The Time of Laughter: Comedy and the Media Cultures of Japan

Humphrey, David

doi:doi:10.3998/mpub.12233973

Color photograph of three toys, each a cloth bag with a line drawing on front of characters laughing. Top: an orange bag with drawing of a clown and English phrase “Just for Laughs.” Bottom left: a red bag with a drawing of a young girl and English “Laughing Girl.” Bottom right: a yellow bag with a drawing of a man and woman and English phrase “Happy Couple.”

Image of three "warai bukuro" ("laugh bags") as produced by Aico during 1970s.

From Introduction

Fig. 0.1. Three of Aico’s 1970s-era warai bukuro. Image courtesy of Aico Inc.

Black and white still of two women (singing duo, the Peanuts) on either side of man (Hana Hajime). Women turn in to face man who holds telescope up to eye and peers in direction of viewer.

Scene from Shabondama horidee (Bubble Holiday)

From Chapter 1

Fig. 1.1. Crazy Cats’ bandleader Hana Hajime peers through a telescope into viewers’ homes on Shabondama horidee. DVD still from Kurējī kyattsu memoriaru, Disc 1.

Color still of duo Konto 55-gō on stage. Hagimoto Kin’ichi is pictured mid-jump as his feet strike the back of partner Sakagami Jirō.

Scene from Konto 55-gō sketch “Tsukue” (“The Table”) (DVD still)

From Chapter 1

Fig. 1.2. Hagimoto drop-kicks Sakagami in the Konto 55-gō sketch “Tsukue” (“The Table”). DVD still from Konto 55-gō kessaku kontoshū.

Color photograph of large stage with performers (The Drifters) in front of Japanese style home. Ikariya Chōsuke is dressed as the mother, while other members are dressed as children.

Scene from a typical sketch on 8 ji da yo! Zen'in shūgō (It's 8 O'clock! Everyone Gather 'Round)

From Chapter 2

Fig. 2.1. The Drifters perform on stage during a sketch portion of 8 ji da yo! Zen’in shūgō. Members, from left to right, are: Nakamoto Kōji, Takagi Bū, Katō Cha, Ikariya Chōsuke and Shimura Ken. Image courtesy of Tokyo Broadcasting System Television, Inc. and Izawa Office. ©Tokyo Broadcasting System Television, Inc.

Color photograph of performers (The Drifters) on stage, dancing. Performers wear colorful Japanese festival-style clothes. Ikariya stands in front of mic singing, while other members dance to his left. On right side of photograph, a woman in a red dress is partially visible.

Scene from introductory sequence of 8 ji da yo! Zen'in shūgō (It's 8 O'clock! Everyone Gather 'Round)

From Chapter 2

Fig. 2.2. The Drifters perform opening sequence of 8 ji da yo! Zen’in shūgō. Members, from left to right, are: Ikariya Chōsuke, Katō Cha, Nakamoto Kōji, Takagi Bū and Shimura Ken. Image courtesy of Tokyo Broadcasting System Television, Inc. and Izawa Office. ©Tokyo Broadcasting System Television, Inc.

Color photograph of woman (Maya Junko) seated on stage at left across from man at right (Hagimoto Kin’ichi). Stage is made to look like Japanese living room, and performers sit on tatami mats at a kotatsu table with blanket. In background, a television set sits, displaying name of program (Kinchan no doko made yaru no!). In foreground, silhouettes of audience heads are visible from behind.

Scene from Kinchan no doko made yaru no! (How far will Kinchan go!) (DVD still)

From Chapter 2

Fig. 2.3. Hagimoto and co-host Maya Junko on set of Kinchan no doko made yaru no! during 1977 broadcast, while studio audience is visible in foreground. DVD still from Kinchan no doko made yaru no!, Disc 1.

Black-and-white line drawing of man (Hagimoto Kin’ichi) coming out of television into family living room. In living room, mother and child sit in front of TV laughing, while father sits behind them looking up from his newspaper and smiling.

Illustration of Hagimoto by manga artist Kojima Kō

From Chapter 2

Fig. 2.4. Hagimoto steps out of the television and into the home in an illustration by Kojima Kō. Caption reads: “At ease: Prudence, the principle of his diligence. His home life, also secure.” Image courtesy of Kōpuro Productions.

Black-and-white photograph. Police officer in riot gear holds a rifle pointed at building (Asama-Sansō lodge) seen in background.

Japanese riot police aims rifle at Asama-Sansō lodge, seen in background

From Chapter 2

Fig. 2.5. Japanese police officer takes aim at Asama-Sansō lodge, seen in background, during 10 day siege of lodge in February 1972. Image courtesy of Kyodo News Images.

Color still of two men (Two Beat) performing on stage, seen from perspective of stage. Men’s backs are visible in foreground, and audience, faced forward, are visible in foreground.

Two Beat performs on THE MANZAI, July 1980. Audience visible in background.

From Chapter 3

Fig. 3.1. Audience members laugh in background as Two Beat ribs them on July 1980 broadcast of THE MANZAI. Image still from video recording of original broadcast.

Color still of man (Kitano Takeshi) in red prince-like costume, silver cape and make-up. Silhouette of flag overlays man. At bottom of screen, text transcribes lyrics from song.

Kitano appears as Takechan-man on Oretachi hyōkinzoku (We, the Tribe of the Drole)

From Chapter 3

Fig. 3.2. Kitano appears as Takechan-man alter ego in opening scene of Takechan-man series on Oretachi hyōkinzoku. DVD still from Oretachi hyōkinzoku THE DVD 1981–89, Disc 1.

Two color stills. In first still, man in blue jeans and red bandana stumbles away from falling silver pillars. In second still, same man grabs camera from camera man and makes to kick camera.

Kataoka Tsurutarō performs parody of Kondō Masachi's "Gingiragin ni sarigenaku" on Oretachi hyōkinzoku (We, the Tribe of the Drole)

From Chapter 3

Fig. 3.3. Comedian Kataoka Tsurutarō performs parody of Kondō Masachi’s 1981 “Gingiragin ni sarigenaku” on the Best Ten segment of Oretachi hyōkinzoku. DVD stills from Oretachi hyōkinzoku THE DVD 1981–89, Disc 6.

Three color stills. In first still, man sits across from whiteboard motioning to pictures on board with pointer. In second still, a poster of Kitano Takeshi is held up to camera. In poster, Kitano wears suit in parody of typical politician. In third still, “maneki neko” in likeness of Kitano is displayed. Bottom half of sculpture resembles typical white cat of maneki neko, while top half is face resembling Kitano.

Scenes from 1985 Kumanomae project on Tensai Takeshi no genki ga deru terebi (Genius Takeshi's Happy TV) [first of three screenshots]

From Chapter 3

Fig. 3.4. Scenes from Genki’s 1985 Kumanomae revitalization project. DVD still from Tensai Takeshi no genki ga deru terebi!!

Color still. Two men (duo Saruganseki) stand before finish line banner. Men are wearing blue overalls and white shirts while gesturing relief. On screen, Japanese text reads: “190 days from start in Hong Kong; Travel distance 22,000 km; 18 countries total.”

Saruganseki arrives in London on Denpa shōnen INTERNATIONAL

From Chapter 4

Fig. 4.1. Saruganseki arrives in London during October 1996 Denpa shōnen INTERNATIONAL broadcast. DVD still from Denpa shōnen BEST OF BEST raiden mo ne!

Color still of glass sliding doors at entrance to building. Behind lines painted on glass, figures of men visible. On screen, Japanese text reports that target (politician Murayama Tomiichi) has left and returned to another building. Alt.text: Color still. Image shows man and women in negative (colors reversed). In foreground, Japanese text reads: “Duet fail!!”

Example of typical scene of close-out on Denpa shōnen

From Chapter 4

Fig. 4.2. Example of a typical scene of close-out on Denpa shōnen. Here, Matsumura seeks SDP head Murayama Tomiichi in quest to clip his eyebrows, only to discover he has missed Murayama. DVD still from Denpa shōnen BEST OF BEST raiden mo ne!

Color still. Image shows man and women in negative (colors reversed). In foreground, Japanese text reads: “Duet fail!!”

Screen turns to negative when President Arafat declines to sing with Matsumoto on Denpa shōnen

From Chapter 4

Fig. 4.3. Image from Matsumoto’s 1995 visit to Gaza. The screen turns to negative when Matsumoto learns President Arafat will not sing with her. Telop reads: “Duet fail!!” DVD still from Denpa shōnen BEST OF BEST raiden mo ne!

Color still shows three floating heads against abstract, amphitheater-like background. Head of man on left is manipulated to appear distorted and stretched out vertically.

Host and guest faces are manipulated in typical studio chat scene from Denpa shōnen

From Chapter 4

Fig. 4.4. Image still from in-studio talk scene on Denpa shōnen, including Matsumura (left), Matsumoto (center), and their guest, the comedian Itō Shirō (right). Image still from cable rebroadcast of January 1994 broadcast.

Three color stills. In first still, hand holds scissors up to camera. In background, police guard visible across street in front of building. In second still, men are visible at a distance talking behind a glass entrance door to building. One man (Matsumura) holds up a pair of scissors. In third still, same man shown in close up moving to cut another man’s (Murayama Tomiichi) eyebrows with scissors.

Matsumura tracks down SDP head Murayama Tomiichi in attempt to clip his eyebrows

From Chapter 4

Fig. 4.5. Matsumura tracks down SDP head Murayama Tomiichi in attempt to clip his eyebrows on February 1994 broadcast of Denpa shōnen. DVD still from Denpa shōnen BEST OF BEST raiden mo ne!

Color still of man (Nasubi) dancing in small apartment. Man is naked except for black shoes. Cartoon eggplant graphic covers man’s genitalia. At bottom, Japanese text transcribes words of impromptu song.

Nasubi dances in apartment after receiving shoes in the mail

From Chapter 4

Fig. 4.6. Nasubi dances on 1998 episode of Denpa spin-off Susunu! Denpa shōnen when he receives a pair of shoes in the mail. DVD still from Denpa shōnen BEST OF BEST raiden mo ne!

Black-and-white line illustration. Caption at top in Japanese reads: “The construction of Yoshimoto Kōgyō’s high output factory.” Image of building in likeness of theater sits at top and is labelled the “comedy factory.” In middle of drawing, truck shown driving from theater and is labelled “shipment” of talent. Box at bottom lists various destinations for this shipment: television programs, commercials, and nascent internet services.

Illustration of Yoshimoto's factory-style production of comedic talent from magazine Shūkan tōyō kezai, 1

From Chapter 5

Fig. 5.1. Illustration depicting Yoshimoto factory-style approach to talent training and placement from 2003 Shūkan tōyō keizai article. Caption at top reads: “The construction of Yoshimoto Kōgyō’s high output factory.” Image courtesy Shūkan tōyō keizai.

Black and white graphic in shape of three dimensional cube with four main layers from top to bottom. Main caption at top in Japanese reads: “Constructing a winning ‘pure straight’ model from contents production to distribution.” Lowest horizontal layer of cube depicts NSC school “reserve troops,” followed by “talent management” layer, followed by “contents production” layer, followed finally by “contents distribution” layer at top. Vertical sub-layers move from front to back within the horizontal layers and show varying performer types, platforms, and venues. For example, “talent management” layer moving back depicts Yoshimoto’s various managed talent, from comedians to athletes. “Contents production” layer, moving from front to back, depicts theater production, television production, etc. “Contents distribution” layer depicts theater, television broadcast, internet, etc. Graphic also includes numerous photographic inserts that have been blurred out.

Illustration of Yoshimoto's factory-style production of comedic talent from magazine Shūkan tōyō kezai, 2

From Chapter 5

Fig. 5.2. Graphic depicting Yoshimoto’s multi-tiered contents strategy as three-dimensional cube. Main caption at top reads: “Constructing a winning ‘pure straight’ (ikki tsūkan) model from contents production to distribution.” Image courtesy Shūkan daiyamondo. (Photographs depicting Yoshimoto talent and products blurred at request of magazine.)

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The Time of Laughter: Comedy and the Media Cultures of Japan

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Image of three "warai bukuro" ("laugh bags") as produced by Aico during 1970s.

Scene from Shabondama horidee (Bubble Holiday)

Scene from Konto 55-gō sketch “Tsukue” (“The Table”) (DVD still)

Scene from a typical sketch on 8 ji da yo! Zen'in shūgō (It's 8 O'clock! Everyone Gather 'Round)

Scene from introductory sequence of 8 ji da yo! Zen'in shūgō (It's 8 O'clock! Everyone Gather 'Round)

Scene from Kinchan no doko made yaru no! (How far will Kinchan go!) (DVD still)

Illustration of Hagimoto by manga artist Kojima Kō

Japanese riot police aims rifle at Asama-Sansō lodge, seen in background

Two Beat performs on THE MANZAI, July 1980. Audience visible in background.

Kitano appears as Takechan-man on Oretachi hyōkinzoku (We, the Tribe of the Drole)

Kataoka Tsurutarō performs parody of Kondō Masachi's "Gingiragin ni sarigenaku" on Oretachi hyōkinzoku (We, the Tribe of the Drole)

Scenes from 1985 Kumanomae project on Tensai Takeshi no genki ga deru terebi (Genius Takeshi's Happy TV) [first of three screenshots]

Saruganseki arrives in London on Denpa shōnen INTERNATIONAL

Example of typical scene of close-out on Denpa shōnen

Screen turns to negative when President Arafat declines to sing with Matsumoto on Denpa shōnen

Host and guest faces are manipulated in typical studio chat scene from Denpa shōnen

Matsumura tracks down SDP head Murayama Tomiichi in attempt to clip his eyebrows

Nasubi dances in apartment after receiving shoes in the mail

Illustration of Yoshimoto's factory-style production of comedic talent from magazine Shūkan tōyō kezai, 1

Illustration of Yoshimoto's factory-style production of comedic talent from magazine Shūkan tōyō kezai, 2

The Time of Laughter: Comedy and the Media Cultures of Japan

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