<html><head><style type='text/css'>p { margin: 0; }</style></head><body><div style='font-family: Verdana; font-size: 12pt; color: #000000'>Dear Martin,<div><br><div>Please let the KineJapaners when your article on Hosoda appears!</div><div><br></div><div>By the way, that reminds me that-- I could have missed it but-- I don't recall ever seeing the special issue of The Canadian Journal of Film Studies on Contemporary Japanese Cinema in Transition (vol 18, no. 1, spring 2009, edited by Mitsuyo Wada-Marciano) announced on this list. I have an article on Oshii Mamoru and Satoshi Kon (which includes some discussion of Paprika), and there are also articles by Daisuke Miyao on Kitano Takeshi, Aaron Gerow on Miike Takashi, and Mitsuyo Wada-Marciano on Digital Aesthetics in Post-Studio Japanese Cinema. More info below:</div><div><br></div><div>from--</div><div>http://www.filmstudies.ca/CJFS_backissuesINDEX.htm<br></div><div><br></div><div><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-size: 11px; line-height: 12px; "><h3 style="font: normal normal bold 100%/normal Arial, Helvetica, sans-serif; color: rgb(51, 77, 85); margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; ">A Special Issue on Contemporary Japanese Cinema in Transition</h3><ul style="list-style-type: square; line-height: normal; "><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Mitsuyo Wada-Marciano, Introduction</p></li></ul><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Articles</p><ul style="list-style-type: square; line-height: normal; "><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; "><a href="http://www.filmstudies.ca/CJFS_abstV1801.htm#DaisukeMiyao" style="color: rgb(102, 153, 255); text-decoration: none; ">Daisuke Miyao, From Doppelganger to Monster: Kitano Takeshi’s <em>Takeshis’</em></a></p></li><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; "><a href="http://www.filmstudies.ca/CJFS_abstV1801.htm#AaronGerow" style="color: rgb(102, 153, 255); text-decoration: none; ">Aaron Gerow, The Homelessness of Style and the Problems of Studying Miike Takashi</a></p></li><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; "><a href="http://www.filmstudies.ca/CJFS_abstV1801.htm#WilliamGardner" style="color: rgb(102, 153, 255); text-decoration: none; ">William Gardner , The Cyber Sublime and the Virtual Mirror: Information and Media in the Works of Oshii Mamoru and Kon Satoshi</a></p></li><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; "><a href="http://www.filmstudies.ca/CJFS_abstV1801.htm#MitsuyoWada" style="color: rgb(102, 153, 255); text-decoration: none; ">Mitsuyo Wada-Marciano, Capturing “Authenticity”: Digital Aesthetics in the Post-Studio Japanese Cinema</a></p><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; "><br></p><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; "><span class="Apple-style-span" style="color: rgb(51, 51, 51); font-family: Verdana; line-height: 12px; "><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Review-essays / Essais comptes rendus</p><ul style="list-style-type: square; line-height: normal; "><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">William C. Wees, Whatever Happened To Underground Film?</p></li></ul><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Book Reviews • Comptes rendus</p><ul style="list-style-type: square; line-height: normal; "><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Julianne Pidduck, <em>Masculine Singular: French New Wave Cinema</em></p></li><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Joan Nicks, <em>Now Playing: Early Moviegoing and the Regulation of Fun</em></p></li><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Aaron Taylor, <em>The Horse Who Drank the Sky: Film Experience Beyond Narrative and Theory</em></p></li><li><p style="font-family: Arial, Helvetica, sans-serif; font-size: 11px; color: rgb(102, 102, 102); text-align: justify; font-style: normal; text-transform: none; font-variant: normal; margin-top: 0px; margin-right: 0px; margin-bottom: 0px; margin-left: 0px; padding-top: 0px; padding-right: 0px; padding-bottom: 0px; padding-left: 0px; line-height: 20px; ">Murray Leeder, <em>Celluloid Vampires: Life After Death in the Modern World</em></p></li></ul></span></p></li></ul></span></div><div><br><br><br>----- Original Message -----<br>From: "Martin Vieillot" <eigagogo@free.fr><br>To: KineJapan@lists.acs.ohio-state.edu<br>Sent: Thursday, March 18, 2010 6:41:08 PM GMT -08:00 US/Canada Pacific<br>Subject: Re: Summer Wars / Yasutaka Tsutsui<br><br>>but I noted that Tsutsui's blurb endorsement of "Summer Wars" is featured prominently on the "Summer Wars" official website<br>Pretty interesting (and not surprising imho!) :)<br>I am now writing on Hosoda, will try to get an interview slot in which the 'Tsutsui' connection could be discussed.<br><br>>so there seems to be strong Tsutsui/Mad House connection<br>another interesting point, i didn't notice Paprika was a Madhouse prod as well!<br><br><br>Martin <br><br><br>----- Mail Original -----<br>De: "William Gardner" <wgardne1@swarthmore.edu><br>À: KineJapan@lists.acs.ohio-state.edu<br>Envoyé: Vendredi 19 Mars 2010 02h19:43 GMT +01:00 Amsterdam / Berlin / Berne / Rome / Stockholm / Vienne<br>Objet: Re: Summer Wars / Yasutaka Tsutsui<br><br><br>Martin, <br><br><br>This is an interesting question and I too would like to know more about the answer. You're probably aware of this, but I noted that Tsutsui's blurb endorsement of "Summer Wars" is featured prominently on the "Summer Wars" official website. And, of course, Tsutsui is also the author of the original work upon which Kon Satoshi "Paprika" is based, so there seems to be strong Tsutsui/Mad House connection. <br><br><br>Best, Will Gardner <br><br>----- Original Message ----- <br>From: "Martin Vieillot" <eigagogo@free.fr> <br>To: "KineJapan" <KineJapan@lists.acs.ohio-state.edu> <br>Sent: Thursday, March 18, 2010 1:49:45 PM GMT -08:00 US/Canada Pacific <br>Subject: Summer Wars / Yasutaka Tsutsui <br><br>Dear all, <br><br>I wanted to know if a 'connection' has been drawn/discussed by Japanese critics/scholar between the Hosoda's latest work and the thematics Tsutsui used to deal with (virtual realm/multi-fictional level). Hosoda already adapted a Tsutsui novel with help screenwriter Satoko Okudera ('Toki wo ..'), the same person which made the original story (?) of Summer Wars. <br><br>Has director Hosoda spoke about its movie influences and the 'Tsutsui legacy'? Or is this work should be looked from the global perspective of a litterary movement? (William Gardner said 'Tsutsui proposing a model of fictionality (kyokou ) and surfictionality, metafiction, or hyperfiction (choukyokou ) that, together with the example of Tsutsui’s own fiction, has exerted a deep influence on a new generation of Japanese writers such as Takahashi Gen’ichiroo ,Ogino Anna, Shouno Yoriko, Kobayashi Kyouji, and Shimada Masahiko). <br><br>Additionaly, have these writers' works led to movies adaptation dealing with similar thematics or modern fictional approach? (Writing method of All about lily chouchou seems similar to Tsutsui's Gaspard of the Morning, both using was Gardner refers as 'computer simulation, and the hypermediated realm of daily life) <br><br>(I'm far from being a Tsutsui specialist, so my view may prove to be incorrect or not complete .. especially regarding the meta-fiction aspect) <br><br>Martin <br></div></div></div></body></html>