‘Can mom laugh?’: The production of the Japanese television family, 1960s–80s

References

1. 8 ji da yo! Zen’in shūgō (It’s 8 O’clock! Everyone Gather ‘Round’) ( 1969–85, Japan:: TBS Television;).
   [Google Scholar]
2. Anon. ( 1969a;), ‘ Goraku: Ā kōkaizoku’ (‘Entertainment: Ah, the live taping tribe’). , Asahi shinbun, 21 September, p. 23.
   [Google Scholar]
3. Anon. ( 1969b;), ‘ Hōsōtō’ (‘Broadcast tower’). , Yomiuri shinbun, 18 February, p. 10.
   [Google Scholar]
4. Anon. ( 1969c;), ‘ Hōsōtō’ (‘Broadcast tower’). , Yomiuri shinbun, 3 March, p. 7.
   [Google Scholar]
5. Anon. ( 1972;), ‘ “Baka mitai” to ōyorokobi’ (‘Overjoyed to “look silly”’). , Yomiuri shinbun, 1 January, p. 43.
   [Google Scholar]
6. Anon. ( 1976;), ‘ 2 jikan waratte 2000 en! Chinshōbai “waraiyasan” hanseiki’ (‘2000 yen for laughing for 2 hours! A report on the flourishing of the strange job of the “laugher”’). , Josei sebun, 11 August, p. 174.
   [Google Scholar]
7. Anon. ( 1977;), ‘ Kāten kōru: Hagimoto Kin’ichi’ (‘Curtain call: Hagimoto Kin’ichi’). , Asahi shinbun, 14 May, p. 4.
   [Google Scholar]
8. Anon. ( 1979;), ‘ Pop wide: “Jitsu wa, okyakusan mo regyurā desu”’ (‘Pop wide: “Actually, the guests are regulars”’). , Josei jishin, 11 October, p. 111.
   [Google Scholar]
9. Anon. ( 1980;), ‘ Naze ka warai ga ō uke’ (‘For some reason, laughter is booming’). , Asahi shinbun, 13 May, p. 14.
   [Google Scholar]
10. Anon. ( 1987;), ‘ Kyō no mondai: Kinchan banare’ (‘Today’s problem: The flight from Kinchan’). , Asahi shinbun, 26 March, p. 1.
    [Google Scholar]
11. Anon. ( 2003;), ‘ Terebi hōsō 50 shūnen! Teroppu, waraiya, mozaiku shori no dai’ichigō wa? A no shichōsha hikiuke “tekunikku” wa koko kara hajimatta!’ (‘The 50th anniversary of TV broadcast! Telop, laughers, mosaic blurring – who was first? That “technique” for drawing in viewers started here!’). , FLASH, 20 May, pp. 58–61.
    [Google Scholar]
12. Anon. ( 2012), The manzai legend DVD box 1980 Warai no kakusei: 1982 Warai no hishō: Yoshimoto Kōgyō sōgyō 100 shūnen kinenban (‘The manzai legend DVD box 1980 The awakening of laughter: 1982 The flight of laughter: Yoshimoto Kōgyo 100th Anniversary Memorial Edition’), DVD box set, Japan:: Yoshimoto R&C;.
    [Google Scholar]
13. Anon. ( 2021;), ‘ Marie ni tuduke! Takamatsu Nana ga seihigai o kokuhaku […] sekuhara, pawahara o kokuhaku shita geinin 4 nin!’ (‘Following Marie! Takamatsu Nan reveals sexual assault […] 4 entertainers have revealed sexual harassment, power harassment!’). , Excite nyūsu, 12 April, https://www.excite.co.jp/news/article/Tocana_205296/. Accessed 8 March 2022.
    [Google Scholar]
14. Berlant, Lauren. ( 1997), The Queen of America Goes to Washington City: Essays on Sex and Citizenship, Durham, NC:: Duke University Press;.
    [Google Scholar]
15. Chun, Jayson M.. ( 2007), ‘ A Nation of a Hundred Million Idiots’? A Social History of Japanese Television, 1953–1973, New York:: Routledge;.
    [Google Scholar]
16. Dorifu no daibakushō (The Drifter’s Big Laugh) ( 1977–97, Japan:: Fuji Television;).
    [Google Scholar]
17. Giotta, Gina. ( 2017;), ‘ Sounding live: An institutional history of the television laugh track. ’, Journal of Communication Inquiry, 41:4, pp. 331–48.
    [Google Scholar]
18. Hara, Hiroyuki. (原宏之) ( 2006), Baburu bunkaron: ‘Posuto sengo’ toshite no 1980 nendai (‘A theory of bubble culture: The 1980s as “post-postwar”’), Tokyo:: Keiō gijuku daigaku shuppankai;.
    [Google Scholar]
19. Hikita, Sōya. (引田惣弥) ( 2004), Zenkiroku: terebi shichōritsu 50 nen sensō: Sono toki ichiokunin ga kandō shita (‘Complete record: 50 year TV viewer rating wars: When one hundred million people were moved’), Tokyo:: Kōdansha;.
    [Google Scholar]
20. Humphrey, David. ( 2014;), ‘ The tone of laughter and the strangely warm comedy of Hagimoto Kin’ichi. ’, Japan Forum, 26:4, pp. 530–50.
    [Google Scholar]
21. Humphrey, David. ( 2017;), ‘ Shattering the everyday: Konto 55-gō and the television of the late 60s. ’, Japanese Studies Association Journal, 15:1, pp. 23–40.
    [Google Scholar]
22. Humphrey, David. ( 2018;), ‘ On mediating laughter: Japan, television and the discourse of cheer. ’, Journal of Japanese Studies, 26:4, pp. 361–84.
    [Google Scholar]
23. Inoue, Hiroshi. (井上宏) ( 1981), Manzai: Ōsaka no warai (‘Manzai: The comedy of Osaka’), Kyoto:: Sekaishisōsha;.
    [Google Scholar]
24. Inoue, Hiroshi. (井上宏) ( 1984), Warai no ningen kankei (‘Laughter as human relations’), Tokyo:: Kōdansha Gendaishinsho;.
    [Google Scholar]
25. Kinchan no doko made yaru no! (‘How far will Kinchan go!’) ( 1976–77, Japan:: Nippon Educational Television;).
    [Google Scholar]
26. Kinchan no doko made yaru no! (‘How far will Kinchan go!’) ( 1977–86, Japan:: TV Asahi).
    [Google Scholar]
27. Kinyō 10 ji! Uwasa no channeru!! (‘Friday 10PM! The channel everyone’s talking about!!’) ( 1973–79, Japan:: Nippon Television;).
    [Google Scholar]
28. Konto 55-gō no nande sō naru no? (‘Konto 55-gō’s why does it always turn out this way?’) ( 1973–76, Japan:: Nippon Television;).
    [Google Scholar]
29. Konto 55-gō no urabangumi o buttobase! (‘Konto 55-gō’s blow away the competition!’) ( 1969–70, Japan:: Nippon Television;).
    [Google Scholar]
30. Lamarre, Thomas. ( 2018), The Anime Ecology: A Genealogy of Television, Animation, and Game Media, Minneapolis, MN:: University of Minnesota Press;.
    [Google Scholar]
31. Lasalle, Ishii. (ラサール石井) ( 2008), Warai no genba: Hyōkinzoku zenya kara M-1 made (‘The site of laughter: From the eve of Hyōkinzoku to the M-1’), Tokyo:: Kakugawa Shinshō;.
    [Google Scholar]
32. Lewis, Diane W.. ( 2018;), ‘ Shiage and women’s flexible labor in the Japanese animation industry. ’, Feminist Media Histories, 4:1, pp. 115–41.
    [Google Scholar]
33. Lukács, Gabriella. ( 2010), Scripted Affects, Branded Selves: Television, Subjectivity, and Capitalism in 1990s Japan, Durham, NC:: Duke University Press;.
    [Google Scholar]
34. Lukács, Gabriella. ( 2015;), ‘ The labor of cute: Net idols, cute culture, and the digital economy in contemporary Japan. ’, Positions: Asia Critique, 23:3, pp. 487–513.
    [Google Scholar]
35. The Manzai ( 1980–82, Japan:: Fuji Television;).
    [Google Scholar]
36. Matsuzawa, Kureichi, (松沢呉一) and Takemoto, Mikio. (竹本幹男) ( 1999;), ‘ Owarai dai 4 sedai’ (‘Comedy’s 4th generation’). , in S. Miyadai. (宮台真司) (ed.), Poppu karucha (‘Pop culture’), Tokyo:: Mainichi shinbunsha;, pp. 12–17.
    [Google Scholar]
37. Namikawa, Ryō. (並河亮) ( 1956), Engeki goraku bangumi (‘Theatrical entertainment programs’), Tokyo:: Dobunkan;.
    [Google Scholar]
38. Ōta, Shōichi. (太田省一) ( 2002), Shakai wa warau (‘Society laughs’), Tokyo:: Seikyūsha;.
    [Google Scholar]
39. Saitō, Takao. (斎藤太朗) ( 2000), Direkutā ni zūmu in!! (‘Zoom in on the director!!’), Tokyo:: Nihon Terebi;.
    [Google Scholar]
40. Scannell, Paddy. ( 1996), Radio, Television and Modern Life: A Phenomenological Approach, Cambridge, MA:: Blackwell Publishers;.
    [Google Scholar]
41. Shabondama horidee (‘Bubble holiday’) ( 1961–72, Japan:: Nippon Television;).
    [Google Scholar]
42. Smith, Jacob. ( 2008), Vocal Tracks, Berkeley, CA:: University of California Press;.
    [Google Scholar]
43. Spigel, Lynn. ( 1992), Make Room for TV: Television and the Family Ideal in Postwar America, Chicago, IL:: The University of Chicago Press;.
    [Google Scholar]
44. Stocker, Joel F.. ( 2001;), ‘ Yoshimoto Kōgyō and manzai in Japan’s media culture: Promoting the intersection of production and consumption. ’, in B. Moeran. (ed.), Asian Media Productions, Honolulu, HI:: University of Hawaii Press;, pp. 247–69.
    [Google Scholar]
45. Taishō terebi yose (‘Taishō TV yose’) ( 1963–77, Japan:: Nippon Educational Television);.
    [Google Scholar]
46. Taishō terebi yose (‘Taishō TV yose’) ( 1977–78, Japan:: TV Asahi;).
    [Google Scholar]
47. Tajima, Masao. (田島正夫) ( 1978;), ‘ Micchaku rupo: Terebi no eiyū: Kinchan no isshūkan’ (‘Inside report: TV’s hero: One week with Kinchan’). , Asahi Graph, 15 March, pp. 33–41.
    [Google Scholar]
48. Takeuchi, Kimiko. (竹内公子) ( 1974;), ‘ Waraiya nyūmon’ (‘An introduction to professional laughing’). , Fujin kōron, April, pp. 278–79.
    [Google Scholar]
49. Terao, Yukio. (寺尾幸夫) ( 1954;), ‘ Kōkai bangumi no mikushingu’ (‘Mixing public performance programs’). , Hōsōgijutsu, 7:7, pp. 265–69.
    [Google Scholar]
50. Ui, Mushū. (宇井無愁) ( 1969), Nihonjin no warai (‘Japanese laughter’), Tokyo:: Kadokawa Shoten;.
    [Google Scholar]
51. Yanagita, Kunio. (柳田國男) ( 2008), Fukō naru geijutsu: Warai no hongan (‘The art of misfortune: The true desire of laughter’), Tokyo:: Iwanami bunko;.
    [Google Scholar]
52. Yoda, Tomiko. ( 2006;), ‘ The rise and fall of maternal society: Gender, labor, and capital in contemporary Japan. ’, in R. Chow, and H. Harootunian. (eds), Japan After Japan, Durham, NC:: Duke University Press;, pp. 239–74.
    [Google Scholar]
53. Yoshimi, Shunya. ( 2003;), ‘ Television and nationalism: Historical change in the national domestic TV formation of postwar Japan. ’, European Journal of Cultural Studies, 6:4, pp. 459–87.
    [Google Scholar]
54. Yoshimi, Shunya. (吉見俊哉) ( 2010;), ‘ Terebi o dakishimeru sengo’ (‘A postwar the embraced TV’). , in S. Yoshimi, (吉見俊哉) and R. Tsuchiya. (土屋礼子) (eds), Taishū bunka to media (‘Mass culture and media’), Tokyo:: Mineruba shobō;, pp. 166–96.
    [Google Scholar]
55. Humphrey, David. ( 2022;), ‘ “Can mom laugh?”: The production of the Japanese television family, 1960s–80s. ’, East Asian Journal of Popular Culture, 8:2, pp. 245–60, https://doi.org/10.1386/eapc_00077_1
    [Google Scholar]