<HTML><BODY style="word-wrap: break-word; -khtml-nbsp-mode: space; -khtml-line-break: after-white-space; "><BR><DIV><DIV>On Aug 28, 2007, at 4:35 PM, Cook, Theodore wrote:</DIV><BR class="Apple-interchange-newline"><BLOCKQUOTE type="cite"><SPAN class="Apple-style-span" style="border-collapse: separate; border-spacing: 0px 0px; color: rgb(0, 0, 0); font-family: Helvetica; font-size: 12px; font-style: normal; font-variant: normal; font-weight: normal; letter-spacing: normal; line-height: normal; text-align: auto; -khtml-text-decorations-in-effect: none; text-indent: 0px; -apple-text-size-adjust: auto; text-transform: none; orphans: 2; white-space: normal; widows: 2; word-spacing: 0px; "><FONT size="2"><SPAN class="Apple-style-span" style="font-size: 10px; ">and perhaps most especially at the case of Kamei Fumio, who was jailed during the war for his left-wing thinking, and his film, The Tragedy of Japan (Nihon no higeki) pp. 152-154. You may well already have read this material.</SPAN></FONT></SPAN></BLOCKQUOTE></DIV><BR><DIV>Since someone has mentioned Kamei, I thought I'd mention that I discuss the issue of tenko in Japanese Documentary Film. I have to say I am ambivalent about the subject. It's easy to make too much of tenko. On the other hand, I found it difficult to avoid when it was a key feature of so many filmmakers' lives. My treatment of tenko and Prokino or the typical Japanese filmmakers probably doesn't add up to much. However, I do take a rather contrary position on Kamei, a filmmaker I admire more than any other. Kamei is typically held up as the only filmmaker to take a stand, refuse tenko, and predictably end up in prison. However, as I note, this narrative depends upon the suppression of wartime work that never made it into his filmography. </DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>Markus</DIV><DIV><BR class="khtml-block-placeholder"></DIV><DIV>PS: I also wrote a short piece on Kamei for the Yamagata catalog on imperial cinema. </DIV></BODY></HTML>