ラジオ・ドキュメンタリー「録音構成」の成立

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書誌事項

タイトル別名
  • Formation of Rokuon-Kōsei in earlier Radio Documentaries
  • ラジオ・ドキュメンタリー「録音構成」の成立 : NHK『街頭録音』と『社会探訪』
  • ラジオ ・ ドキュメンタリー 「 ロクオン コウセイ 」 ノ セイリツ : NHK 『 ガイトウ ロクオン 』 ト 『 シャカイ タンボウ 』
  • The Cases of Man on the Street and Social Survey
  • NHK『街頭録音』と『社会探訪』

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抄録

<p>The purpose of this paper is to explore how television documentaries as a</p><p>particular mode of expression were formed through an investigation of the</p><p>composition of sound recording as a prehistory of television documentaries.</p><p>　　By tracing the genealogy of the radio programs Man on the Street, which</p><p>started broadcasting during the occupation of Japan at the end of World War</p><p>II, and Social Survey, one of its spinoffs, this paper examines the formation process</p><p>of television documentaries from the following three points. First, this</p><p>paper focuses on the fact that particular documentary aesthetics were imported</p><p>under the leadership of the General Headquarters （GHQ）, and examine these</p><p>modes of expression within the dynamic of broadcast policy. Second, it examines</p><p>how Japanese staff who actually produced these programs merged their</p><p>ideas with the occupation army’s to create a unique form of Japanese radio documentary.</p><p>Thirdly, it demonstrates how the democratic program ideas presented</p><p>by GHQ became sharply distinguished as what would be called Rokuon-</p><p>Kōsei. These points are investigated from a detailed technical, historical and</p><p>formal analysis.</p><p>　　This paper presents two concluding points: 1） that opinions of socially vulnerable</p><p>communities became newly accessible in radio broadcasting after</p><p>World War II and 2） that this was made possible by a brusque and minimalist</p><p>editing method that was developed with the intention of broadcasting these</p><p>subaltern opinions with little modification. This genealogically leads us to the</p><p>television documentary The Real Face of Japan, which was produced with a</p><p>new montage theory that until then had not been done in the documentaries</p><p>and culture films, and was subsequently highly praised by documentarists and</p><p>critics. Thus, this paper offers a new analytical point of view for reviewing</p><p>early television documentaries through describing the formation process of documentary</p><p>modes of expression called Rokuon-Kōsei in earlier radio documentaries.</p>

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