Theoretical Approaches in Comparative Cultural Studies on the "Media Upheavals" of the Early 20^<th> Century in Japan

该项目是庆应义塾大学与德国西根大学媒体美学研究中心的国际联合研究项目之一。这个国际联合研究项目的最终目标是：“从20世纪初到21世纪初过渡时期的媒介文化和媒介美学研究”。因此，随着该方案的完成，该方案最终目标的第一部分已经实现。我们的研究大纲反映在该项目的两份官方报告中：《前卫媒体：哲学人类学的媒体》和《黑泽明团队：研讨会的轨迹与痕迹》。前者承载着先锋派媒介和媒介哲学人类学的论文，后者则从图片媒介美学的角度对黑泽明电影的画面进行了分析，并提供了一些佐证。除上述作品外，德国出版的由西根大学与庆应义塾大学合编的《媒介先锋、媒介人类学、场所的规范与越界》（德文，2005年）和德国出版的由西根大学编辑的《黑泽明与他的时代》（德文，2005年）也可视为该项目的成功成果。这项研究并没有以一种决定性的方式发明监管模式，这在各种历史场景背后发挥了重要作用，关于欧洲媒体技术和欧洲意识形态（作为媒体本身的功能）如何在20世纪初被日本人同化和日本化。尽管如此，我们为通过实证分析证明了某些结果而感到自豪。我们相信，在不久的将来，我们将基于这些结果，对20世纪到21世纪过渡时期的媒介效应进行更多的美学、社会、意识形态分析。

This program was conducted as one of the international joint research projects between Keio University and the Media Esthetic Research Center of Siegen University in Germany. The final objective of this international joint research project has been stated as follows : "Research on media culture and media esthetics during the time of transition in the early 20^<th> through the 21^<st> century". Thus with the completion of this program the first part of the final objective of the scheme has been achieved.The outlines of our research are reflected in the following two official reports of this project : "Avant-Garde Media : Media of Philosophical Anthropology" and "Team Kurosawa, Track and Trace of the Symposium". The former carries theses on avant-garde media and philosophical anthropology of the media, and the latter contains some corroborative evidences based on the picture analyses of Kurosawa's film from the viewpoint of picture media esthetics. In addition to the work stated above, "Media Avant-Garde, Media Anthropology, Regulations and Transgressions of Places" (written in German, 2005) co-edited by Siegen University and Keio University published in Germany, and "Akira Kurosawa and His Era" (written in German, 2005) edited by Siegen University published in Germany can also be recognized as a successful result of this project.This research didn't quite get to invent the regulative pattern in a decisive way, that played a big role behind the various historical scenes, on how the European media technology and the European ideology (that functioned as the media itself) got acculturized and japanized by the Japanese in the early 20^<th> century. Nonetheless we are proud of having demonstrated certain results by means of evidential analyses. We are convinced that more esthetical, social, ideological analyses on the media effect in the transition period from the 20^<th> to the 21^<st> century will be accomplished based on these results in the near future.