{"created":"2023-06-20T16:01:29.361845+00:00","id":1067,"links":{},"metadata":{"_buckets":{"deposit":"10a009eb-5730-403d-9a97-29d068a4d1fd"},"_deposit":{"created_by":14,"id":"1067","owners":[14],"pid":{"revision_id":0,"type":"depid","value":"1067"},"status":"published"},"_oai":{"id":"oai:kuins.repo.nii.ac.jp:00001067","sets":["7:183"]},"author_link":["2025"],"item_10002_biblio_info_7":{"attribute_name":"書誌情報","attribute_value_mlt":[{"bibliographicIssueDates":{"bibliographicIssueDate":"2022-03-10","bibliographicIssueDateType":"Issued"},"bibliographicIssueNumber":"23","bibliographicPageEnd":"268","bibliographicPageStart":"255","bibliographic_titles":[{"bibliographic_title":"研究紀要"},{"bibliographic_title":"The bulletin of Kansai University of International Studies","bibliographic_titleLang":"en"}]}]},"item_10002_description_5":{"attribute_name":"抄録","attribute_value_mlt":[{"subitem_description":"Modern art systems are often characterized by a structure of “the opposition between art and money.” Earlier studies have assumed that this structure is present in films as well (Duval 2006; Rossman and Schilke 2014). In contrast, Manabe (2019) argued that opposition between critical acclaim and popularity did not exist in Japanese films in the late 1950s. The present study examines and verifies the robustness of Manabe’s argument. The dataset of Japanese films from 1952-54 was analyzed through multiple correspondence analysis and compared with the 1955-58 dataset (Manabe 2019). \nIt became clear that the 1952-54 and 1955-58 datasets have the same structure, without an axis reflecting the opposition between critical acclaim and popularity. The main trait of Japanese films in the 1950s was that critical acclaim had multiple evaluations. Despite the presence of some opposition or correlation, these tendencies override each other, and eliminate it in the overall structure.\n","subitem_description_type":"Abstract"},{"subitem_description":"近代の芸術システムは、しばしば「芸術と金銭の対立」構造によって特徴づけられてきた。いくつかの先行研究では、この構造が映画にも当てはまるとされている(Duval 2006; Rossman and Schilke 2014)。これに対し、真鍋（2019）は、1950年代後半の日本映画には批評的な評価と経済的な成功の対立が存在しなかったと主張した。本稿では、1952年から1954年の日本映画のデータを多重対応分析によって分析し、1955年から1958年のデータ（真鍋 2019）と比較することで、この主張の頑健性を検証する。\n　分析の結果、1952-54年のデータは1955-58年のデータと基本的には同じ構造をもち、ともに批評的な評価と経済的な成功の対立を反映した軸がないことが明らかとなった。こうした結果が生じた要因は、1950年代の日本映画では、批評的な評価が複数の基準をもっている点にあると考えられる。この特徴によって、個別のケースでは両者の対立や一致があったとしても、それらが打ち消し合い、構造全体の特徴としては表れていないのである。\n","subitem_description_type":"Abstract"}]},"item_10002_publisher_8":{"attribute_name":"出版者","attribute_value_mlt":[{"subitem_publisher":"関西国際大学"}]},"item_10002_source_id_11":{"attribute_name":"書誌レコードID","attribute_value_mlt":[{"subitem_source_identifier":"AA11544811","subitem_source_identifier_type":"NCID"}]},"item_10002_source_id_9":{"attribute_name":"ISSN","attribute_value_mlt":[{"subitem_source_identifier":"13455311","subitem_source_identifier_type":"ISSN"}]},"item_creator":{"attribute_name":"著者","attribute_type":"creator","attribute_value_mlt":[{"creatorNames":[{"creatorName":"MANABE, Koki"}],"nameIdentifiers":[{"nameIdentifier":"2025","nameIdentifierScheme":"WEKO"}]}]},"item_files":{"attribute_name":"ファイル情報","attribute_type":"file","attribute_value_mlt":[{"accessrole":"open_date","date":[{"dateType":"Available","dateValue":"2022-05-27"}],"displaytype":"detail","filename":"19 MANABE③.pdf","filesize":[{"value":"795.3 kB"}],"format":"application/pdf","licensetype":"license_note","mimetype":"application/pdf","url":{"label":"23-19","url":"https://kuins.repo.nii.ac.jp/record/1067/files/19 MANABE③.pdf"},"version_id":"491e0fd6-92c8-4472-94a7-9c2e8c4c6b32"}]},"item_keyword":{"attribute_name":"キーワード","attribute_value_mlt":[{"subitem_subject":"日本映画史","subitem_subject_scheme":"Other"},{"subitem_subject":"場の理論","subitem_subject_scheme":"Other"},{"subitem_subject":"文化社会学","subitem_subject_scheme":"Other"},{"subitem_subject":"Japanese film history","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"field theory","subitem_subject_language":"en","subitem_subject_scheme":"Other"},{"subitem_subject":"sociology of culture","subitem_subject_language":"en","subitem_subject_scheme":"Other"}]},"item_language":{"attribute_name":"言語","attribute_value_mlt":[{"subitem_language":"eng"}]},"item_resource_type":{"attribute_name":"資源タイプ","attribute_value_mlt":[{"resourcetype":"departmental bulletin paper","resourceuri":"http://purl.org/coar/resource_type/c_6501"}]},"item_title":"An Alternative Structure to “the Opposition Between Art and Money”: Multiple Correspondence Analysis of Japanese Films in 1952-54 and 1955-58","item_titles":{"attribute_name":"タイトル","attribute_value_mlt":[{"subitem_title":"An Alternative Structure to “the Opposition Between Art and Money”: Multiple Correspondence Analysis of Japanese Films in 1952-54 and 1955-58"}]},"item_type_id":"10002","owner":"14","path":["183"],"pubdate":{"attribute_name":"公開日","attribute_value":"2022-05-27"},"publish_date":"2022-05-27","publish_status":"0","recid":"1067","relation_version_is_last":true,"title":["An Alternative Structure to “the Opposition Between Art and Money”: Multiple Correspondence Analysis of Japanese Films in 1952-54 and 1955-58"],"weko_creator_id":"14","weko_shared_id":-1},"updated":"2023-06-20T16:13:35.367501+00:00"}