本稿では，日本のコンテンツ産業のうち，商業アニメーションの制作・流通に着目する．日本のアニメーション・ビジネスにおいては，資金調達の段階において「

」が用いられる．本稿では，その企画段階の予算シミュレーションを通した原価管理の特徴を，既存の管理会計手法との比較により明らかにする．

先行文献の整理をふまえ，筆者が行ったインタビュー調査に基づき，

がコンテンツの2~次流通まで含めたマネジメントを可能としていることと，制作会社に対する組織間関係の構築に寄与していることを示す．

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This paper examines the reason why Japanese contents, which are famous for their "coolness", realize both media-mix and diversity simultaneously in terms of industrial structure of contents in Japan. In the US, media-mix or multi use of contents are often accompanied by concentration of copyright to media conglomerates because it is presumed that horizontal integration is desirable for maximize revenue from. deployment of a content. On the contrary, industrial structure in Japan is horizontally separated one and media-mix is implemented by transaction between companies from various sectors of content industry such as an advertisement sector, distribution sector, and production sector. Addition to transaction between companies, the existence small, but numerous content production companies are the key factor to the creation of content diversity. Historically, "production commission system" has been formed as cooperative organization to invest jointly to deploy contents to many forms and to share risk and return. "Production commission system" has merit for the participants since it limits the risk to producet content by sharing related copyrights and revenue from deployment contents. For example, movie industry and also amine industry have expanded the use of "production commission system" about mid 80's. Recently,. some mobile contents productions adopted "production commission system" to make short drama clips for distribution to mobile terminals. This system is unique to Japan and the mechanism of media-mix through "production commission system" is yet to be examined.. This paper analyzed the amine series' data of "Television Drama Database" from 1950's to mid 2000s to examine the expansion of production of amine series and to figure out what are the characteristics of actual media-mix cases. The result shows that the number of amine series is increased twice at around mid 80's and mid 90's. There are two main reasons of the increase. One is the increase of the content distribution platform by advent of the satellite broadcasting system. Other reasons are widening of time zones to broadcast amine series to mid-night time zone and expansion of TV stations to produce amine series to UHF stations and local stations. By identifying the original work of amine series, there is tendency that the types of the original work are diversified in 90's in Japan. Furthermore, many kinds of media-mix are actively conducted among different forms of contents along with diversification of content distribution platforms. Utilizing "production commission system", content production in Japan enables both media-mix among various platforms and diversity of contents produced by small but creative companies. This would be the unique mechanism that sustains the coolness of Japanese content.

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アニメのビジネスは1960年代から拡大を続けてきたが、その根幹となるアニメ制作費の決定プロセスは明らかではない。本稿では制作会社に所属するプロデューサー3名へのヒアリングによって、制作費の決定プロセスを、その算出方法と交渉内容と共に明らかにするものである。

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　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．

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アニメ制作会社がクラウドファンディングで制作費を募る際，プロセスエコノミーをリターンとして提供することがある．本研究では「アニメのジャンルに応じて好まれるプロセスエコノミーの種別が異なる」という仮説を基に，クラウドファンディングのリターンとして適合するプロセスエコノミーの意識調査を実施した．この調査の平均値と標準偏差から，制作の現場・シーン・裏話・没イラスト・落書きといった作業の状況や中間成果物はいずれのジャンルでも好印象であり，制作者同士の衝突・忙しい様子・仕事の愚痴といったネガティブな情報，制作者の顔・人生相談・食事の様子といった個人的情報については，適合するジャンルに差異があることが判った．

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 Since beginning of the twenty-first century, expectation for the contents industry has raised. Above all, total domestic box-office revenues for 2012 were highest ever. In 2013, “Like Father, Like Son” (Director: Hirokazu Koreeda) won Jury Prize at the Cannes International film festival. That shows both domestic movie market and high evaluation of Japanese movies. However, many of recent Japa- nese movies have no individuality and novelty. One of the reasons is that most of works including high ranked works of annual box-office revenue distributed by Toho Co., are made by production commission system, in other words, film partners.

 This paper proposes for new production system of Japanese movies, being based on interviews with the movie directors and producers about production commission system. This paper analyzes within the framework of arts production and organization theory.

 This paper explains that the production commission system causes dispersion of rights for some companies and that makes troubles in producing works. The dispersion of rights also causes missing the opportunity to make profit in the international markets. The habitual practice of this production system promotes shortsighted investments. Therefore the experienced producers who have expertise are excluded from movie industry. That means this production system obstructs long-term growth of Japanese movie industry.

 For continuous development of movie industry, this paper proposes new production system that individual producers manage projects based on ideas from movie directors and plot writers, while di- viding investment and producing works. This production system depends on producers’ skill to make movies which are appreciated all over the world. It is important to retain management skill and know- ing global economic situation.

 It is essential for us to continue producing and creating works to hand down expertise and skills for distinguished creators. If we can continue growing revenue of the box-office and improving artistic quality of works, movie industry will become leading industry in Japan.

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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.

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Broadcast content is reached to the viewers through the Internet, satellite television, etc. in Japan. However, television content is not delivered to other media in many cases. In this paper, two types of "Business Innovation cases are reported to solve the problem. One is "Production Partnership", which organized various media companies and have the plans to get revenue through various types of business (ex. movie , television, DVD sales, character merchandizing and etc.) The other is "TV content evaluation methods", which are essential for broadcast content trading.

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テレビの視聴時間は年々減少している．これに伴い，民間テレビ局は厳しい経営環境に置かれ，特に地方局は厳しい状況にある．そのような中，アニメ番組を中心に特色ある編成を行っている地方局も存在する．しかし，その内容は大人向けで放送時間も深夜帯となっているほか，制作方式にも変化が生じている．本稿ではインタビューを中心に地方局の有効な番組編成戦略はいかなるものかを，系列局と独立局2社のアニメ番組編成の事例から考察した．番組テーマの選別や編成時間の工夫，番組スキームの選択など，組織的な学習と戦略の実行により，番組視聴者を増やす可能性を示した．アニメのような特定のファン層を持つ内容の番組編成については，地域特性を見極め，環境や生活スタイルに合ったテーマを採用する．そして地域リソースを最大限に活かしつつ番組調達を行い，最適な枠に番組を編成することができれば，地方局は長期的な競争優位を獲得しうる．

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日本映画は、リスク分散や製作費確保のためにを採用している。本研究は、個々の映画を発明、高い興行収入をあげた映画をイノベーションと考え、製作委員会は映画を普及させてイノベーションを起こす実務家コミュニティとした。本稿は、日本の映画産業における実務家コミュニティのネットワークポジショニングが、当該映画の海外でのパフォーマンスに与える影響を実証する。分析は、2010年から2012年の日本映画のデータを用いて、ネットワーク分析と多変量解析を行なった。その結果、ネットワーク上で異なるグループをつなげるポジションを持つ製作委員会が出資する映画は、海外で高いパフォーマンスを示すことを実証した。

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※本記事に抄録はありません。

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「クールジャパン戦略推進事業」とは日本文化を広め、海外での日本の好感度を高めることを目的とした政策である．本研究では、フランス及びパリ市内ケラー通りの分析を通して、日本のポップカルチャーが根付いている地域の現状や、その地域の人々の意識調査を行った。その結果，パリの都市計画が進む過程において，ケラー通りの成立過程が明らかになった。また，日本のポップカルチャーの要所としてのケラー通りの位置付けが分析できたほか，これらの更なる認知度の向上にむけた課題やその展望も明らかになった。

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The way we express ourselves in this society can appear very complex. For instance, two or more people may produce a particular expression. When a certain expression is observed, it is necessary to consider how the expressive activity is carried out among people. This paper aims to consider how people who rejoice in freedom of expression form the expressive activity. Especially, the focus of this paper is how to understand the complex relationship among various parties participating in an expressive activity. First of all, in this study, I explain what are the concept of media and the concept of content. Secondly, I confirm the necessity of examining what "content" means. Finally, I introduce some cases in terms of the subject of the freedom of expression, and then analyze them theoretically. Although traditional theories on freedom of expression concerning media have especially focused on publication, this study discusses how important it is to construct a theory which deals with the "content". At the same time, this study investigates the necessity to reconsider the importance of the value of freedom of expression.

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