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<DIV><FONT size=3 face=Arial>I'm just in the door from Udine. I don't
think I can connect calligraphy to ShinToho exploitation films, of which more
later. But there was a new Korean thriller, 'Secret Reunion',
'Ui-hyeong-je', by a young director called JANG Hun. Amongst the traits
that separate the two main characters from the North and the South, are
different kinds of absent fatherhood and whether one can write
calligraphy. In a short scene, the southerner, in a gesture of
appeasement, writes a memorial prayer for the use of the Northener in
Chinese characters - something the Northener is unable to do.</FONT></DIV>
<DIV><FONT size=3 face=Arial>And I'm trying to remember which Oshima film starts
with the central disc of the hinamori, with various bits of handwring on,
including a hangul expression.</FONT></DIV>
<DIV><FONT size=3 face=Arial>Roger</FONT></DIV></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="FONT: 10pt arial; BACKGROUND: #e4e4e4; font-color: black"><B>From:</B>
<A title=amnornes@umich.edu href="mailto:amnornes@umich.edu">Mark Nornes</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A
title=KineJapan@lists.acs.ohio-state.edu
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Friday, April 30, 2010 11:27
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Calligraphy</DIV>
<DIV><BR></DIV>
<DIV>All the late Kurosawa films were apparently by the same
calligrapher. </DIV>
<DIV><BR></DIV>
<DIV>M<BR><BR>(Sent from my iPod, so please excuse the brevity and
mistakes.)</DIV>
<DIV><BR>On May 1, 2010, at 3:49 AM, "Yuna de Lannoy" <<A
href="mailto:yuna_tasaka@hotmail.com">yuna_tasaka@hotmail.com</A>>
wrote:<BR><BR></DIV>
<DIV></DIV>
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<DIV>I would like to mention two more examples of calligraphy in Japanese
films, even though calligraphy doesn't play a central role in these films.
<DIV>My first example is In the Realm of the Senses/ Ai no corrida where at
the end of the film the woman writes on the body of the partner with his
blood. My second example are the early films of Kurosawa whose titles and
credits were always written by professional calligraphers.</DIV>
<DIV><BR></DIV>
<DIV>Yuna<BR><BR>
<HR id=stopSpelling>
Date: Fri, 30 Apr 2010 12:34:15 -0400<BR>From: <A
href="mailto:wgardne1@swarthmore.edu"><A
href="mailto:wgardne1@swarthmore.edu">wgardne1@swarthmore.edu</A></A><BR>To:
<A href="mailto:KineJapan@lists.acs.ohio-state.edu"><A
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A></A><BR>Subject:
Re: Calligraphy<BR><BR>
<STYLE>.ExternalClass P {
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<DIV style="FONT-FAMILY: Verdana; COLOR: #000000; FONT-SIZE: 12pt">Speaking
of the "calligraphic style" of Chambara, I'm familiar with this term from
Bordwell's Ozu and the Poetics of Cinema and related articles-- and, despite
my great admiration for Bordwell's work, I've always a bit skeptical about
this term as a stylistic label for a certain type of prewar cinema. Still,
I've never been sure if it was Bordwell's invention, or if it came from
somewhere else. Does anyone know more about this term and whether it
originates outside of, or has travelled beyond, Bordwell's work?
<DIV>--Will<BR><BR>----- Original Message -----<BR>From: "ryan cook" <<A
href="mailto:ryan.cook@yale.edu">ryan.cook@yale.edu</A>><BR>To: <A
href="mailto:KineJapan@lists.acs.ohio-state.edu"><A
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A></A><BR>Sent:
Friday, April 30, 2010 11:38:19 AM GMT -05:00 US/Canada Eastern<BR>Subject:
Re: Calligraphy<BR><BR><BR>Scott Nygren takes up cinematic calligraphy in a
figurative sense, drawing on<BR>Derrida and Karatani, in his book Time
Frames: Japanese Cinema and the<BR>Unfolding of History. This is a
much more theoretical treatment less<BR>concerned<BR>with literal instances
of calligraphy in film than with the idea of a<BR>"decentered" cinematic
ecriture, as Mathieu mentions. Of course there is also<BR>the talk of
the calligraphic style of chambara, for example, where camera<BR>movement
itself is likened to bold strokes of the
brush.<BR><BR>-Ryan<BR><BR><BR><BR>Quoting Mathieu Capel <<A
href="mailto:mathieucapel@gmail.com">mathieucapel@gmail.com</A>>:<BR><BR>>
dear Markus,<BR>><BR>> Talking about Yoshida, the finale of Jôen/The
affair shows a beautiful piece<BR>> of calligraphy, written by Okada's
character (well, I assume it's not really<BR>> her, for we only see hands
at that time) on the shôji of her summer house -<BR>> and I think it has
a strong meaning regarding the plot and the rest of the<BR>> film. I
mean, here calligraphy - or let's say the act of writing - seems to<BR>>
be related to the death of her love affair, and the end of her dreams
of<BR>> freedom... I wonder if one could not link that to Derrida and
Karatani when<BR>> they talk about "Ecriture", etc. (?)<BR>><BR>>
Best,<BR>><BR>> Mathieu Capel<BR>> 2010/4/30 Mark Nornes <<A
href="mailto:amnornes@umich.edu">amnornes@umich.edu</A>><BR>><BR>>><BR>>>
<<A
href="mailto:thomas.lamarre@mcgill.ca">thomas.lamarre@mcgill.ca</A>>
wrote:<BR>>><BR>>> it's not actually calligraphy but talismanic
writing plays a central role:<BR>>>>
Onmyôji.<BR>>>><BR>>><BR>>> Why isn't it
calligraphy?<BR>>><BR>>>
M<BR>><BR>><BR>><BR>><BR>> --<BR>> Mathieu Capel<BR>>
67 rue de la Roquette<BR>> 75011 Paris<BR>> 06 50 32 45 00 / 01 43 79
19 19<BR>> <A href="mailto:mathieucapel@gmail.com"><A