This special issue is a collection of papers based on the symposium 2, Spring Study Program at Kansai University (Jul. 4. 2010), titled "A Study of Media Culture; Issues and Perspectives. At the symposium, members discussed about the condition of "the study", area issues, issues of the methods, direction of future perspectives, based on the keyword of "Media Culture, with 5 presenters and debaters. A study of journalism is the most important column for a study of mass communication, on the other hands, in these days, also a media acceptance as entertainment and culture among peoples' daily life from public culture and popular culture to youth culture. Also study areas are expanding from mass media to net culture and sub culture. Our main focus for the symposium was to discuss about these emerging changes form the interests of "how to study media culture". In this special issue, we asked to each discussant to bring again the issues which they could not discuss enough at the symposium. We can publish these discussions in "the shape" of this special issue, since each discussant has accepted our offers of scheme sincerely and I thank you to all of them. In this special issue, Kyoko Koizumi who was a symposium chair and worked at the beginning of the planning of this symposium, Masato Hasegawa and Koji Namba who presented the issues, and Yasuaki Narita, Hajime Hasegawa, Mamiko Hayashida who were debaters, and these 6 members have developed the discussion relatively freely to beyond to individual roll at symposium. It is hoped that this special issue will become a stimulus even a little, especially to many readers who are interested in the symposium and also to young researchers who are studying in the field of media culture.

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This paper aims to suggest the meaning and significance of studies on mass-media expression process as culture. In the studies of media and culture, receiver's side has been widely examined, however sender's side has been quite rare. In particular, culture on the inside of mass-media, actual conditions of production and expressions has gone virtually unexamined. This paper especially focuses on news program production activities and innovations in film camera. Film camera had been used on news production in early years of television before ENG system. Progress in the technologies associated with television cameras has led to major changes in program production techniques. At the same time, that was connected with transformation of broadcasting culture. This study traces changes in broadcaster's expression and their feelings relate to the television camera technologies in the micro-interaction level. This examination is based on the results of interview conducted at broadcast sites using ethnographic methods. Finally, this paper suggests it is necessary to understand media and culture from a perspective of that media communication must be involved in the cycle of sender and receiver.

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本研究は，高校生のメディア・リテラシーを育成するための，ラジオ番組制作を中心としたプログラムを開発，実践し，その学習効果を明らかにしたものである。プログラムでは，高校生に，番組制作に関わるメディア・リテラシーを必要とする活動を複数体験させた上で，取材リポートを制作させた。このプログラムに参加した高校生の感想の記述と出演番組での発話を質的に分析し，「メディア・リテラシーへの気づき」と「メディア・リテラシーの獲得」の状況を評価した。その結果，本研究で実践したプログラムは，「情報を整理して効果的に表現する」「活動全体，また他者の取材リポートを客観的に評価するための批判的思考」といったメディア・リテラシー育成に有効であることが示唆された。

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The purpose of this paper is to examine the mediated musical culture through the keywords of "emotiveness", "ritualizaion" and "symbolization" as the characteristics of media extracted from the symposium 2 on July 4^<th>, 2010. This paper is based on my fieldwork through observations and interviews with middle-aged and elderly male guests of folksong pubs [foku sakaba] and gig venues in Kyushu, Kansai, Aichi and Tokyo areas since 2007. I focus on elder amateur guitarists because baby boomers [dankai sedai] reached to 60 years old, at the retirement age from regular companies in Japan, in 2007 and they started coming back to their interests of their younger days, which singing folksongs to their own guitar accompaniment [hikigatari]. This paper on the folksong community presents the changing role of music bound to the specific generation in the process of generalization. It is revealed that the folksong community in larger city (Fukuoka City) tends to be pastime. In contrast, in the folksong community in smaller cities (Saga and Imari City), folksong are used as a trigger to vitalize the local communities as music is the bond between the parents' and children's generations. In the previous fieldwork on Japanese high school pupils, I found the tripartite layer of categories in popular music-personal music, common music and standard. Therefore, in this paper, how middle-aged male amateur guitarists pass their generation's music to the next generation as well as how they sympathize with each other through folksongs is investigated. It is found that the crossroad of the woof (contemporaneity) and warp (succession) of Japanese folksong creates a new category of popular music such as 'empathy music' or 'entrustment music'. Through this new category, the parents' generation entrusts their passion of youth to children's generation.

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テレビ・ドキュメンタリーに係わるリテラシーの構成要素を抽出することを目的に，日本のテレビ番組制作者（以下，番組制作者）による書籍の記述の分析を行った。その結果，「制作」では，スポンサーの発言力の大きさ，テレビ局と制作会社の上下関係，総務省の力の大きさ，憲法の知る権利，放送法の「不偏不党」に対する意識等の項目が抽出された。「言語」では，編集で撮影順と異なる組合せにすること，できる限り映像で見せること，ナレーションは映像等の要素と補い合うものであること等の項目が抽出された。「リプレゼンテーション」では，撮られる側がカメラやスタッフを意識するため，普段通りではなくなること，番組制作者が撮られる側にはたらきかけを行うことで真実を伝えること，ドキュメンタリーは世界を再構成し再提示していること，正確な情報を伝えるべきと考えていること等の項目が抽出された。「オーディアンス」では，日本国民のマジョリティや高齢者をターゲットにしていること，興味を引く様々な工夫をしていること等の項目が抽出された。

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In this paper, I seek to re-examine the significance of the digitalization of "writing". The mediation of "writing" by digital technology has become a normal and ever expanding aspect of contemporary society. My first task is to examine this condition on the meta-level. The specific subject matter of my inquiry is the Nihongo-wapuro (Japanese word-processor) whose history I have attempted to trace here. Written Japanese texts are composed of a heterogeneous mixture of different types of characters, including hiragana, katakana, and kanji. The vast number of characters required in order to produce such texts has rendered the mechanization process far more difficult in Japanese than it has been for European languages that use alphabetic scripts. When computers were introduced into the world of business in the 1970s, newspaper journalists continued to write by hand, despite the appearance of electronic systems for newspaper compilation and editing. The first word-processor for writing Japanese, the Toshiba JW-10, appeared in 1978. It then became possible to produce Japanese texts mechanically with the aid of electronic processing. The adoption of word-processors in Japan has spread rapidly since the mid-1980s. Besides being used in offices, they came to be employed in schools and in the home as well. People with no prior experience of using electronic devices quickly developed a keen interest in the Japanese word-processor. At first, word-processors were viewed primarily as devices for the production of "clean copies" or for printing. However, with time, many books came to be written extolling the Nihongo-wapuro as much more than a mere typewriter for the Japanese language. The Japanese word-processor, it was claimed, had brought about a "great revolution in intellectual production". The bodily action of typing had long been an unrealized dream of those who wrote in Japanese. The Nihongo-wapuro was the means that at long last brought this to reality. Nevertheless, the most widespread everyday use to which word-processors were put was the production of New-Year greeting cards (which according to Japanese custom are sent out in great numbers at the beginning of each year). At the same time, these mechanically produced New-Year cards were criticized as lacking in human feeling. In this paper, I examine the Japanese word-processor from the three perspectives of technology, the body and society. I investigate how the word-processor was able to provide a foundation for the digitalization of "writing" in Japan. In addition, I look at the significance of the Japanese word-processor's function as a machine for the production of "clean copies" and printed texts. This was related to the fact that "writing" always took place in relation to "editing". Thus, the adoption of the word-processor in Japan has brought to light the emerging problematic of "editing".

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