"Public service" has always been a key term for broadcasting. However, broadcasting has often been criticized for supposedly being lacking in public service. In response to this issue, this study aims to examine the relationship between public service and broadcasting in postwar Japan.

    After World WarII, the Japanese broadcasting system was re-established under the indirect control of the General Headquarters (GHQ) of the American Occupation forces. The system was a dual system, comprising a public broadcasting system based on license fees and commercial broadcasting services based on advertisements. The Japanese government established the Radio Regulatory Commission (RRC), or Denpakanriiinkai, which was modeled after the American Federal Communications Commission, and placed it in charge of broadcasting administration.

    Because these measures were taken at the strong request of GHQ, previous studies have suggested that the Japanese side reluctantly accepted the new system. Therefore, discussions on "public service" in broadcasting were also perceived as imposed by the U.S.

    However, this study of an RRC document reveals that the concept of "public service" was heavily discussed on the Japanese side among RRC officials and individuals who aimed to start commercial broadcasting organizations.

    This study analyzes an important document that recounts an RRC hearing that took place in Osaka. This 1951 hearing was the 9^th hearing held by the RRC, and it was held to determine which organization should be licensed as a broadcaster in Osaka. This marked the only time this kind of discussion took place.

    Five organizations asked for a license in the hearing. They competed against each other in the hearing, and were evaluated by RRC officials based on the degree of "public service" provided by their programs. This demonstrates a deep consciousness of the concept of "public service" in Japan.

本研究では、全国のコミュニティ放送局（238 局）を対象に、通常時と災害時のソーシャルメディアの利用状況や災害時の音声情報弱者（在日・在留外国人、難聴を含む聴覚障がい者）への情報提供方法の工夫に関するアンケートを実施した。災害時の情報発信において重要な役割を果たすとされるコミュニティ放送局の多くが、Facebook などのソーシャルメディアで文字や画像による情報提供を行っている。その現状を鑑み、それらのソーシャルメディアが、災害時に情報弱者となりやすい在日外国人と聴覚障がい者に有効な情報発信源として利用できる可能性を探るため、調査を行った。169 局の有効回答中、通常時には 146 局、災害時には 107 局がソーシャルメディアで情報発信をすることが分かった。ただし、災害時にソーシャルメディアを利用するとしている局であっても、それが在日・在留外国人や聴覚障がい者を対象にした情報提供の工夫であると認識している局は少ないことも明らかになった。

This study examines the experience of a female director active at Osaka Broadcasting Station (JOBK), who collaborated in production with its Tokyo headquarters station (JOAK) that developed the television documentary series The Naked Japan (NHK, 1957-1964).

The study reconsiders, using a gender perspective, the history of early television documentaries from the following three points. First, the study examines her career path to understand how gender affects her selection of the methodology surrounding the production of early television documentaries. Second, it focuses on how the job disparities stemming from gender were related to her participation in the production team and her career path. This part of the study considers the formal structures of institutions, such as management strategies and departmental organization. Thirdly, it analyzes the representation of industrial reflexivity through a text of her program.

This paper presents two conclusions: 1) the female director of this program understood and shared the documentary expression born on television as a cultural product of "collective production" caused by changes in media technology; and 2) the television documentary form evolved into a polyphonic form of expression that denounced injustice against the socially vulnerable and allowed their voices to resonate in the public space.

Thus, by inserting a gender perspective into the history of early television documentaries, this paper confirms the reality that television documentary production was gendered early television production. This further leads to the discovery of the issue regarding "gendered archives," which is connected to the archives that collect, preserve, and publicize past broadcast programs. Accordingly, this paper offers a new analysis point for reviewing the history of early television documentaries from a feminist perspective.