遍在する映像経験を理解するために

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タイトル別名
  • Understanding Ubiquitous Visual Experiences in Mediatized Society: The Articulation of Cinematic Advertisements and Urban Space in 1920-30s Japan
  • 遍在する映像経験を理解するために : 1920-30年代日本の映画広告と都市空間の論理
  • ヘンザイ スル エイゾウ ケイケン オ リカイ スル タメニ : 1920-30ネンダイ ニホン ノ エイガ コウコク ト トシ クウカン ノ ロンリ
  • 年代日本の映画広告と都市空間の論理

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抄録

In contemporary society, many visual advertisements for film and TV are embedded in the urban space. People can easily consume these secondary texts before and after watching the primary texts, and visual experiences relating to film and TV are mediated everywhere and all the time. Such experiences shape contemporary media culture, and researchers have tried to understand the logic of the reception of these texts. However, previous studies assumed the ubiquity of these texts and neglected the historical process in which visual advertisements came to be utilized. For understanding ubiquitously mediated visual experiences, it is important to construct histories of these secondary texts. From this viewpoint, this research investigates when and how exhibitors started to utilize visual advertisements for newly released films, and analyzes the reception of such materials. 　　Focusing the discussion on the oldest cinema trade magazines published first around 1930—Kokusaieigashinbun and Kinemashuho—this paper shows how from the late 1920s, film exhibitors began to embed visual advertisements in urban space to attract emerging audiences on the move. During the 1920s,through the reformation of transportation systems, urban audiences could move more freely among entertainment districts such as Asakusa, Ginza and Shinjuku. Given this possibility of moving around, film exhibitors had to make an effort to draw them to their own movie theaters. Consequently, on the one hand, vicarious film experiences were mediated through such materials in the context of time and space, without being related to actual watching practices; while on the other, film experiences as expectation/memory were persistently mediated before/during/after watching films by the relay of filmic images. In these two ways, film experiences were redefined and became ubiquitously mediated.

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