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  • 小山 明子
    理学療法学Supplement
    2011年 2011.38.3 巻
    発行日: 2011/10/06
    公開日: 2018/03/08
    会議録・要旨集 フリー
  • 岡井 崇之
    マス・コミュニケーション研究
    2017年 90 巻 169-170
    発行日: 2017/01/31
    公開日: 2017/10/06
    ジャーナル フリー
  • 加藤 綾子
    社会・経済システム
    2012年 33 巻 47-54
    発行日: 2012/11/15
    公開日: 2020/10/05
    ジャーナル フリー

     The aim of this paper is to indicate that structure of recording industry based on analogue sound recording technology has transformed as a consequence of digitization, a technological innovation. In this study, it is considered that digitization in sound recording technology has formed two paths: the one is a way to strengthen existing market of recording industry and to form prosperity, the other is a way to expand Do-It-Yourself music production and “prosumer” related with diffusion of computer, ICT and the like. Both paths of digitization have been accelerating in the mid-1990s. In the latter half of 1990s, digitization in music creation has enabled to reduce production cost and to integrate industrial organizations: record production, artist management, and music publishing. It used to be reasonable for music companies to divide and assign property rights of their music into mass media companies, and each music copyright used to be joint-ownership in many cases.

     “The fourth step” of recording industry evolution is shown as mixed situation with both digitization paths. This study relies on the evolutionary model developed by Kabashima (2009) that explains transformations of content industry. Furthermore, this research attempts to improve on the model. “The fourth step” is added to the three steps of the content industry’s evolutionary theory shown by previous study. “The fourth step” of recording industry is characterized by things as follows: partial integration in industrial organization, creation by consumers, and shift of platform. It is suggested that digitization has led the change of recording industry system since around 1995 in this study. Thus, it is possible to perceive dynamics of recording industry by indicating “the fourth step” of the evolutionary model.

  • 渡辺 宙明
    超心理学研究
    2001年 6 巻 1 号 8-9
    発行日: 2001/11/30
    公開日: 2017/08/09
    ジャーナル フリー
  • 大島 絹衣
    組織学会大会論文集
    2015年 4 巻 1 号 39-45
    発行日: 2015/07/31
    公開日: 2015/07/31
    ジャーナル フリー
    In the movie industry, total domestic box-office revenues for 2012 were the highest ever, and excellent directors won Prizes at the International film festivals. Japanese Movies however, have not permeated worldwide, and for continuous development of the Japanese movie industry, we must promote copyright within this business abroad. This paper investigates the actual situations of production and sales, securing of sources of revenues through consideration of the cultural/economical evaluation scale, and make a proposal of the subject between the domestic situation of production and international marketing from various views. The Japanese movie distribution companies have given priority to the domestic market, not to international marketing, and for a long time, which means the expertise and skills within the international marketing have never constructed and taken over the domestic. It would seem that the audience numbers worldwide grew sluggishly. There are underlying problems that cultural/economical evaluation scales haven’t defined in public, in particular for the new comers. There is no proper or defined occupation or channel of analytical advice with regards to new comers in the industry and as such the media industry prefers those with industry experience. This illustrates the imbalance between the Japanese production systems and the international marketing strategies, and contributes to its disfunction. In the case of international marketing, it is difficult to obtain information therefore contributing to the domestic industry being much closed including less long term media mix strategy. Before that, the international market and the domestic market operate differently. It hasn’t established continued sales of channel in domestic market, make it difficult to sell copyrights. On the other hand, some movie distribution companies try to sell the motion pictures, regardless fixed media as Japanese contents. It is essential for us to prove the value of Japanese movie contents through defining cultural/economical evaluation scales. That helps to spread producing works worldwide, and increase the cases of marketing during the planning phase.
  • 加藤 綾子
    社会・経済システム
    2013年 34 巻 59-72
    発行日: 2013/10/26
    公開日: 2020/10/06
    ジャーナル フリー

     The aim of this paper is to clarify characteristics of music prosumers through quantitative analyses mainly focusing on their purposes and digitized tools of production. The term “prosumer” coined by Toffler (1980) means consumer who produces something. Consumers’ productions in content industries have been suggested in previous studies. However, it has not quantitatively revealed what has led consumers’ creations. This paper contributes to suggesting a correlational relationship between digi- tized tools and productions and to understanding intrinsic motivations of the prosumer, which have not clarified in previous studies.

     This research reconsiders on a prosumer construct and its scale items based on Katsumata and Ichikoji (2010), Ikuine, Katsumata and Ichikoji et al. (2011), and collects both quantitative and qualitative data from a questionnaire survey. First, using Mann-Whitney’s U test, differences between prosumers and non-prosumers are examined to reveal some characteristics of the prosumers. Second, a free de- scriptive answer text is analyzed to reveal what are the purposes of creative activities. Third, a cor- relation analysis is conducted to examine the correlational relationship between each instrument and each production activity.

     Consequently, it is indicated that the purposes of consumers’ productions are mostly for self-con- tented and/or self-satisfying through analyzing answer data of the open-ended question in this research. For the music prosumers, creations are neither for sharing with the others nor for progressing in their skills and/or quality of the works. Distinguished from the non-prosumers, people who make creations prefer to others’ works released from not only major labels but also independent labels, individuals, and amateurs. Also, the prosumer has forwardness in listening, watching, and viewing other people’s works and learning from them. The prosumer seems to seek the contents of his/her own motion without much influence from mass-media appeals. This paper also clarifies the usage of digitized instruments has correlation with production activities such as arrangement of content, publishing the works, and making profits from them.

     Based on this research, it is thought that “production itself” and “acquisition of knowledge or skills” can be an object for consumption and/or be an experience good. Thus, business models should be designed based on those facts indicated in this paper. As further issues, it might be necessary to reconsider a construct of production, because technological developments have realized easy production without recognition of producing. Also, it is required to develop the scale items and to conduct more precise researches regarding the prosumer.

  • 堀内 俊治, 新井田 統, 滝嶋 康弘
    映像情報メディア学会誌
    2019年 73 巻 1 号 167-172
    発行日: 2019年
    公開日: 2018/12/21
    ジャーナル フリー

    全天球や半天球映像のインタラクティブ視聴に合致した音場の選択的合成手法として,音場のズーム合成技術を提案し,スマートフォン上で単体動作するアプリケーションソフトウェアを開発した.提案手法は,複数チャネル間のスペクトル変形に基づき,円状マイクロホンアレイのマルチチャネル信号から,任意の方向を中心に,任意の範囲のステレオ信号を合成しており,音場の空間情報が保たれるという特徴を持つ.開発したアプリケーションソフトウェアにより,収録した音場の再生範囲を視聴する映像の表示範囲に合致させる,すなわち音にも映像にも視聴者が自由自在にズームできるインタラクティブ視聴を実現した.評価実験では,到来時間差推定に基づく客観評価により,6本の指向性マイクロホンから構成される6チャネルの円状マイクロホンアレイを用いて,任意の範囲のステレオ信号が選択的に合成できることを確認した.

  • 高瀬 博士
    映像情報メディア学会誌
    2005年 59 巻 11 号 1616-1619
    発行日: 2005/11/01
    公開日: 2011/03/14
    ジャーナル フリー
  • お笑い劇場の利用者行動と顧客満足に関する研究 その2
    山本 杏子, 小島 隆矢
    日本建築学会環境系論文集
    2014年 79 巻 702 号 649-654
    発行日: 2014/08/30
    公開日: 2014/09/30
    ジャーナル フリー
    This study examines the classification of the user type and behavior in a comedy theater. First surveys were carried out for the classification of the user type and the comparison. Second surveys were carried out for the evaluation of the ease of behavior and the degree of action implementation of the environment around a comedy theater. The results are as followings: 1) Comedy theater users were classified into four types and user behavior is different by user type. 2) The ease of behavior and the degree of action implementation are different by each theater.
  • 山本 桂, 渡部 元
    CANCER
    2015年 24 巻 85-98
    発行日: 2015/08/01
    公開日: 2017/07/05
    研究報告書・技術報告書 フリー
    熊野灘産海洋生物の販売を行うアクアショップ夢市場…ドルフィンの取り組みを,ヤマシタカラッパCalappa yamashitaeをケーススタディーとして論じた.アクアショップの業態は,コンビニエンスストアや病院でのDPC会計と同一で,取引の形は「データベース上でのみなし取引」である.その特質を生かした,地方自治体発の住民と企業等との間の「絆プラン」への貢献について,一端を紹介する.
  • 江川 剛
    情報管理
    2017年 59 巻 10 号 676-682
    発行日: 2017/01/01
    公開日: 2017/01/01
    ジャーナル フリー HTML

    インターネットの利便性をこれまでになく享受し,ネット上に拡散する情報の力が革新的な発想を後押しすることも多い21世紀初頭は,同時に情報漏えいや権利侵害,依存といった弊害や危うさを露呈し始めた時代でもある。不可視だが確実に存在する脅威,ネットにつながっているゆえの不自由さをも見極める必要がある。現代の環境を冷静に認識し,今起きていることに対してどうふるまうべきか。現代思想・法曹・警察行政・迎撃技術・情報工学・サイバーインテリジェンス等のスペシャリストが,6回に分けて考える。

    第2回は,悪用された場合,ネットや情報がどのような事態を起こしうるかを,情報セキュリティーに関する最近の裁判例や報道,その背景を通して弁護士・江川剛氏が解説する。

  • 千葉県館山市と南房総市を事例として
    丸上 雄哉, 出口 敦
    都市計画論文集
    2018年 53 巻 3 号 1259-1266
    発行日: 2018/10/25
    公開日: 2018/10/25
    ジャーナル オープンアクセス
    ロケツーリズムは、新たな資源創出と観光振興を可能にする観光形態であるが、効果が一過性であることが課題となっている。本研究では、過去のロケツーリズムの事例について、観光客数の変動をもとに分類を行った。結果、ロケツーリズムによる観光客数の増加と維持のためには、継続的なロケ誘致と受入環境の整備(ロケ地マップ等)が必要であることを明らかにした。また、千葉県館山市と南房総市の比較を通じて、ロケ地としての「使い易さ」や「コネクション」が次のロケ誘致に繋がっていることと、フィルムコミッションが担う役割の重要さを示した。しかしながら、「使い易さ」を追求するあまり、撮影環境を整えることばかりが優先され、フィルムコミッションの本来の役割であるはずの地域のプロモーションが後回しになる実態を明らかにした。
  • 渡邊 寛, 城間 益里
    社会心理学研究
    2019年 34 巻 3 号 162-175
    発行日: 2019/03/31
    公開日: 2019/03/31
    ジャーナル フリー

    There has been an increase in the number of Japanese people who disagree with traditional gender roles which has resulted in diversified male roles. Based on a nine-male-roles model, this study examined the chronological changes and differences in male characters as per their ages and relationships with the heroine in NHK’s morning drama serials known as “asadora,” which is a Japanese TV drama. Results indicated that the roles of middle-aged men evolved from “high communion” in the ’60s and ’70s, to “high social status” in the ’80s and ’90s, to “commitment to household responsibility” in the ’00s and ’10s. Meanwhile, young men’s roles evolved from “high agency” in the ’90s to “attentiveness to women” in the ’10s. Additionally, the heroines’ husbands, ex-husbands, male friends, and romantic partners demonstrated “low effeminacy,” “superiority to women,” and “attentiveness to women.” Conversely, the heroines’ brothers, sons, and neighbors demonstrated “psychological and physical strength” and “emancipation from emotional restriction and toughness.” Based on social changes in Japan, implications of this study and future prospects were discussed.

  • 郷愁を伴った野性のエロティシズム
    小暮 修三
    映画研究
    2016年 11 巻 40-56
    発行日: 2016年
    公開日: 2017/02/24
    ジャーナル オープンアクセス
  • ―15人の企業内事業創造者への定性的調査による―
    白石 久喜, 石原 直子
    研究紀要 Works Review
    2011年 6 巻 3 号 1-14
    発行日: 2011年
    公開日: 2019/12/11
    研究報告書・技術報告書 オープンアクセス
    15人の企業内事業創造者のインタビューより,事業創造人材の思考特性・行動特性を明らかにし,そのうちに6個の行動特性に焦点を当て,どのように身につけたのか強化したのかを,キャリアに関する発言から探った。行動特性のうち「枠を超える」「手に入れる」「捨てる」「決める」の4要素については経験によって獲得し強化されることを明らかにした。またその経験は,必ずしも特殊な経験ではないことが合わせて明らかになった。
  • 木川 智美
    心理学評論
    2016年 59 巻 4 号 387-396
    発行日: 2016年
    公開日: 2018/03/21
    ジャーナル フリー

    The purpose of this study is to comprehensively review the trends in psychological research on manipulation of others and to consider the direction of future research in this area. Based on the studies in this review, a model is proposed that can order in terms of effectiveness or susceptibility the manipulations used in antisocial behaviors using combinations of “personality traits that seek to manipulate others or techniques for manipulating others” and “specificities of the object persons of the manipulation”, respectively. As for future issues and prospects, it is desirable to develop a comprehensive model that includes various underlying concepts by defining the common theoretical structure that encompasses various concepts in each area while repeatedly testing the validity of the model. The applicability of the model should be evaluated based on the many actual techniques of manipulating others and on the social cases of manipulating others.

  • 若林 直樹,  山下 勝, 山田 仁一郎, 野口 寛樹
    組織科学
    2015年 48 巻 4 号 21-34
    発行日: 2015/06/20
    公開日: 2016/04/07
    ジャーナル フリー
     日本映画復活には製作委員会の発展がある.これは,異業種の映画製作提携に関わる企業間ネットワークを拡大し,その内側で企業プロデューサーたちの映画製作に関わる知識とルーティンから成る実践の共同体を成長させた.この成長の特質はメガデータによるグローバル・ネットワーク分析では明らかにしづらい.むしろ中範囲ネットワークに関する経時分析と,その内部のミクロな相互作用分析を複合的に展開し,そのミクロ=マクロ・リンクを探ることで明らかになる.
  • 和田 崇
    経済地理学年報
    2014年 60 巻 1 号 23-36
    発行日: 2014/03/30
    公開日: 2017/05/19
    ジャーナル フリー
    大阪・日本橋は,1980年代後半から家電小売店数が減少する一方で,漫画やアニメ,ゲームなどオタク向け専門店が多数立地し,東京・秋葉原に次ぐオタクの街となった.20〜30歳代男性を中心とする関西圏のオタクは,自宅で密かに楽しんでいた漫画やアニメ,ゲームなどの趣味について,インターネット上で情報を収集したり,同人と交流したりしながら,オタク向け専門店が集積し,イベントが開催される日本橋に出かけている.彼らは日本橋を現実空間におけるホーム/居場所と認識し,そこで自己を表出し,趣味を他者と共有している.こうした状況を踏まえ,日本橋ではオタクを集客対象としたまちづくりが,2000年代半ばから商業者を中心に行われるようになった.その取組みは,既存の権力サイドにあたる商店街振興組合のキーパーソンが,オタクの街・日本橋の磁力に惹きつけられて集まった若者を巻き込み,彼らの意欲とアイデア,行動を引き出し,後押しするかたちで展開された.自らもオタクであり,オタクの感性と興味に応じた企画を立案できる若者の存在が,オタクの街・日本橋のプロモーションに重要な役割を果たした.
  • 三木 和美
    人文地理
    2006年 58 巻 5 号 489-503
    発行日: 2006年
    公開日: 2018/01/06
    ジャーナル フリー

    This study considers the activities of street performers on and around the new Umeda footbridge in Kita, Osaka. In this study, the perspectives of time geography and social networks are emphasized.

    The following conclusions can be drawn as a result of field observations and personal interviews with street performers,

    The various street performers are divided into 4 types: (1) musicians, (2) fine artists, (3) vendors, and (4) other performers. Based on these types, the purpose of their street activity varies and their space-time distribution patterns can be seen around the new Umeda footbridge.

    The environment surrounding the street performers consists of the police and municipalities, local companies, media organizations, fans and visitors. On the one hand, they regulate the activities of the street performers, while, on the other, they are affected by the independent activities of the street performers.

    Against the background of the spread of the Internet, street performers form social networks by creating their own homepages.

    From knowledge of time geography and social networks, this paper analyzed various structural relations around street performers. Street activities in the city are understood as an example exhibited in many dimensions of time, space and society.

  • 加藤 綾子
    社会・経済システム
    2015年 36 巻 81-90
    発行日: 2015/10/25
    公開日: 2020/10/08
    ジャーナル フリー

     The aim of this study is to demonstrate the transformations of socio-economic systems that orig- inated from technologies. For instance, media and content industries can be conceptually explained as socio-economic complex systems that were constructed from technologies, rules, institutions, markets, and culture. Accordingly, this paper identifies these constituents and patterns of the systems in the abovementioned industries. These industries developed after the inventions of reproduction technol- ogies, and technological characteristics have contributed to the development of certain standardized patterns for these industries, such as content reproductions and the copyright business. Defining such patterns would help in conducting quantitative analyses regarding micro structural changes within the systems. The patterns would be transformed if the dominant technologies of the systems would change. The whole system is emergent and indecomposable; therefore, each element of the system is indicated conceptually in this paper. This approach would contribute as an explanation for the transformation of the whole complex system both deductively and empirically.

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