現代のアニメーション産業への関心に比べ、その歴史の研究事例は少ない。これは学術研究上のディシプリンや課題の説明が、アカデミアに不足しているからである。本稿ではその解決を試みる。歴史研究を例にとれば、ポピュラー文化に関する記述は、まず通俗的社会批評により始められた。そして次に、社会史によるメディアの政治性の研究が行われた。しかしこれらの研究は、社会批評や社会史の関心を再確認する過程に留まる傾向があった。人文・社会科学一般の方法論に視点を広げれば、産業や企業の役割よりもユーザーの営みに注目することが主流である。だがこうしたアプローチは、文化産業が組み込まれている資本の論理には関心が薄い。アニメーション産業史の研究は、ポピュラー文化と資本の論理の関係についての議論をもたらし、その構造がいかに歴史的に変化したのかの事例研究を導くことで、人文・社会科学の方法論と視点を更新する大きな可能性を持つ。

This study aims to describe the expansion process of the do-it-yourself (DIY)/Sunday Carpenter in Japan. DIY is generally defined as an activity of making, repairing, or decorating objects in homes by the owners themselves. DIY became popular with the concept of the “Sunday Carpenter,” with carpentry as a hobby popular among males, largely due to the contribution of cartoonist Kikuo Matsushita during the 1960 to 1970s in Japan. Matsushita established the Japan DIY Club as a fellowship of professional entertainers and celebrities in 1960. The club recruited general members in 1969; its membership grew to 45,000 by 1973. Matsushita has made three major contributions. First, he frequently appeared on television and magazines and presented on DIY/Sunday Carpenter. Second, influenced by the UK concept, he claimed and settled his original ideas of “achieving both hobby and profit” and “resistance against industrialization and regaining humanity” in Japanese DIY/Sunday Carpenter. Third, he valued the connection and interaction between the club and the DIY industry and intended to create a new business model by organizing club members and retailers. The study follows the trail of Matsushita and the Japan DIY Club through the bulletin magazine of the club and examines the description and position of the growing population of Japanese DIYers at the time.