<html><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Dear KineJapaners,<div><br></div><div>Please join us for the next meeting of the Japanese Film Workshop on Thursday, February 25, from 7 to 9PM, at Meiji Gakuin University, Shirokane Campus. PLEASE BE SURE that the venue has changed to *room 7418* on the 4th floor of the Hepburn hall (a tall building standing next to the main building). The Japanese Film Workshop is open to all, and directions from stations and the campus map are attached below as a PDF file.</div><div><br></div><div><div>"On Nudity, Somewhere"</div><div>Jonathan M. Hall</div><div>Assistant Professor, Pomona College</div><div>JSPS Postdoctoral Fellow, Meiji Gakuin University</div><div> </div>Iimura Takahiko’s short film “On Eye Rape” (1962) includes what the experimental director calls “subliminal shots against censorship.” As this curious structure (the invisible exposition of an exposed invisibility) reminds us, some sexual phantasies take their shape in not being able to see or in remaining unseen. Moving between film, photography, and flipbooks, this presentation considers the visual logic of publicly visible sex in a series of Japanese avant-garde visual works with especial concern for the concept of sexual anonymity. In considering heterosexual and homosexual sex through the scopic regime of “the invisible hand,” I hope to provide some initial answers to interrelated questions: how does visual exposure sustain or betray the concept of sexual anonymity? how have Japanese avant-garde works figured heterosexual and homosexual nudity differently? at what points do the scopic and corporeal regimes of heterosexual and homosexual nudity coalesce? and does sex need to be visible for it to be public? The works considered are all by male creators and range from the early 1960s to now. I address Iimura’s <span class="Apple-style-span" style="text-decoration: underline;">Ai (Love)</span> (1962), Donald Richie’s <span class="Apple-style-span" style="text-decoration: underline;">Dead Boy</span> (1967) and <span class="Apple-style-span" style="text-decoration: underline;">Cybele</span> (1968), Yoshiyuki Kohei’s <span class="Apple-style-span" style="text-decoration: underline;">The Park</span> (1980), and Takano Ryudai’s <span class="Apple-style-span" style="text-decoration: underline;">Parapara: Maria—Toshihisa</span> (2009).</div><div><br></div><div>For more information, please contact: <a href="mailto:naoki.yamamoto@yale.edu">naoki.yamamoto@yale.edu</a></div><div><br></div><div>Naoki Yamamoto (Coordinator)</div><div>PhD Candidate</div><div>East Asian Languages and Literatures/ Film Studies</div><div>Yale University</div><div><br></div></body></html>