2022/06/28 更新

写真a

ナカジマ セイオ
中嶋 聖雄
所属
国際学術院 大学院アジア太平洋研究科
職名
教授

学内研究所等

  • 2018年
    -
    2023年

    自動車部品産業研究所   プロジェクト研究所所長

学位

  • 博士

 

研究分野

  • 社会学

論文

  • Official Chinese film awards and film festivals: History, configuration and transnational legitimation

    Seio Nakajima

    JOURNAL OF CHINESE CINEMAS   13 ( 3 ) 228 - 243  2019年09月

     概要を見る

    Film awards and film festivals are one of important mechanisms that structure film markets, with awards activities as well as industry-related events. This paper examines government-approved, 'official' Chinese film awards such as the Huabiao Awards, the Hundred Flowers Awards and the Golden Rooster Awards, as well as film festivals including Changchun Film Festival, Shanghai International Film Festival and Beijing International Film Festival. I tackle three research questions: (1) How and when did the awards and the festivals come into existence? (2) What is the configuration of different types of awards and festivals? (3) What are different criteria of legitimation of the awards and the festivals? Contrary to the widely shared image of official Chinese film awards and festivals as closed sites of domestic political correctness, I show the dynamism and multiplicity of logics within them. In addition, I situate the awards and festivals in the ongoing context of transnationalisation of Chinese cinema. Analytically, I argue for the utility of 'field theory' in sociology to understand the structure and dynamics of official Chinese film awards and film festivals.

    DOI

  • 車載テクノロジー最前線 中国自動車産業の実情,問題点と将来展望

    中嶋 聖雄

    車載テクノロジー = Automotive technology   6 ( 8 ) 51 - 55  2019年05月

    CiNii

  • The sociability of millennials in cyberspace: A comparative analysis of barrage subtitling in Nico Nico Douga and Bilibili

    Seio Nakajima

    China's Youth Cultures and Collective Spaces: Creativity, Sociality, Identity and Resistance     98 - 115  2019年01月

     概要を見る

    This chapter analyzes the “barrage subtitling” (danmu) practice in the Chinese video sharing site Bilibili, in comparison with the practice in the Japanese site Nico Nico Douga. Barrage subtitles—danmaku in Japanese—are a subtitling system originated in the Japanese video sharing site, in which viewers’ comments appear directly onscreen instead of at the margins. They differ from ordinary subtitling, which is usually well prepared in advance for the purpose of precisely translating the contents of videos—whether they are a film, a TV program, or a music video. Because barrage subtitles are comments and reactions to what is being played, they allow more spontaneous interactions—what sociologist Georg Simmel called “sociability”—among the viewers. Moreover, in the communicative practice of barrage subtitling, the purpose of interaction is not solely the conveyance of substantive meanings, but the continuation and proliferation of communication. Here again, Simmel’s distinction between “form” and “content” becomes useful. Put differently, in order to capture the nature of youth cultures and collective spaces in cyberspace, how Millennials communicate is as important as what Millennials communicate using the video sharing sites such as Bilibli.

    DOI

  • The genesis, structure and transformation of the contemporary Chinese cinematic field: Global linkages and national refractions

    Seio Nakajima

    Global Media and Communication   12 ( 1 ) 85 - 108  2016年04月

     概要を見る

    By putting to work Pierre Bourdieu's approach to the 'field of cultural production', I analyze interactions of politics and economy as they play out in what I call the 'contemporary Chinese cinematic field'. How has the Chinese field of film production emerged, stabilized and changed in the era of Reform and Opening? Through archival data and in-depth interviews, I answer the question by discussing four sub-fields of film production, namely political 'main melody film', commercial film, 'international Chinese film' and independent film. How has globalization affected the transformation of the cinematic field? Contra Bourdieu's emphasis on the weakening autonomy of various national social fields under globalization, I highlight the processes through which globalization is appropriated by social actors in the cinematic field to alter domestic power relations. This article moves towards a better understanding of the field of cultural production amidst global linkages and national refractions.

    DOI

  • Imagining America: The origins of Japanese public opinion toward the United States in the cold war

    Ming Chang Tsai, Seio Nakajima

    Social Commentary on State and Society in Modern Japan     117 - 139  2016年01月

     概要を見る

    In the wake of the Second World War, Japanese society developed a favorable attitude toward the United States as well as the camp of the "Free World". This paper attempts to investigate the origins of the mass public's relevant attitudes on the basis of survey data collected in Japan around 1960. Those with higher class positions and government workers tended to accept the US more than did labor. It is argued that for the mainstream middle class, capitalism became a viable option shortly after the war. In addition to the examination of class interest, we test three models: A political model, by which we stress that attitudes are influenced by the value positions of the political parties and organizations they affiliate with; a Cold War mentality model, which argues that a stronger perception of continuous confrontation between capitalism and the Soviet Bloc likely leads to preferring closer association with the US, capitalism, and the Free World; and an emperor effect model, which measures correlations between support for the emperor and pro-American attitudes. The three models and hypotheses derived from them are generally supported through careful analyses of the survey results. This study offers a unique contribution to recapture the origins of a pro-American attitude of the Japanese public during the peak of the Cold War.

    DOI

  • Chinese film spaces: the social locations and media of urban independent screen consumption

    Seio Nakajima

    CONTINUUM-JOURNAL OF MEDIA & CULTURAL STUDIES   28 ( 1 ) 52 - 64  2014年01月

     概要を見る

    Drawing upon rich detailed data collected through ethnography in the capital city of Beijing, China, this article examines the social locations and media used for watching Chinese independent films. Three key research questions frame the article. (1) Who are the audiences of Chinese independent films? (2) Under what circumstances do they watch the films? (3) What are the broader social consequences of watching independent films in China? Empirically, I focus on two particular locations of consumption - film clubs and independently organized film festivals, and two media of viewing - DVDs and the Internet. Analytically, I argue that consumption enables the production of Chinese independent films in two ways. First, literally, by providing knowledge, resources and personal networks for independent film production. Second, metaphorically, by making Chinese independent films become social reality by providing opportunities for circulation and exhibition of the officially illegal cultural product. I conclude the article by reflecting upon the utility of the emerging concept of prosumption for analysing film consumption in China.

    DOI

  • Re-imagining Civil Society in Contemporary Urban China: Actor-Network-Theory and Chinese Independent Film Consumption

    Seio Nakajima

    QUALITATIVE SOCIOLOGY   36 ( 4 ) 383 - 402  2013年12月

     概要を見る

    Extending recent seminal studies that focus on networks of multiple actors in Chinese civil society instead of state-society dichotomy, this article explores independent film consumption in contemporary urban China. It shows how a collectiveentity composed of independent films, people, and discourses is assembled to become civil society, despite the continuing existence of government restrictions on independently produced films. Relying on data collected through ethnography set in the capital city of Beijing, I use the "three moves" suggested by Bruno Latour's recent description of Actor-Network Theory (ANT) to follow the actors themselves. I first "localize the global" concept of civil society and its attendant notion of state-society relations by discussing an independently organized film festival in which I participated and observed. Second, by discussing an empirical case of DVD stores, through which independent films circulate, I "redistribute the local" by detailing the processes in which particular local sites of the retail spaces of DVDs are connected to "actants" dispatched throughout the globe. Finally, I "connect sites" by putting to work the conceptual tools provided by Latour including "connectors," "mediators," and "plasma." I conclude by arguing that ANT contributes to a seemingly modest, but essential political task of preventing the hasty closure of what is to be included in the collective, as well as how the collective is to be composed. In the case I examine, ANT clears the path for the future reassembling of civil society in contemporary urban China.

    DOI

  • Prosumption in Art

    Seio Nakajima

    AMERICAN BEHAVIORAL SCIENTIST   56 ( 4 ) 550 - 569  2012年04月

     概要を見る

    Extending recent seminal studies on the emerging phenomenon of prosumption, this article analyzes the process of prosumption in art, which has been relatively neglected in the discussion. What was the history of prosumption in art before the rise of its awareness in the digital age? What characteristics of prosumption have emerged in the art world in the past two decades or so? What are the implications of the rise of prosumption in art for sociological studies of art? I argue that although the social constructionist view of art presented by sociologists, on the processes of both production and consumption, has significantly contributed to understanding art as a social and collective activity, contemporary art practice and theory have taken these sociological arguments into account and moved closer to the understanding of art as a social activity. Hence, reflections on possible implications of the rise of prosumption for existing sociological studies of art are needed.

    DOI

  • Watching documentary: Critical public discourses and contemporary urban Chinese film clubs

    Seio Nakajima

    The New Chinese Documentary Film Movement, The: For the Public Record     117 - 134  2010年01月

  • Film as cultural politics

    Seio Nakajima

    Reclaiming Chinese Society: The New Social Activism     159 - 183  2009年09月

    DOI

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書籍等出版物

  • 「100年に一度の変革期」を迎えた自動車産業の現状と課題

    中嶋, 聖雄, 小林, 英夫, 小枝, 至, 西村, 英俊, 高橋, 武秀

    柘植書房新社  2019年10月 ISBN: 9784806807308

  • 自動運転の現状と課題

    中嶋, 聖雄, 高橋, 武秀, 小林, 英夫

    社会評論社  2018年10月 ISBN: 9784784518562

Misc

共同研究・競争的資金等の研究課題

  • 現代中国インディペンデント映画:生産・流通・消費を通じた批判的公共言説の生成

    研究期間:

    2020年04月
    -
    2023年03月
     

     概要を見る

    本研究は、現代中国のインディペンデント映画――政府の公式上映許可を得ていない、比較的低予算の映画;フィクションとドキュメンタリー双方を含む――の製作・配給・上映・鑑賞のあり方を、国際映画祭のような、中国国内事情を超える国際的な要素も視野に入れながら、現地調査による社会学的な観察とインタビューによって、明らかにすることを目的としています

  • 現代中国映画産業の経済社会学:スタジオ間共同製作のネットワーク分析

    研究期間:

    2016年04月
    -
    2019年03月
     

     概要を見る

    本研究は、経営学及び経済社会学分野における、「市場経済化にともなう生産ネットワークの社会的構造化」の議論に貢献することを目的とした。「新古典派経済学」によれば、現代中国におけるような市場移行期の生産ネットワークは、匿名の生産アクター(本研究においては映画スタジオ)による一回性の「非繰り返し共同」(non-repeat collaboration)に向かうとされる。他方、経営学・経済社会学的アプローチは、市場経済における生産ネットワークも、社会的権力(例えば、国有スタジオに対する政策上の優遇)や過去の取引の惰性的継続のような社会構造・メカニズムに「埋め込まれており」(embedded)、「繰り返し共同」(repeat collaboration)のかたちをとった市場の「社会的構造化」が出現するものとみる。計量的ネットワーク・データ分析の結果、経済社会学的アプローチが予測するような、「繰り返し共同」のかたちをとった市場の「社会的構造化」――社会的権力(例えば、国有スタジオに対する政策上の優遇)や過去の取引の惰性的継続のような社会構造の存在――を示唆する結果が得られた。さらに、インタビュー、文献研究に基づく質的研究の結果、計量分析で示された「社会的構造化」に、国内の映画祭におけるフィルムマーケットが大きな役割を果たしていることが明らかとなった。加えて、研究開始当初には背景として十分に想定されていなかった、IT企業の映画製作への投資・参画も明らかになり、インターネット動画サイト等で配信される映画・コンテンツ製作をも視野に入れて、中国映画産業研究を進めてゆく必要性が認識された

  • スタジオ間共同製作からみた現代中国映画産業:ネットワーク分析からのアプローチ

    研究期間:

    2014年08月
    -
    2016年03月
     

     概要を見る

    過去35年間(1979~2013年)に生産された中国映画についての生産データ――どのスタジオが単独あるいは共同で映画を製作したか――に関するデータベースを作成し、ネットワーク分析の方法を用いることによって、スタジオ共同製作のネットワーク構造の変化・不変化を明らかにすることをめざした。パイロット分析の結果、経済社会学的アプローチが予測するような、「繰り返し共同」のかたちをとった市場の「社会的構造化」――社会的権力(例えば、国有スタジオに対する政策上の優遇)や過去の取引の惰性的継続のような社会構造の存在――を示唆する結果が得られた

特定課題研究

  • A Strategic Action Fields Approach to U.S.-China Relations: An Illustration with the Next Generation Automobile Industry

    2021年  

     概要を見る

    One of keydimensions of the rising tension between the U.S. and China is advancedtechnologies such as AI, Big Data, and robotics. The conflict affects not onlythe U.S. and China, but also other countries in the Asia-Pacific includingJapan. For instance, in AI technology, an increasing number of Japanese firmsconduct R and D activities in the United States (e.g., Toyota ResearchInstitute). If these firms manufacture products and/or provide services usingthe AI technologies in China, they will be potential targets of the U.S.regulatory controls originally intended to confront the Chinese competition. Becauseindustrial firms cross-cut national borders, the U.S.-China relations cannot befully grasped without examining the multi-layered networks of firms andindustries that may or may not follow the perimeters of the nation-states. Inthis research, I disentangled such complexity of U.S.-China relations by discussingthe case of advanced technologies in the next generation automobile industry(autonomous driving and electric vehicle). Analytically, I put to work thetheory of “strategic action fields” (Fligstein andMcAdam), and argued that overfocusing on “international relations”—military andsecurity issues as well as state actors—might prevent us from seeing thecomplex components and interactions that make up the “U.S.-China tension.”

  • Cosmopolitan Dream, Colonial Hegemony: The Manchurian Motion Picture Corporation and the Production of My Nightingale (1943)

    2020年  

     概要を見る

    This research has contributed to the emerging sociological studies on cosmopolitanismby presenting a historical and institutional analysis of the production of anarguably “cosmopolitan” film, MyNightingale (Watashi no uguisu, dir. Shimazu Yasujiro, 1943), produced atthe height of Japan’s ethnic-nationalist period during WWII. I ask thefollowing three research questions: 1) Which aspects, if any, of the film textentail cosmopolitanism?; 2) How and why did the possibly cosmopolitan aspectsof the film text emerge under the existence of ethnic-nationalist policies,institutions, attitudes, and behavior in the Japanese colonial empire?; 3) Whatimplications does this case study have on the ongoing debate on cosmopolitanism?By providing answers to these questions, I argue that ahistorical, normativecall for cosmopolitanism hinders our grasp of a possibility that some claims tocosmopolitanism may entail the rationality of narrow ethnocentric nationalism. Inother words, I contend that the case study of the Manchurian Motion PictureCorporation and the production of MyNightingale suggests the possible co-existence of cosmopolitanism and hegemony.A part of the research results was published in Seio Nakajima. 2021. “Studiesof Chinese Cinema in Japan.” Journal of Chinese Film Studies Vol. 1,Issue 1.

  • 現代中国インディペンデント映画:生産・流通・消費を通じた批判的公共言説の生成

    2019年  

     概要を見る

    課題「現代中国インディペンデント映画:生産・流通・消費を通じた批判的公共言説の生成」に関して、下記の公開研究会を含め、研究活動を行った。2019年6月24日(月)、米国HartwickCollegeのZhang Weiwei氏を招き研究会を開催。“Revisiting Conspicuous Consumption: Continuityand Change in Consumption Patterns in China”のタイトルでレクチャーしていただく。2019年10月21日(月)、フランス・EHESSのSebastian Veg氏を招き研究会を開催、“Hong Kong’s2019 Protests in Historical Perspective: Thwarted Democratization and the Riseof a Civic Community” のタイトルでレクチャーしていただく。2019年12月17日(火)、中国・北京電影学院の張献民氏を招き「「与张献民教授对话」活动:中国独立电影的历史、现状和未来」を開催。研究代表者の中嶋聖雄がコメント。 下記の成果を出版した。Nakajima, Seio. 2019. “Official Chinese Film Awardsand Film Festivals: History, Configuration and Transnational Legitimation.” Journal of Chinese Cinemas 13(3): 228-243.

  • 日中ミレニアル世代の社会性-ビリビリ動画とニコニコ動画における「弾幕」の比較研究

    2018年  

     概要を見る

    本研究においては、中国と日本のミレニアル世代――新千年紀の2000年代に成人し、社会で活躍するデジタル・ネイティブ世代――に人気のある動画共有サイト「ビリビリ動画」(中)と「ニコニコ動画」(日)における「弾幕」の比較分析を行った。中国における若者文化とサイバー・スペースに関する研究は端緒についたばかりであり、その多くが、インターネットに対する中国特有の政治的検閲や経済的規制に着目し、サイバー・スペースがオルターナティブな民主的参加を促す政治的ツールとなり得るのか、または、非・政治的な商業・娯楽主義の方向に進んでいるのか、といった二元論をとることが多い。それら先行研究の重要性も認識しながら、本研究は、政治経済学的な問いではなく、社会学的な問い、すなわち社会学者ゲオルグ・ジンメルが言うところの「社会化の諸形式」に焦点を合わせた。研究成果として、下記、英文論文一編を掲載決定とした。Nakajima, Seio. Forthcoming. “The Sociability of Millennialsin Cyberspace: A Comparative Analysis of Nico Nico Douga and bilibili.” In China’s Youth Cultures and Collective Spaces: Creativity, Sociality,Identity and Resistance, edited by Vanessa Frangville and Gwennaël Gaffric. London: Routledge.

  • 批判的・公共的オラリティとしての現代中国インディペンデント映画

    2018年  

     概要を見る

     本研究は、現代中国のインディペンデント映画――政府の検閲を通らない、比較的低予算の映画――に焦点を当て、その生産・流通・消費を通じた批判的公共言説(critical public discourse)の生成メカニズムを、中国国内事情を越えるトランスナショナルなつながりをも視野に入れて、明らかにすることを目的とした。特に、「国家と社会」、「生産と消費」、「テキストとコンテキスト」、「人とモノ」、「研究者と研究対象」、「ナショナルとトランスナショナル」の「六つの関係性」に焦点を当て、本質主義を超える、「関係学」・「関係性的アプローチ」(relational approach)の彫琢を目指した。その上で、関連研究活動・学会発表を行い、査読付き英文論文一編(Nakajima,Seio. Forthcoming.“OfficialChinese Film Awards and Film Festivals: History, Configuration and TransnationalLegitimation.” Journalof Chinese Cinemas.)を掲載決定とした。

  • 現代中国インディペンデント映画:生産・流通・消費を通じた批判的公共言説の生成

    2017年  

     概要を見る

    2017年月4日22日(土)、「中国インディペンデント・ドキュメンタリーの縁(エッジ)顧桃(グー・タオ)監督を迎えて」と題する公開研究会を共催。2017年8月1日(火)、15:00~17:00、中国インディペンデント・ドキュメンタリー映画作品、Faith in Ailao Mountainを上映。監督であるCi Zhang氏を招いて、ディスカッション。関連研究として、下記の成果を出版した。中嶋聖雄,「国際派中国映画の変遷――『第五世代』映画監督作品の変遷」,『東亜』No. 598, 2017.4:90~91頁.中嶋聖雄,「中国インディペンデント映画のカッティング・エッジ」,『東亜』No. 601, 2017.7:90~91頁.中嶋聖雄,「現代中国映画のダイナミズムを理解するために」,『東亜』No. 604, 2017.10:90~91頁.

  • 現代中国映画産業の経済社会学:スタジオ間共同製作のネットワーク分析

    2015年  

     概要を見る

    The Chinese film industry has become one of the crucial players inthe international film markets asis epitomized in the box-office successes of a number of Chinese films in theglobal film scene. In response to therising presence, academic studies have begun to pay attention to someimportant aspects of the industry. Nevertheless,due to a lack of reliable and comprehensive quantitative datasetcomparable to the Internet Movie Database (IMDb) for the U.S. film industry,existing research remains qualitative historical-institutional analyses of general trends of the industry, andvirtually no study has achieved a rigorous quantitativeanalysis, which would be imperative for a better understanding oforganizational and strategic dynamics of industry participants. In this project, I have attempted to take a pioneering role in fillingthis gap, first, by constructing a reliable and comprehensive database offilmmaking personnel (directors, producers, and actors) and productionorganizations (film studios/production companies) for all films produced (orco-produced) in China using the data available in the China Film Yearbook(1979-2009). Second, I have investigated thisdataset building upon several, yet coherent, theoretical constructs fromeconomic sociology and organization theories, as well as putting to work various methods of quantitative networkanalysis.

  • 現代中国映画産業のネットワーク分析:スタジオ間共同製作からみた市場の社会的構造化

    2014年  

     概要を見る

    As is epitomized in thebox-office successes of a number of Chinese films in the global film markets, theChinese film industry has become one of the crucial players in theinternational film business. In response to thisrising interest, the academia has also begun to payattention to some important aspects of the industry. However, due to a lack ofreliable and comprehensive quantitative dataset comparable to the InternetMovie Database (IMDb) for the U.S. film industry, existing research remains ata qualitative historical-institutional analysis of general trends of theChinese film industry, and few studies have presented a rigorous quantitativeanalysis, which would be imperative for a better understanding oforganizational and strategic dynamics of industry participants. In this project, I have attempted to take a pioneering role in fillingthis gap, first, by constructing a reliable and comprehensive database offilmmaking personnel (directors, producers, and actors) and productionorganizations (film studios/production companies) for all films produced (orco-produced) in China using the data available in the China Film Yearbook(1979-2009). Second, I have investigated thisdataset building upon several, yet coherent, theoretical constructs fromeconomic sociology and organization theories.

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