19, 59, 68, 15 Mar. 2024
17, 82, 92, 01 May 2022, 申知燕
12, 37, 42, 2021
Traditional Performing Arts as a Regional Resource: Examining Japan's Kagura Dance Form, YAMAMOTO Kenta, 5, 24, 40, 2018
59, 29, 49, Feb. 2021
8巻, 27, 39, 01 Mar. 2013, 久木元美琴
58巻, 27, 38, 01 Feb. 2012
57巻, 203, 220, 01 Sep. 2011
44巻, 99, 107, 01 May 2011, 久木元美琴
57巻, 43, 61, 01 Jan. 2010
64巻, 228, 249, 01 Oct. 2009
60巻, 185, 206, 01 Jan. 2009
46巻3号, 1, 12, 01 Oct. 2008, 宮澤仁・照内弘通・関根良平・小林茂・村山良之
80巻, 442, 458, 01 Jun. 2007
01 Jan. 2012
115, 59, 66, 25 Dec. 2013, 神谷浩夫
10号, 25, 31, 01 Aug. 2013
10号, 5, 18, 01 Aug. 2013, 小林茂・山近久美子・渡辺理絵・波江彰彦・鳴海邦匡
68-3号, 202, 210, 28 Jul. 2013
9号, 4, 10, 01 Mar. 2012
6巻no.1, 33, 37, 01 Dec. 2011
4巻2号, 149, 155, 01 Dec. 2011, 駒木伸比古・吉田国光
3, 18, 01 Oct. 2011, 小林茂
63巻, 28, 31, 01 Mar. 2011
23, 21, 24, 01 Feb. 2011
108, 111, 01 Nov. 2010
vol.30 No.1, 36, 38, 01 May 2010
1巻, 79, 90, 01 Mar. 2009, 小林茂
5巻, 01 Mar. 2008, 村山良之・照内弘通・宮澤仁
240, 252, 01 Aug. 2007
67, 01 Mar. 2012
11号, 01 Oct. 2014, 小林茂・関根良平
11号, 01 Oct. 2014, 小林茂・関根良平
54, 43, 71, 01 Jan. 2016
8, 01 Feb. 2016, 和田崇
198, 211, 01 Feb. 2017, 小林茂・山近久美子・渡辺理絵・鳴海邦匡・山本健太・波江彰彦
01 Apr. 2018
Annals of the Association of Economic Geographers, 60, 4, 341, 342, 2014, The Japan Association of Economic Geography
Annals of the Association of Economic Geographers, 61, 1, 2015, The Japan Association of Economic Geography
Action research to verify the possibility of re-territorialization of the Kagura in Hiroshima, WADA Takashi;YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2015, 0, 2015, The Association of Japanese Geographers
Promoting the Theatrical Drama in Local Region:A Case of Hiroshima City, YAMAMOTO Kenta;ICHIHARA Mayu;Wada Takashi, Proceedings of the General Meeting of the Association of Japanese Geographers, 2015, 0, 2015, The Association of Japanese Geographers
;, 63, 3, 191, 192, 15 Dec. 2011
A Report from the 5th Japan-Korea-China Joint Conference on Geography, YAMAMOTO Kenta, Kikan Chirigaku, 63, 1, 28, 31, 01 Mar. 2011, The Tohoku Geographical Association
;, 64, 3, 119, 120, 15 Jan. 2013
;;;;, 65, 1, 56, 57, 10 Jun. 2013
Annals of the Association of Economic Geographers, 58, 2, 2012, The Japan Association of Economic Geography
The Feasibility of the Animation Industry in Local Regions in Japan : A Case Study of a Studio in Okinawa(Symposium: Generation, Distrilbution and Use of Information in the Digital Age), YAMAMOTO Kenta, GEOGRAPHICAL SCIENCES, 68, 3, 202, 210, 2013, THE JAPANESE SOCIETY FOR GEOGRAPHICAL SCIENCES
Professional Performing Art Groups in Non-metropolitan Areas : A Case Study of Kodo in Sado Island, ;, 115, 59, 66, Dec. 2013
The Possibility of Re-territorialization of Hiroshima Kagura, ;, 8, 163, 175, Feb. 2016
Modern Conditions of Kagura : Examining Religiosity and Merchantability in Miyazaki and Hiroshima, ;;, 54, 43, 71, 2016
The challenge of introducing group work in first-year exercise "kiso-enshu A (basic exercise A)", ;;;;;;, 6, 109, 133, Mar. 2015
The Behavior Characteristics of Audiences of Small Theater in Tokyo:a case study of a performance, YAMAMOTO Kenta;KUKIMOTO Mikoto, Proceedings of the General Meeting of the Association of Japanese Geographers, 2012, 0, 2012, The Association of Japanese Geographers,
The young geographer's participation and research exchange in J-K-C Joint Conference on Geography, KONNO Ena;YAMAMOTO Kenta;ARAKI Hitoshi;NORITO Takashi;TERATOKO Yukio, Proceedings of the General Meeting of the Association of Japanese Geographers, 2014, 0, 2014, The Association of Japanese Geographers
E-journal GEO, 14, 1, 156, 159, 2019, The Association of Japanese Geographers
Metropolis creativity and the role of the studios in the animation industry::A focus on the working style and networks of end workers, YAMAMOTO Kenta, Urban Geography, 13, 0, 37, 47, 2018, Japanese Urban Geography,
This paper reveals a portion of the role that studios play in fostering a creative culture in Tokyo metropolitan area. To do this, the study focuses on the working environment and the job search activity of workers in the animation industry as an agglomeration in
Tokyo. The animation industry is well known both inside and outside Japan as a Japanese cultural construct. On the other hand, the real configuration of its workers is not as well known.
Workers in the animation industry are categorized into two types according to the production divisions to which they belong: directors or creators. Workers with different expertise work simultaneously in the studios and, if required, meetings can be scheduled at any moment with other workers in other roles.
While creators work mainly within the studio, the activities of directors are not limited to the premises. The tasks taken on by the directors often take them outside the studio, while creators are inbound, drawing pictures on desks installed inside the studios. Directors manage production schedules and negotiate with workers belonging to other studios. They are frequently seen coming and going to different studios with products and information. The activities of both creators and directors are sustained by various amenities and infrastructures accorded by the studios. These include napping facilities, supermarkets, and restaurants, which are open round the clock and located around the studios. People in the animation industry can work regardless of the time of day or night by using these services provided by studios and the metropolis. Animation workers build personal relationships with other workers as they go about their production activities. They use these human networks to advance their careers when they move to another studio.
In this respect, the studios play the role of a "creative nexus" for workers in the animation industry. The networks that are built by this creative nexus that is seen developing in the western suburb of Tokyo sustain the creativity of this industry.
The Spatial Structure of Small Theater Performances in Tokyo, ;, 8, 27, 39, 2013
69, 10, 21, 26, Oct. 2018
14, 215, 224, Mar. 2020
;;;;, 14, 225, 246, Mar. 2020
59, 29, 49, 2021
Labor Market and Agglomeration of the Animation Industry in Korea, YAMAMOTO Kenta, 59, 3, 31 Oct. 2007
Agglomeration and the Characteristics of the Animation Industry in Seoul : Focus on International Division of Labor and the Labor Market, YAMAMOTO Kenta, Kikan Chirigaku, 60, 4, 185, 206, 31 Jan. 2009, The Tohoku Geographical Association, The purpose of this study is to examine agglomeration and characteristics of the animation industry in South Korea by analyses of B-to-B transactions and characteristics of labors. The industry is agglomerated in Seoul, the capital city, and depends on exports to Japan, U. S. and Europe of sub-contracted works. In addition, the styles of transaction and production have the different characteristics depending on clients' countries.
Transactions of firms which mainly deal with Japanese clients are fixed and based on mutual trust. Firms are requested to work in short lead-time and to response flexibly to characteristics of Japanese animation industry. Thus, firms cope with increase and decrease of works and change of schedules by employing workers as freelancer. Works that freelancers get depend on firms which freelancers belong. Backgrounds of new entries are various. Hence, many of them enter the industry with lack of experience; and they learn specialized skill through connection on the job. The reasons of continuing to work in Seoul are interconnection of work mates as well as concentration of the industry.
On the other hand, firms which mainly dealing with U. S. A. and Europe do businesses with various industries and they emphasize social credit of firms. Credits of firms are estimated by locational name value and producing stability and capacity of capital. Hence, firms prefer to locate their office in or nearby Central Business District in Seoul. Many workers are employed as freelancers by these firms, too. Workers choose opportunities to learn skills according to their jobs. And they get works not only from a firm they belong to but also outside their own firm. The reasons of continuing to work in Seoul are interconnection of work mates who play roles of sub-contracting-windows as well as the accessibility to the industry concentrated in Seoul.
Thus, the animation industry is agglomerating into Seoul by the characteristics of business to business transaction and labor market in Korea.
Issues Concerning the Creation and Management of a Digital Gaihozu Archive, MIYAZAWA Hitoshi;TERUUCHI Hiromichi;YAMAMOTO Kenta;SEKINE Ryohei;KOBAYASHI Shigeru;MURAYAMA Yoshiyuki, Map, Journal of the Japan Cartographers Association, 46, 3, 1, 12, 30 Sep. 2008, Japan Cartographers Association
60, 3, 162, 163, 25 Nov. 2008
Agglomeration Mechanism of the Animation Industry in Tokyo : Focus on Business-to-Business Transactions and the Labor Market, YAMAMOTO Kenta, Geographical Review of Japan, 80, 7, 442, 458, 01 Jun. 2007, The Association of Japanese Geographers, In Japan, the animation industry, a major content industry, has intensively agglomerated in Tokyo. This study analyzes the agglomeration mechanism of the animation industry in Tokyo from a business-to-business transaction and labor market perspective. Corporations in the industry can be the categorized as prime contractors and processing order-receiving firms. The prime contractors play a role of contacts in distributing jobs within the industry. The processing order-receiving firms are in charge of specialized processing and subcontracting from other production firms. These production firms are typically small to medium sized. As a characteristic of the business-to-business trade, it was found the trading with sponsoring firms outside the industry tends to last for mid-to-long term, and the contracts are specifically documented. Trades within the industry tend to be short-term without specific documents of contract. For trades within the industry, the production firms have some flexibility in the transaction through trust in technologies and payments of the clients. Thus, it is important for each firm to establish mutual trust.
The employees consist of regular workers and freelancers. The majority of employees are freelancers. They come from technical schools and through intermediate recruitment within the industry. While these freelancers have special skills and thus rely on the job opportunities in animation production, they are typically paid based on their performance, and therefore have unstable job conditions. They up grade their skills through coaching by senior workers and get information about works from the colleagues.
The agglomeration of the animation industry in Tokyo is maintained through: 1) proximity to other firms in the same industry that enables transactions based on a relationship of mutual trust; 2) a labor market that secures and reproduces specialized labor with flexibility; 3) concentration of the content industry as sponsoring firms; and 4) mutual relationships with special technical schools that provide new employees.
62, 1, 50, 51, 15 Mar. 2010
Living and Working of Animation Workers : Focus on Workers in Studio A, YAMAMOTO Kenta, 62, 3, 171, 172, 15 Nov. 2010
Agglomeration of the Animation Industry in the Shanghai Region, China : Special Reference to Firms Based on Overseas Transaction, YAMAMOTO Kenta, GEOGRAPHICAL SCIENCES, 64, 4, 228, 249, 2009, THE JAPANESE SOCIETY FOR GEOGRAPHICAL SCIENCES, This study examines the structure and factors of animation industrial agglomeration in China's Shanghai region, with comparison to the author's prior reported studies. The Chinese animation industry has been growing rapidly, especially in the past few years. However, the industry mostly comprises subcontractors of firms from Japan, the U.S., and Europe. The Chinese government has implemented regulations and subsidies to develop the Chinese market and the industry. The animation industry in China is particularly concentrated in the Shanghai region. The production firms are characterized by their use of labor-intensive processes and their transactional relations with overseas firms. Because of these characteristics, they demand ready access to enormous labor markets and an international airport. The small firms spun off from the parent firm can ensure good transactional relations with parent firms and old colleague firms. In such relationships, mutual trust is necessary to avoid risks of contract delinquency. Firms targeting the domestic market emphasize their proximity to related content industries-their major clients. The laborers' income is unstable and working conditions are severe. Workers acquire skills from co-workers. Most can maintain their jobs through proximity with firms and close relationships with other workers. Because of these factors, the industry in the Shanghai region includes a reproduction system and provides a technical labor force flexibly to firms. Compared with the author's study of the agglomeration structure in Tokyo or Seoul animation industries, this study of the Shanghai region animation industry reveals that the proximity to the international airport is important-especially for firms with international transactions-as are the factors leading to agglomeration in the animation industry. Moreover, the workers' network reproduces the technical labor force and mutually complementary relationships among firms to satisfy labor needs flexibly and instantaneously. The proximity to the related contents industry is another major factor of the agglomeration. The influence by governmental treatment is an important regional factor. The government cuts taxes of animation firms and tolerates late night work. This factor is a specific regional quality of the Shanghai animation industry.
The Spatial Division of Labor and Agglomeration of the Plastic Model Kit Industry in the Shizuoka Region, YAMAMOTO Kenta, Annals of the Association of Economic Geographers, 57, 3, 203, 220, 2011, The Japan Association of Economic Geography, The purpose of this study is to reveal the agglomeration structure of the plastic model kit industry in the Shizuoka region of Japan through interviews and an analysis of published data. Firms located in the Shizuoka region can be classified into the following three types: firms that were originally located in Shizuoka and entered the plastic model kit industry from the wooden model kit industry (Shifted firms), firms that spun-off from a Tokyo head office in the 1970s (Entering firms), and firms that spun-off from Shifted firms after 2000 (Spun-off firms). The product flow of these firms can be classified as either a Central type (Shifted firms and Spun-off firms) or a Network type (Entering firm). Shifted firms have formed a central type division of labor and have managed the quality and storage of the products by themselves because they want to maximize the utilization of their assets and avoid the risks associated with leaked information and the loss of molds. On the other hand, entering firms have formed a network type division of labor because they need to produce large quantities of various products in a short period. Both types of division of labor are formed on mutual trust and knowledge sharing between firms and partners with long-term transactional relationships. By contrast, Spun-off firms have inherited the transactional method and manufacturing know-how from their parent firms. They have also formed a central type division of labor because of their weak business base and the necessity to keep and control the quality and storage of products. Spun-off firms are new and so need to transact with unfamiliar partners. In an attempt to reduce the transitional risks with unfamiliar partners, many spun-off firms often interact with firms holding transactional relationships with their parent firms. It is easy for spun-off firms to build mutual trust with such firms because they are absolutely receptive to the obsession and passion of producing plastic model kits and that makes communication between spun-off firms and partners easy and smooth. With a Central type division of labor, it is important that the firm and partners are close to each other to reduce the transportation costs. With the network type division of labor, partners should also be located close to each other. For both types of division of labor, the proximity is important for reducing the inefficiency of transactions through distribution. Plastic model kit production firms are often familiar with regional partners and keeping transactional relationships. Regardless of the division of labor types, what secures the transactional relationship is mutual trust that is reinforced by face-to-face communication. The bond with regional partners is also the important factor influencing plastic model kit producing firms to come to Shizuoka.
The Characteristics of Workers of Animation Industry in Shanghai and Wuxi, YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2008, 0, 54, 54, 2008, The Association of Japanese Geographers
Location Factors of Animation Product Firms in Shanghai, YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2008, 0, 10, 10, 2008, The Association of Japanese Geographers
Division of Labor Relationships and Location of Plastic Model Kit Productions:The Case Study of a Company's Shizuoka Factory, YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2009, 0, 70, 70, 2009, The Association of Japanese Geographers
The Characteristics of Working Style and Daily Activity of Animation Workers, YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2010, 0, 65, 65, 2010, The Association of Japanese Geographers
The international division of labor and transactional relationship of Animation industry:Focus on the relationship of international division of labor of Japan-Korea and Japan-China, YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2009, 0, 51, 51, 2009, The Association of Japanese Geographers
Now and past of Shanghai described in "Gaihozu", 30, 1, 36, 38, May 2010
The consumption space of urban cultural industry in Tokyo metropolitan: focusing on special relationship between theaters and performances, ;, 44, 99, 107, 2010
;, Proceedings of the Study on Information Resources of the Human Science, 1, 79, 90, Mar. 2010
;;;, 59, 1, 63, 64, 30 Apr. 2007
The Agglomeration of Animation Industry in Tokyo, YAMAMOTO Kenta, 69, 10 Mar. 2006
Annals of the Association of Economic Geographers, 52, 3, 2006, The Japan Association of Economic Geography
The Agglomeration of Animation Industry in Tokyo, YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2006, 0, 19, 19, 2006, The Association of Japanese Geographers
Annals of the Association of Economic Geographers, 61, 1, 90, 2015, The Japan Association of Economic Geography
E-journal GEO, 14, 1, 156, 159, 2019, The Association of Japanese Geographers
Annals of the Association of Economic Geographers, 60, 4, 341, 342, 2014, The Japan Association of Economic Geography
Promoting the Theatrical Drama in Local Region, YAMAMOTO Kenta;ICHIHARA Mayu;Wada Takashi, Proceedings of the General Meeting of the Association of Japanese Geographers, 2015s, 0, 100046, 2015, The Association of Japanese Geographers
Action research to verify the possibility of re-territorialization of the Kagura in Hiroshima, WADA Takashi;YAMAMOTO Kenta, Proceedings of the General Meeting of the Association of Japanese Geographers, 2015s, 0, 100004, 2015, The Association of Japanese Geographers
Metropolis creativity and the role of the studios in the animation industry:, YAMAMOTO Kenta, Urban Geography, 13, 0, 37, 47, 2018, The Japanese society of Urban Geography,
This paper reveals a portion of the role that studios play in fostering a creative culture in Tokyo metropolitan area. To do this, the study focuses on the working environment and the job search activity of workers in the animation industry as an agglomeration in
Tokyo. The animation industry is well known both inside and outside Japan as a Japanese cultural construct. On the other hand, the real configuration of its workers is not as well known.
Workers in the animation industry are categorized into two types according to the production divisions to which they belong: directors or creators. Workers with different expertise work simultaneously in the studios and, if required, meetings can be scheduled at any moment with other workers in other roles.
While creators work mainly within the studio, the activities of directors are not limited to the premises. The tasks taken on by the directors often take them outside the studio, while creators are inbound, drawing pictures on desks installed inside the studios. Directors manage production schedules and negotiate with workers belonging to other studios. They are frequently seen coming and going to different studios with products and information. The activities of both creators and directors are sustained by various amenities and infrastructures accorded by the studios. These include napping facilities, supermarkets, and restaurants, which are open round the clock and located around the studios. People in the animation industry can work regardless of the time of day or night by using these services provided by studios and the metropolis. Animation workers build personal relationships with other workers as they go about their production activities. They use these human networks to advance their careers when they move to another studio.
In this respect, the studios play the role of a “creative nexus” for workers in the animation industry. The networks that are built by this creative nexus that is seen developing in the western suburb of Tokyo sustain the creativity of this industry.
Utility and Challenge of Cloud Service for Managing Academic Conference:from the Experience of the 5th Japan-Korea-China Joint Conference on Geography, KOMAKI Nobuhiko;YOSHIDA Kunimitsu;YAMAMOTO Kenta, Geospace space, 4, 2, 149, 155, 2011, Japan Association on Geographical Space