<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Here are the Japan-related events on the FIAF Congress schedule. Looks like it was a fascinating, better than half of the entire schedule. Aaron, did you go to Tochigi-san's presentation on Copyright? It would be interesting to hear someone from the Film Center spelling out their policy.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><BR class="khtml-block-placeholder"></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Markus</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B><BR class="khtml-block-placeholder"></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B><BR class="khtml-block-placeholder"></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Akira Tochigi (National Film Center, Tokyo)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>COPYRIGHT IN JAPAN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Copyright Act in Japan has certain uniqueness in terms of motion picture films: the copyright of a film work belongs to the producer, not to any other authors (so-called 'modern authors'), as far as the authors agree to participate in the production of the work; the protection period of the work is reckoned from the year following its first release, not the death of any authors.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">With brief introduction of the Copyright Act, this presentation will focus on issues caused by such uniqueness as well as the difference between current laws and former laws, and the fair-use statute scarcely stipulated in the Act. The presentation will also cover the National Film Center's policy of programming of and access to its film collection in relation to the Copyright Act. </DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><BR class="khtml-block-placeholder"></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Takayuki Oguchi (Scholar of Large Screen Film Formats)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>LARGE SCREEN FILM FORMATS IN JAPAN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">From the 1970s to the 1990s in Japan, a series of world expositions was held, and many science museums and theme parks were built. The main attractions in these events and institutions were various kinds of large screen theaters with very unique equipments such as a gigantic screen showing eight Vistavision pictures at the same time, a dome for 3-D projection, a 360-degree spherical screen, all of which we could not find any equivalences in other countries.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">However, most of the films screened in these theaters are no longer accessible and quite a few formats have disappeared. These systems require a combination of films, projectors and special theaters, and keeping the films is not enough for them to revive.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Judging from a historical point of view, on the other hand, these visual experiments should not be overlooked because many of the films were directed by prominent figures such as Kon Ichikawa, Hiroshi Teshigahara, Nobuhiko Obayashi and Mamoru Oshii.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This presentation will observe the present situation of study, research and preservation of these extraordinary formats in Japan.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">15:05 - 15:30</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Yoshiyuki Yahiro (The Fukuoka City Public Library Film Archive, Fukuoka)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>PRESERVATION OF NARROW GAUGEFILMS IN JAPAN: A CASE STUDY OF 8MM FILMS</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">In Japan, narrow gauge films were popularized by the import of Pathé-Baby (9.5mm) in 1923, and then Kodak's 16mm and 8mm cameras which followed. As these cameras were expensive for ordinary families, shooting narrow gauge films was a hobby of the upper class. Major changes were brought about by the sales of less expensive cameras in super-8 and single-8 formats after World War II.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The spread of these machines enabled even college students to make movies easily, and the flourishing of amateur movie making gave birth to festivals specializing in 8mm films, which led to the production of many commercial filmmakers and avant-garde artists.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This presentation will offer a historical overview of narrow gauge films in Japan, and examine how rediscovery and preservation have been made for narrow gauge films which were forgotten in the mainstream history of cinema. </DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><BR class="khtml-block-placeholder"></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Session 2: Made in Japan</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Sunday, April 8, 9:00-14:10</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Chaired by Yoshiro Irie(National Film Center, Tokyo).</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">9:00 - 9:25</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Fumiaki Itakura (National Film Center, Tokyo)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Natsuki Matsumoto (Film Collector /Historian)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>PAPER FILM: HISTORY AND PRESERVATION</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Screening paper film was one of the popular home entertainments in the middle of 1930s in Japan. Paper film has an original projection system: Each frame of a film strip is printed in offset process, and the reflection of an electric light against the paper film is projected on a screen. Although "Refcy" and "Kateito-ki-" were representative brand names of this system, most of the films and projectors have been lost. This presentation aims to locate the paper film within the history of world cinema and to investigate the optimum preservation method. Fumiaki Itakura's presentation will be followed by a screening of paper films operated by Natsuki Matsumoto. The technical data of the paper film is provided by Dai Nippon Printing Co., Ltd.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">9:25 - 9:50</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Natsuki Matsumoto (Film Collector/Historian)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Taiji Kozaki (Benshi Performer)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>THE OLDEST ANIMATION IN JAPAN: DEMONSTRATING THE CULTURE OF HOME MAGIC LANTERN AND TOY FILM</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Besides public screenings at theaters, private screenings of magic lantern and film at home undoubtedly played a significant role in diffusing film culture in Japan. Found in 35mm in Kyoto two years ago, a strip of 50 film frames, presumably Japan's oldest surviving animation, nicely exemplifies the fertility of early home entertainment and aptly illustrates the background of this culture.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">With a projection of this film in tasuki (looped) style, the screening of toy films and the projection of home magic lanterns will be presented. This series of demonstrations will reconsider the history of film reception in Japan from a domestic point of view and propose 'an alternative history of film culture' which has been ignored by a 'legitimate' history of cinema and an authorized history of film industry.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">9:50 - 10:15</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Yoneo Ota (Osaka University of Arts, Osaka)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>THE HISTORY OF TOY FILM IN JAPAN AND THE CHALLENGES OF ITS PRESERVATION</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">There was a time in which people enjoyed movie with a toy projector at home in Japan. The projector was no more than a tin toy, but it could project both fragments of 35 mm released prints sold by pieces and the films specially made for this toy machine.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The peak of this machine's popularity overlapped the golden age of Japanese silent cinema (1920s-1930s), in which chanbara (swordplay) films were at the height of prosperity. These films, though very short (20 seconds-3 minutes), can vividly tell the brisk air of the age. Toy film covers many genres from animation (toy film contributed to foster the industrialization of animation production) to newsreel to propaganda film called gunshin-mono (films about war god).</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">These fragments are the testimonies of the age and the precious historical materials which can fill up another side of film reception in Japan. This presentation will introduce the project of collecting and restoring toy film, begun by the Osaka University of Arts a few years ago, and the challenges this project has faced.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">10:15 - 10:30 Break</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">10:30 - 10:55</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Machiko Kusahara (Waseda University, Tokyo)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>BABY TALKIE AND ITS ERA</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Baby Talkie is a Japanese zoetrope made for enjoying animation accompanied with music. The iron zoetrope fits on the central part of a SP record on gramophone without disturbing its normal function to play music. Thus it offers a home "talkie" experience with one's favorite music. Strips include both traditional and 'Western' motifs such as Charlie Chaplin.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Some of them create three-dimensional illusion. This lecture-demonstration will show how this forgotten invention tried to connect cinema with music, and how juxtaposition of modern and traditional lifestyles of the era is reflected in its name and images.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">10:55 - 11:10</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Hidenori Okada (National Film Center, Tokyo)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>RECYCLED MOTION PICTURE FILMS IN JAPAN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The history of manufacturing of motion picture film in Japan sees a small but unique business: recycling used films. Purchasing used positive prints both in 35mm and 16mm from film companies, the manufacturers washed film emulsion away and sold the emulsion to silver refiners. They then applied black and white emulsion on the remaining film base to reclaim.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The reclaimed films were used for low budget films from the 1930s, and were adopted mainly for newsreels after World War Two. As the demand of black and white films soured, the production decreased and the manufacturers shifted the recycling to leader films. Tracing the history of Takahashi Photo Film Laboratory, the former leading company in this field, which closed its factory (the last factory to reclaim films in Japan) in 2005, this presentation will excavate the technical aspect and historical significance of such a unique industry.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">11:10 -11:35</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Ayako Shiba (Scholar of Utsushi-e)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>UTSUSHI-E (JAPANESE PHANTASMAGORIA):PRESERVING AND HANDING DOWN THE NATIONAL HERITAGE</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">A kind of magic lantern originated and developed in Japan, Utsushi-e flourished as a popular entertainment for about a hundred years from early 19th to the beginning of the 20th century.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The most characteristic difference of Utsushi-e from western lanterns lies in the use of plural hand-held projectors (called furo). Its style and themes are deeply rooted in the Japanese tradition of performing and narrative arts.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">From the 1950s to the 1980s, Ayako Shiba devoted herself to preservation of this disappearing entertainment with her father Genjiro Kobayashi by making researches on projectors and slides of Utsushi-e, and conducting interviews with almost forgotten Utshushi-e players.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">This presentation will summarize the history of Utsushi-e and its preservation, and reexamine the problems and challenges the project of succeeding this national heritage has faced.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">11:35 – 12:00</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Discussion</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Chaired by Yoshiro Irie.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">12:00 – 13:30 Lunch Break</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">13:30 - 14:10</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Special Presentation of Utsushi-e</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Presented by Minwa-za</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(Fumio Yamagata and Yuko Tanaka).</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">The presentation of Ayako Shiba will be supplemented by the performance of Utsushi-e by Minwa-za, one of the theatrical troupes which have made this traditional art accessible. </DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><BR class="khtml-block-placeholder"></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Special Public Screening</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Sunday, April 8, 18:45-21:00 at Yurakucho Asahi Hall</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>(11th floor of Yurakucho Mullion Building, 15-minute walk from NFC Headquarters)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>KURUTTA IPPEIJI</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(A Page of Madness/A Disordered Page)Directed by Teinosuke Kinugasa (1926, b/w, silent, 35mm, 79 minutes [18 fps], 1:1.33 [full-frame]);With piano accompaniment by Yuji Takahashi;Preserved and restored by National Film Center, Tokyo;</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Lab work done by IMAGICA West Corp, Osaka.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Co-organized by The Asahi Shimbun Company in collaboration with IMAGICA West Corp and in cooperation with Pia Corporation, National Film Center is proud to present the world premiere of a newly restored version of KURUTTA IPPEIJI, which will be dedicated to FIAF and its colleagues who preserve and safeguard precious film culture of the world.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">KURUTTA IPPEIJI, directed by young Teinosuke Kinugasa, represents the brilliant jewel of silent film art and "remains one of the most radical and challenging Japanese movies ever seen here" (Tony Rayns, Time Out Film Guide).</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">With piano accompaniment by Yuji Takahashi, arguably the most avant-garde composer and player of piano and electronic instruments in contemporary Japan, the premiere screening of this newly restored version from the best pre-print element will celebrate the 80th anniversary of its first release in 1926.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Prior to the screening, from 18:45 to 19:25, Eva Orbanz (President of FIAF) and Paolo Cherchi Usai (National Film and Sound Archive, Canberra) will have a panel "FIAF and the Future of Film Archives," moderated by Hisashi Okajima (National Film Center, Tokyo).</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Evening Screening Program</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Saturday, April 7/Monday, April 9/Wednesday, April 11, 19:00-21:00 at Cinema 1, NFC</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Scheduled every other evening during the congress, a series of screenings will showcase recent achievements of film restoration made by NFC and other film institutions in Japan such as Fukuoka City Library, The Museum of Kyoto, Kawasaki City Museum, Hiroshima City Cinematographic and Audio-visual Library, Film Preservation Society and Ritsumeikan University College of Image Arts and Sciences.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Archivists from the institutions will introduce their films. Plus a special screening with benshi performance (Japanese tradition of narration for silent film show) is planned in the program of April 11.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Screening Schedule</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Saturday, April 7 19:00</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>(total running time: 85 minutes)</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>The Museum of Kyoto presents:</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>GION KOUTA EHIGASA: TANUKI DAIJIN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(A Ballad of the Gion, A Pictured Parasol: A Wealthy Raccoon, 1930, Makino Productions [Omuro Studio], directed by Bansho Kanamori) 35mm, b/w, 7 minutes [18 fps], silent. Digitally restored from the 9.5 film by the Museum of Kyoto.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><B><BR></B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Kawasaki City Museum presents:</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>HEIWA KINEN TOSHI: HIROSHIMA</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(Hiroshima: Aiming at Peace Center, 1954, Naigai Eiga-sha, directed by Ken Akimoto) 35mm, b/w, 30 minutes, sound. Restored by Kawasaki City Museum.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>The Fukuoka City Public Library FilmArchive presents:</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>BAKUDATTO-HIME</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(The Princess of Baghdad, 1948, Sanko Eiga-sha, directed by Iwao Ashida) 35mm, b/w, 48 minutes, sound. Jointly restored by The Fukuoka City Publice Library Film Archive and National Film Center. A collection of National Film Center.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Monday, April 9 19:00</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(total running time: 95 minutes)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Hiroshima City Cinematographic and Audio-visual Library presents:</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>SHONEN SHOKUN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(You Boys, 1932, Kyodai Productions, directed by Tamotsu Takata) 35mm, b/w, 28 minutes [24 fps], silent. Jointly restored from the 16mm film by Hiroshima City Cinematographic and Audio-visual Library and National Film Center. A collection of National Film Center.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>National Film Center presents:</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>KEMURIGUSA MONOGATARI</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(The Story of Cigarettes, 1926, Tokyo Jiyu Eiga-sha, directed by Noburo Ofuji) 35mm, tinted color, 3 minutes [24 fps], silent;</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>NAKAYAMA SHICHIRI</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(Seven-ri to Nakayama, 1930, Hassei Eiga, directed by Namio Ochiai) 35mm, b/w, 37 minutes [21 fps], sound (Mina Talkie sound system), incomplete;</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">RHYTHM (1935) 35mm, b/w, 2 minutes [16 fps], silent; PROPAGATE (1935) 35mm, b/w, 4 minutes [16 fps],silent; AN EXPRESSION (1935) 35mm, color (pseudo-Kinemacolor system), 3 minutes [30 fps], silent. All directed by Shigeji Ogino, blown-up from the 9.5mm originals;</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>KAWAII SAKANAYA-SAN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(A Little Fishmonger, 1953, Konishiroku Shashin Kogo, directed by Shiko Niimura) 35mm, color (Konicolor system), 3 minutes, sound; and</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">GINRIN (Bicycle in Dream, 1955, Shin Riken Eiga, directed by Masao Yabe, Toshio Matsumoto and Genichiro Higuchi) 35mm, color, 12 minutes, sound, English version.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">All restored by and collections of National Film Center.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Wednesday, April 11 19:00</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(total running time: 75 minutes)</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>Film Preservation Society presents:</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; "><B>MODAN KAIDAN: ICHIOKU-EN</B></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(Modern Horror 100,000,000 Yen, Shochiku [Kamata Studio], directed by Torajiro Saito) 35mm, b/w, 15 minutes [16 fps], silent, abridged version. Restored by Film Preservation Society. A collection of National Film Center.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Ritsumeikan University Art Research Centerpresents:ONSEN HIWA: MISASA KOUTA</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">(The Ballad of Misasa: Tragedy in the Hot Spring Town, 1929, Makino Productions [Omuro Studio], directed by Kichinosuke Hitomi) 35mm, b/w, 60 minutes [18 fps], silent, with English subtitles. Jointly restored by Ritsumeikan University and National Film Center. A collection of National Film Center.</DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; font: normal normal normal 12px/normal Helvetica; min-height: 14px; "><BR></DIV><DIV style="margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; ">Both screenings that day will have benshi performance by Midori Sawato, the internationally acclaimed benshi performer, with musical accompaniment by Joichi Yuasa (guitar) and Makiko Suzuki (flute).</DIV></BODY></HTML>