation with Katherine Mansfield. In those days, the birthplace was yet a private house. The old woman living there did not know about Katherine Mansfield. He writes that he realized the fact that Katherine Mansfield had been more liked in Japan and France than in her hometown afresh. He reviews the deep concern with her. He had proceeded his way to literary critic for good reputation on his first critique Memorandum on Mansfield that was published in literary coterie magazine while he was at university. He began to read Mansfield in his high school days and read frequently while he was absent from school because of tuberculosis. It is said that her works select readers. This future authority of literary critic had truly selected appropriate writer. On 27th of December last year, I visited again this birthplace with fellow members of The Katherine Mansfield Society of Japan. In 1986 the birthplace was purchased by The Katherine Mansfield Birthplace Society and carefully restored, then was opened to the public in 1988 of centennial of her birth. Nowadays, this birthplace plays an important role as the museum of this writer and the Society continues solid operation for this institution. On the periphery of Tinakori Road, directional signs and banners for guideposts to it are set up. Mansfield News of the Society reported that travel guides of many foreign countries began to insert information about it. In Japan, I found also fairy detailed entries in some travel guides. In the evening of the day, we were invited to their home by Mrs. Oroya Day, The Founder President of the Society, and her husband Mr. Melvin N. Day, a famous painter, and had a pleasant time for their warm kiwi hospitality.

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キャラクターはコンテンツの中で重要な要素の一つである。集団の中でキャラクターの外見がかぶってしまうとキャラクターの魅力が失われてしまうという問題点がある。本研究では、集団の中で魅力あるキャラクターを制作するための集団キャラクターメイキングを目的とする。そこで本研究では、集団キャラクターメイキング手法の提案を行った。提案手法では、キャラクターを制作する時に個人ではなく集団の体型バランスを先に決める。集団の体型バランスを決める時に参考にするために、集団キャラクタースクラップブックの開発を行った。制作者はスクラップブックで参考になる既存作品を探し、シルエットテンプレートを用いて集団の体型シルエットを制作する。また、有用性を確かめるために本システムを用いた評価実験を行った。本実験の結果から、集団内での外見の被りをなくし、魅力的な個性あるキャラクターを制作することができることが分かった。

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本論文は,サービス経済下で企業サステナビリティ(持続可能性)を促進するために,サービス提供者と受領者の関係性に注目し,その変移の過程を分析することを目的としている。サービス当事者間の関係が継続性を持つようになると相互の間で依存と信頼関係が生まれる。こうしたサービス深化は企業サステナビリティを高めうる。本研究では事例分析を基に,このサービス深化の過程における,顧客状態・相互関係の変移,およびその促進要因を明らかにする。分析対象はスターバックスを始めとする,顧客とのサービス関係の深化を推進しサステナビリティ経営を実践している先進企業4社である。分析の結果,このプロセスでは,Product,Physical Evidence,People,Perspective,Personalizationという5Pがサービス要素として機能しており,サービス提供者と受領者の関係性が単なる機能の交換関係から意味の共有・交換関係に発展していることがわかった。さらに両者のコミュニティ形成を動機付け,企業の持続的な発展に寄与していることを示した。

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The aim of this study is to ascertain existence of runaway production in film production centers other than Hollywood. We clarified the actual condition of runaway production in the film industry in India through a case study of two films shot in Japan. As with Hollywood, runaway production in the film industry is also observed in India. In Indian film production, shooting in foreign countries came to be lively because of the desire of audiences to experience new locations for the first time, so-called "virgin locations," overcrowding of the shooting schedules in studios, increases in budgets, and the expansion of foreign markets. Filming in foreign countries is determined and executed depending on the desire of the audience in India and in foreign countries, the production and sales strategy, and the active support of the host countries. When shooting in other countries, non-resident Indian (NRI) support producers in order to help them carry out the production smoothly. The shooting of Indian films in Japan has been carried out intermittently since the late 1960s. This started because of economic growth in Japan, the improvement of the international status of Japan, and the improvement of interest in Japan in India during the 1960s and 1970s. In the 2000s, in the wake of the success of a film by which an NRI in Japan attracted interest in shooting in Japan, a producer who had a Japanese wife and who was interested in Japan filmed in Japan repeatedly. In the 2010s, Japanese central and local governments began to attract interest in the shooting of Indian films in Japan systematically, for example, through a screen tourism project by the Japan Tourism Agency. Thus, the number of these shootings increased rapidly in 2013. The trigger was not the efforts by the Japanese central and local governments but the shooting support businesses run by NRIs in Japan by using their social network of film professionals in India. The NRIs are new comers who have been coming to Japan since the 1990s and who engage in IT business in Japan. They set up companies on an exchange program between Japan and India, and they began shooting support businesses in response to the expanding economic exchange between Japan and India and the activities to attract interest in shooting Indian films in Japan done by the Japanese central and local governments. Most of the Indian films shot in Japan were Hindi films produced in Mumbai until the 2000s. However, most of the Indian films shot in Japan in 2013 were Tamil films produced in Chennai. The difference is mainly due to the difference of the social network of the film professionals in India that each NRI has. The other reasons for this change are probably the strengthening of relations between Bollywood (Mumbai) and Hollywood (Los Angeles) and that of the economic relations between Japan and Tamil Nadu in recent years.

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The present study was conducted to clarify the process by which students who do not attend school regain physicality through participation in a long-term camp used as an adventure education program. We looked at 8 non-attending students who participated in the long-term camp. We collected data by observing the participants and analyzed them using the Modified Grounded Theory Approach. The findings were as follows.
　1)We found that in the process of regaining physicality, students went through 3 stages of “regaining a connection with the body”: ①“a sense of discomfort towards the body and physical manifestation of stress”, ② “awareness of the body” and “facing up to oneself through experience” by “experience of approaching physical limits”, and ③ “feeling confidence in the body”. 2) In terms of the factors that affect the recovery of physical confidence, we found that one factor was “connection with others and nature via the body”, which included 3 categories: “receptive involvement with staff via the body”, “peer relationships in an existential dimension through the body”, and “emotional experience based on physical sensations in nature”.

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