<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; "><!--StartFragment--><p class="MsoNormal" align="center" style="text-align:center;mso-pagination:none;
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<td width="230" valign="top" style="width:3.2in;padding:0in 5.4pt 0in 5.4pt;
height:202.0pt"><p class="MsoNormal" align="center" style="margin-bottom:12.0pt;text-align:center;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b><span style="font-size:5.0pt;mso-bidi-font-size:32.0pt;font-family:Georgia;
mso-bidi-font-family:Georgia;color:#2F26F8"><span style="mso-spacerun:
yes"> </span><o:p></o:p></span></b></p><p class="MsoNormal" align="center" style="margin-bottom:12.0pt;text-align:center;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b><span style="font-size:32.0pt;font-family:Georgia;mso-bidi-font-family:Georgia;
color:#2F26F8">Kinema Club X
<o:p></o:p></span></b></p><p class="MsoNormal" align="center" style="margin-bottom:12.0pt;text-align:center;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b><span style="font-size:32.0pt;font-family:Georgia;mso-bidi-font-family:Georgia;
color:#2F26F8">In Hawai’i
</span></b><span style="font-size:15.0pt;
font-family:Verdana;mso-bidi-font-family:Verdana">
<o:p></o:p></span></p><p class="MsoNormal" align="center" style="margin-bottom:12.0pt;text-align:center;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b><span style="font-size:24.0pt;font-family:Georgia;mso-bidi-font-family:Georgia">July
30-August 1, 2010</span></b><span style="mso-bidi-font-size:12.0pt;
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</b></span></font></p><p class="MsoNormal" align="center" style="text-align: center; font-size: 25px; "><span style="font-family: Arial; font-size: 32px; "><b>Preliminary
Schedule</b><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span class="Apple-style-span" style="font-family: Arial; font-size: 15px; font-weight: bold; ">Friday, July 30</span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">2:30-4:30 pm<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Panel 1<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.7pt;mso-para-margin-left:6.81gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Trond Lundemo (Stockholm University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:127.9pt;mso-para-margin-left:10.66gd;
text-indent:8.45pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;
mso-bidi-font-family:Century">Ideography and Japanese Culture in Film Theory</span><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.55pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
13.0pt;font-family:Arial;mso-bidi-font-family:Century">A. M. Nornes (University
of Michigan)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:73.1pt;text-indent:66.4pt;mso-pagination:
none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:
11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:Century">The
Restless Calligraph<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.7pt;mso-para-margin-left:6.81gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Roger Macy<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:127.9pt;mso-para-margin-left:10.66gd;
text-indent:8.45pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;
mso-bidi-font-family:Century">The 1929 Moscow Japanese Cinema Exhibition in
Context<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:127.9pt;mso-para-margin-left:10.66gd;
text-indent:8.45pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;
mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Panel 2<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Choo Kukhee (University of Tokyo)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
text-indent:.2pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;
mso-bidi-font-family:Century">Virtual /Daikoku/: The New Japan imagined in
/Coil-A Circle of Children</span><span style="font-size:11.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Miryam Sas (UC Berkeley)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.5pt;mso-para-margin-left:11.35gd;
text-indent:-.3pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;
mso-bidi-font-family:Century">Intermedia moments in Japanese experimental
animation<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Marie Thorsten (Doshisha University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.5pt;mso-para-margin-left:11.35gd;
text-indent:-.3pt;mso-pagination:none;mso-layout-grid-align:none;text-autospace:
none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;
mso-bidi-font-family:Century">Cartoon Reality?: The Animated Documentary and
the Art of Darkness<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Melek Ortabasi (Simon Fraser University )<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">(Re)animating Folklore: Raccoon Dogs, Foxes and other Supernatural
Japanese Citizens in Takahata Isao’s <i style="mso-bidi-font-style:normal">Heisei
tanuki gassen pompoko</i></span><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana"><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">5:30 pm<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Reception/dinner</span><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">8:00 pm<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Migration to official
bar <o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">Saturday, July 31<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">9:00 am<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Breakfast<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">9:30-11:30 am<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><span style="mso-tab-count:
1"> </span>Panel 3<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Michael Arnold (University of Michigan)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">On Location: Tsuda Ichiro, Pink Photography, and the Possibilities of
Representation <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Kirsten Cather (University of Texas at Austin)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Stilling the Moving Bodies of a Nikkatsu Roman Porn: Kumashiro
Tatsumi’s 1973 <i style="mso-bidi-font-style:normal">Yojōhan fusuma no
urabari</i>”<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Ryan Robert Mitchell (York University, Toronto)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">The Phenomenology of Alterity in Wakamatsu Koji’s <i style="mso-bidi-font-style:normal">Go, Go Second Time Virgin</i><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Julian Ross (University of Leeds)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Interdisciplinary Activities of Shinjuku Bunka and Sasori-za:
Theatrical Impact on the Early ATG Films</span><span style="font-size:11.0pt;
mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><span style="mso-tab-count:
1"> </span>Panel 4<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Livia Monnet (University of Montreal)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">The “Cocoro of Rococo:” Girl Subcultures, Humor, and Animetism in
Nakashima Tetsuya’s <i style="mso-bidi-font-style:normal">Kamikaze Girls</i><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Paul Berry (Kansai Gaidai University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Black Lizard Playground: Gender Performance in
the Kurotokage films by Fukasaku, Maruyama, and Mishima (1968) and
the 2007 Takarazuka Version<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Bryan Hikari Hartzheim (UCLA)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Hosts and Hostesses: Limits of Fiction and Non-Fiction in Jake
Clennell’s The Great Happiness Space –<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">11:30 am<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Lunch<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">12:45-2:45 pm <o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Panel 5<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Jie Li (Harvard University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Phantasmagoric Manchukuo: Films of the Manchurian Motion Picture
Association (Man’ei), 1937-1945</span><span style="font-size:11.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Eija Niskanen (University of Helsinki)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">From Coastal Finland to Urban Tokyo: The Moomin Brand in Japan<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Dan Herbert (University of Michigan)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Horror remakes</span><span style="font-size:11.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Boel Ulfsdotter (Örebro University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">The Image of Japanese Film through Western Film Posters<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Panel 6 <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">PRECONSTITUTED PANEL: Re-imagined Communities: Undoing the
Relationship of Gender, Sexuality, and Nationalism through Postwar Japanese
Films </span><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Tsukada Yukihiro (Kansai Gakuin University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Scandal Japan: Sexual Politics in Kôji Wakamatsu’s Early Works<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Nakagaki Kotaro (Daito Bunka University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Locality and Gender/Body/Identity Switching: Ōbayashi Nobuhiko’s Two
Versions of Exchange Students and Transitions of Shōjo Images<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Suzuki CJ (Lehigh University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">New Media and Neo-nationalism in Postmodern Japan<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">3:00-5:00 pm<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><span style="mso-tab-count:
1"> </span>Panel 7<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Sharon Hayashi (York University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Film, social movements and freeter culture <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Christine Marran (University of Minnesota)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Toxic Waters: On Visibility, Invisibility, and the Ecopolitical in
Cinema</span><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Misono Ryoko (University of Tokyo)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Suspension of the Law: The Meaning of the State and the Enunciating
Subject in Oshima Nagisa’s <i style="mso-bidi-font-style:normal">Death by
Hanging </i>(1968)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Jonathan M. Hall (Pomona College)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Direct Video Action: The Distance and Brevity of Neoliberalism</span><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><span style="mso-tab-count:
1"> </span>Panel 8<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Michael Raine (University of Chicago)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Adaptation and Propaganda: <i>Stagecoach</i> and the <i>kokumin
eiga</i></span><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:TimesNewRomanPSMT"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Naoki Yamamoto (Yale University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
TimesNewRomanPSMT">Struggles over Cinematic Subjectivity: Nikkatsu Tamagawa and
the Development of Realist Film Practice in Wartime Japan</span><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Ushida Ayami (Nihon University)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:
Century">日本映画評論・批評における戦争責任</span><span style="font-size:11.0pt;mso-bidi-font-size:
13.0pt;font-family:Arial;mso-bidi-font-family:Century"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:81.95pt;mso-para-margin-left:6.83gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Seio Nakajima (University of Hawai‘i at Mānoa)<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:136.7pt;mso-para-margin-left:11.39gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Century">Mapping the Transnational Genesis of the Post-War Japanese Cinematic
Field: Case Studies of the Productions of <i style="mso-bidi-font-style:
normal">Madame White Snake </i>(1956) and <i style="mso-bidi-font-style:
normal">Legend of the White Snake </i>(1958)<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">6:00-8:00 pm<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Beach Party (planned)<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">8:00 pm<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Migration to official
bar<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">Sunday, August 1<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">9:00 am<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Breakfast<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">9:30 am<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Film and Discussion
(Film TBA)<o:p></o:p></span></p><p class="MsoNormal" style="text-indent:.5in;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:
15.0pt;font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana">11:30-1:00 pm<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><span style="mso-tab-count:
1"> </span>Lunch<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:Verdana">PAPER
ABSTRACTS (in panel order)<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">PANEL 1:<o:p></o:p></span></u></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">A. M.
Nornes<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">The
Restless Calligraph <o:p></o:p></span></b></p><p class="MsoNormal" style="margin-left:45.0pt"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:"Arial Narrow""><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.0pt"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial">Western avant-garde film theorists
and practitioners, such as Sergei Eisenstein and Alexander Astruc, have
famously connected cinema with the art of handwriting. The former described
cinematic image-making as a combination of shots that, like Asian ideograms,
are both depictive, or figural, and intellectual; the latter equated the film
camera to a pen, the <i style="mso-bidi-font-style:normal">caméra-stylo</i>.
Yet their work has remained as suggestive as it is isolated: it has not
prompted systematic studies of calligraphy in film history in the same way
attention to calligraphy has influenced other scholarly endeavors, including
the history of letter- and book-writing, philology, literary biography,
typography and the avant-garde, or even graffiti and popular culture. To my
knowledge no one has written on the subject of calligraphy and cinema in any
concerted or interesting way. My own fascinations, admittedly informed by my
work and interest in Asian cinema, stem from the complex phenomenology of
calligraphy in films. We see how the cinematic styles are often re-enacted in
calligraphic style. Calligraphy creates meaning both linguistically and
paralinguistically, by virtue of its semantics and the semiotic/material
qualities of color, line and even animation. Indeed, calligraphic script lends
itself to the art of cinema—literally, the “writing of movement”—by virtue of
the “liveness” and the suggestion of “movement.” Furthermore, the ontology of
the calligraph—being the product of an individual’s brush and expressing both
the being of the artist and the frozen moment of production—seems roughly
analogous to the ways in which film theorists have considered the indexical
qualities of the photo-chemical image. The pasting of objects’ reflections on
film is akin to a form of writing. All this helps explain the persistence and
ubiquity of the written script in East Asian cinema, where text has a different
status than cinema in the rest of the world.<b style="mso-bidi-font-weight:
normal"><o:p></o:p></b></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Trond
Lundemo<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Title:
Ideography and Japanese Culture in Film Theory<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">In this
presentation, I propose to examine the role of ideography in the formation of
film theory in the 1910s and 1920s. These constructions draw not only on
Japanese writing but also on a larger idea about Japanese culture during these
years. Ideography is frequently made up to be the ‘other’ of alphabetic
writing.<span style="mso-spacerun: yes"> </span>The most famous text
drawing on ideography in this context is Sergei Eisenstein’s “Beyond the Shot”
(1929), finding in Japanese writing a true principle of montage, which he
identifies as completely absent in Japanese cinema at the time. Eisenstein’s
account is indebted to a line of film theoretical inventions centering on ‘the
writing in pictures’ and ‘the hieroglyph’ since the mid-teens, as in Vachel
Lindsay’s chapter on hieroglyphs in <i style="mso-bidi-font-style:normal">The
Art of the Moving Picture </i>(1915), Jakov Lintsbach’s construction of a
visual esperanto in 1916, and texts by Bela Balázs and others during the 1920s.
These issues are revisited by Roland Barthes, Christian Metz and Raymond
Bellour in the textuality debates in the 1970s, the intermediality issues in
the 1990s (Mikhail Iampolsky) and in computer theory. In a Japanese context,
Tanizaki Jun’ichiro approaches the role of writing in interesting ways in some
of his early texts on cinema (translated in <i style="mso-bidi-font-style:normal">Shadows
on the Screen</i> (ed. Thomas Lamarre). <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">The focus
in this presentation is how ideography and Japan serve as a projection field
for the invention of a truly cinematic culture in these writings, constructing
a duality between a Western and Japanese traditions. I will also show how these
early writings on film were as much engaged with ‘archive theory’,
understanding the shot as an element that could be engaged in ever changing
contexts, rather than in the established ‘works’ forming the point of departure
for later, ‘classical’ film theory.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Roger Macy<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:19.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">Title: The 1929 Moscow Japanese Cinema Exhibition in Context</span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:ArialMT"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">The 1929 Moscow Japanese Cinema Exhibition has been known, if at all,
in English-language sources as the departure point for Eisenstein’s essay, <i>zakadrom</i>,
sometimes translated as “The Cinematic Principle and Japanese Culture.”
Because of the immense influence of Eisenstein, the lack of any translation of
the catalogue to which he was responding and the rarity of that Moscow
catalogue, the exhibition itself has had little consideration in the context of
Japanese cinema in the west, except through this devastating filter: “a country
that has no cinematography.”</span><span style="font-size:9.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"> </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">A translation of the catalogue into English by Stephen P. Hill is
offered, and the catalogue reviewed through that translation.</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"> </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:ArialMT">A short account of the
selection and assemblage of the materials is given, referring to some Japanese
sources.</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"> </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">The catalogue is considered as a Soviet characterization of Japanese
film history, and compared with some other western viewpoints of this, and
subsequent eras.</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"> </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">An acknowledgement is made of the influence of Eisenstein as a filter
on the Soviet perception of Japanese arts, and consequently, on all western
perception of Japanese visual arts.</span><span style="font-size:9.0pt;
mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"> </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">A critique is made of the impact, or lack, of the Exhibition on Soviet
cultural life [RM has no claim to be a Russian specialist]; with some
speculations on other Soviet filters of perception on Japan.</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">A brief view is taken of Soviet relations with Japan, with some
possible bearings on Soviet portrayals of Japanese culture and on
Russo-Japanese cultural relations of the period.</span><span style="font-size:
9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">
</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;
mso-bidi-font-family:ArialMT">A short comparison is made of highly contrasted
representations of Soviet and Japanese cinema internationally, in the
increasingly polarized positions of the subsequent period; with a brief
examination of possible triggers for this divergence.</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"> </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:ArialMT">It is appreciated that some of
these topics require more expertise than one individual can offer, and so the
paper does not attempt to be definitive, but merely attempts to frame some
discussion.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">PANEL 2:<o:p></o:p></span></u></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Kukhee Choo<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Title: Virtual /Daikoku/: The New Japan imagined in /Coil-A Circle
of Children<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Created by Iso Mitsuo, “Coil-A Circle of Children” (/Denno- Koiru/)
is a science fiction anime that aired on Japanese national broadcast television
station (NHK) in 2007. The narrative revolves around the virtual reality city
Daikoku, where the landscape infrastructure mostly consists of digital data and
the Internet. Children run around the city wearing their special “augmented reality”
glasses that can manipulate the data surrounding their daily lives. The glasses
function as the Internet, but the space that they access and control are their
own reality.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">In /Coil/, temporal and spatial realities have no boundaries. The
blurring of the digital and the physical external alters the linear notion of
space and time. As the story unravels, we encounter a larger conspiracy that
tries to cover up the danger of the newly developed virtual technology, which
creates “ghosts” that are remnants of the left over old data. According to
Azuma Hiroki, Japanese anime and its avid fans called Otaku have created a
space where modes of communication have been altered into a postmodern
“database-like” structure. The signified are codified into bits and pieces of
information that can be summed up in the notion of “moe,” a term that
summarizes the appealing and exciting elements in a character. Moe elements do
not have a linear history that can add up to the characters’ attractiveness. In
fact, the characters themselves become an embodiment of the entire history of
anime character development and thus, become a transcending figure of the otaku
culture. In other words, contemporary anime (and its characters) are produced
with prior creations as stepping stones, only to further blur the boundaries of
narratives, visuality, and the history of the medium itself. Therefore, the
entire genre of anime becomes an amalgam of postmodern pastiche and
stereotypes, which appears to be epitomized in anime such as /Coil/.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Evoking the trite bias of techno-Orientalism, Daikoku (which echoes
the term “great nation” in Japanese) as a virtual reality city replicates the
notion of great economic and technological development that Japan once
represented. When data virus-eliminating machines sweep the cityscape, the only
spaces to which the children can safely evacuate are the old temple sites.
Here, we can witness the tension among the past, present and future. With the
Japanese government’s concentrated international promotion of anime into the
global market, and further its embracing of anime as being part of Japan’s
traditional arts, the production of /Coil /at this juncture of time presents an
interesting development of Japanese anime as a whole. This study will examine
the notion of space and time in /Coil/ and situate its production within the
larger socio-economic structure of the Japanese anime industry in the 21st
century.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Miryam Sas<o:p></o:p></span></b></p><p class="MsoBodyText3"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:8.0pt;font-family:Arial">Title:
Intermedia moments in Japanese experimental animation<o:p></o:p></span></b></p><p class="MsoBodyText3" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:8.0pt;font-family:Arial">This paper
takes as its starting point the 1967 film <i style="mso-bidi-font-style:normal">Ninja
bugeichō </i>[Chronicles of the warrior arts of the Ninja/Band of Ninja] by
Oshima Nagisa, in order to explore intermedia moments in Japanese experimental
animation of the 1960s. <i style="mso-bidi-font-style:normal">Ninja bugeichô</i>
follows on Oshima’s <i style="mso-bidi-font-style:normal">Diary of Yunbōgi</i>,
another activist film made up completely of filming of still photographs with
voice-over. Through it, Oshima arrived at a method for adapting Shirato
Sanpei’s manga by making it into a film “as is,” through moving and still shots
of the original work. The rhetoric of filming an object “as it is” pervades not
only documentary theories of direct representation but also anti-art movements
and visual arts movements like Mono-ha. Yet here, with the backdrop of ATG
cinematic representations of historical moments of revolution, Oshima claims
that the “adventures” of the ninja in this film correspond to a spirit of
cinematic adventure, which simultaneously interrogates the nature and process
of social revolution. Pushing against congealed assumptions about what cinema
can be and represent, he attempts through this experimental montage to realize
a spirit of revolution, experimentation, and adventure at once.<o:p></o:p></span></p><p class="MsoBodyText3" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:8.0pt;font-family:Arial">In this
paper, then, Oshima’s film will be a starting point for a study of several
experiments in animation from the Sōgetsu art center, placed in the context of
the experimental cinema of the time. The abstract forms of the film and its
political message echo the relationship between the political and the formal
experiment in many other works of the era, but press on them in a new way.
These works choose to frame strict formal limits as a paradoxical path to
freedom and new, provocative forms of thought.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;
font-family:Arial;mso-bidi-font-family:ArialMT"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">Marie Thorsten</span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
TimesNewRomanPSMT"><o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">Title: </span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">Cartoon Reality?: The Animated Documentary and the Art of Darkness</span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
13.0pt;font-family:Arial;mso-bidi-font-family:Verdana"><o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT"><o:p> </o:p></span></b></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT">In his film, <i>Waltz With Bashir</i> (2008), Ari Folman introduced
the seemingly incongruous category of “animated documentary”: a cartoon
representation of the real. Documentaries as memory quests are not entirely
unlike cartoons: <i>War Neurosis </i>(1917), tried to document surrealism
through war reenactment and PTSD experienced by hospitalized British soldiers. <i>The
Fog of War</i> (2003) references Robert McNamara’s memories from age two and
his quest for personal and national redemption as Defense Secretary in the
Vietnam War, with McNamara’s own exhortation that “There's something beyond
one's self.” <i>Bashir </i>presents the fragmented memories of Israeli
soldiers in the Lebanese conflict in the 1980s referencing dreams and war
reenactments, particularly in the director’s own quest to overcome amnesia.
Edward Said argues that the strength of the comic aesthetic is to reach into
places unreachable. When Said (favorably) compares artist Joe Sacco to the
enigmatic character of Marlow in Conrad’s <i>Heart of Darkness</i>, he
apparently hints at an even greater complexity for understanding Sacco’s work,
with insights applicable to other cartoon (film animation or print comics)
documentarians such as Folman. This paper will read <i>Waltz With Bashir </i>with
reference to <i>The Heart of Darkness</i>, aided by Said’s commentary, and
noting the motifs of imperialism, encounter and self-confrontation.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Melek
Ortabasi<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Title:<span style="mso-spacerun: yes"> </span>(Re)animating Folklore: Raccoon Dogs,
Foxes and other Supernatural Japanese Citizens in Takahata Isao’s <i style="mso-bidi-font-style:normal">Heisei tanuki gassen pompoko</i><o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Folklore as
a genre is generally associated with the premodern; indeed, the birth of
folklore study was a form of resistance to the modern. At the same time, oral
narrative is often retold in modern contexts, becoming a useful resource in
nation-building. As a result, folklore’s contradictory identity is manifested
in a variety of cultural products all over the globe. But perhaps none
underline its narrative and political flexibility as well as the animated film.
Experts in a medium that is still most commonly associated with a juvenile
audience, the directors of Japan’s popular Studio Ghibli make daring and
creative use of this flexibility in their frequent appropriation of the genre. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Takahata’s <i style="mso-bidi-font-style:normal">Pompoko</i> (1994) is a striking example
within the Ghibli repertoire, all of which invokes and reimagines Japanese and
world folklore to some extent. Because it employs a particularly realistic,
contemporary Japanese setting and folk iconography that is culturally specific,
however, <i style="mso-bidi-font-style:normal">Pompoko</i> has never achieved
the global popularity enjoyed by other Ghibli films – especially those directed
by Miyazaki Hayao, Takahata’s more famous compatriot. The interactions of the
magical but embattled <i style="mso-bidi-font-style:normal">tanuki</i> (raccoon
dogs) who play the main characters somehow lack the broad emotional appeal of
the interhuman (and interspecies) relationships depicted in films such as <i style="mso-bidi-font-style:normal">Tonari no Totoro</i> (1988) and <i style="mso-bidi-font-style:normal">Majo no takyūbin</i> (1989). Similarly,
though the film has a liberal, environmentalist tone that many international
audiences would understand, it does not deliver its message in the globally
fashionable and euphemistic mode of speculative fiction, as do <i style="mso-bidi-font-style:normal">Kaze no tani no Naushikâ</i> (1984), <i style="mso-bidi-font-style:normal">Mononokehime</i> (1997) and even <i style="mso-bidi-font-style:normal">Sen to Chihiro no kamikakushi</i> (2001).<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">This paper
will examine <i style="mso-bidi-font-style:normal">Pompoko</i>’s visual and
narrative characteristics and how they relate to more “traditional” <i style="mso-bidi-font-style:normal">tanuki</i> lore. I will argue that the
film’s literal interpretation of the fantastic allows the <i style="mso-bidi-font-style:
normal">tanuki</i> to become more than a nostalgic metaphor for lost ways of
(Japanese) life. Using the anime medium to create composite images and
sequences in which the realistic and fantastic encounter each other, <i style="mso-bidi-font-style:normal">Pompoko</i> seeks to unfold the fourth
dimension of the Japanese landscape and give folklore a (post)modern voice. The
film’s visual strategies redefine the genre itself, and not just its “folksy”
content, suggesting that folklore can be an effective tool to understand the
present and future of Japan, as well as its past. <o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;
font-family:Arial;mso-bidi-font-family:ArialMT"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">PANEL 3: <o:p></o:p></span></u></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Mike Arnold<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Title: </span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">On Location: Tsuda Ichiro, Pink Photography, and the Possibilities of
Representation<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">In 1980, 38-year-old Tsuda Ichiro published <i style="mso-bidi-font-style:
normal">The Location</i> (Za rokeshon), a document of the photographer’s
experiences as a cameraman on the set of Japan’s Pink Films (Pinku eiga)—the
controversial industry of low-budget, narrative erotic cinema that flourished
in the decades before adult video and still continues today. Winding over 200
pages, Tsuda’s casual anecdotes about Pink personalities and their
misadventures are illustrated by scores of black and white pictures from Pink
Film sets and highlighted by Tsuda’s musings on photographic realism. Despite
(or perhaps due to) its somewhat eloquent approach to such a visceral subject,
the book was a commercial success. By 1984, <i style="mso-bidi-font-style:normal">The
Location</i> had been reprinted nine times and adapted into a feature film by Shochiku
Studios, helmed by one time “Otoko wa tsurai yo” director Morisaki Azuma and
starring Nishida Toshiyuki. In 1989, while continuing his freelance Pink
photography, Tsuda received the ninth Domon Ken Award for his collection of
non-Pink Film related photographs, <i style="mso-bidi-font-style:normal">The
Narrow Road</i> (Oku no hosomichi). Today he continues his work as a still and
promotional photographer for Pink Films as well as hardcore adult videos.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">While <i style="mso-bidi-font-style:normal">The Location</i> takes
pains to note (and show) the representational limits imposed on the erotic film
in Japan (in particular by the Administration Commission of Motion Picture Code
of Ethics, Japan’s film censorship board), Tsuda’s privileged photographs of
the cast, crew, and camera in historical space offer an alluring view of the
Pink set. Balancing between the acknowledged artifice of the moving picture and
the presumed documentary reality of the still, the book attempts to triangulate
the location of a ‘reality’ beyond the surface of this melodramatic body genre,
hinting at a point of stress in the cinematic apparatus that is seen in the
friction between the differing indexical values of competing photographic
media. Framed by my own experiences as a photographer on the Pink set and my
first-hand observations of Mr. Tsuda at work, I will address <i style="mso-bidi-font-style:normal">The Location</i>’s alternative view of
profilmic space as a valuable catalyst for addressing the realism of the
pornographic image in Japanese cinema and examining the material and historical
conditions of Pink Film production itself.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none"><b style="mso-bidi-font-weight:
normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:
Arial">Kirsten Cather<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none"><b style="mso-bidi-font-weight:
normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:
Arial">Title: Stilling the Moving Bodies of a Nikkatsu <i style="mso-bidi-font-style:
normal">Roman Porn</i>: Kumashiro Tatsumi’s 1973 <i style="mso-bidi-font-style:
normal">Yojōhan</i> <i style="mso-bidi-font-style:normal">fusuma no urabari</i><o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none"><span style="font-size:11.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">When a
literary classic is adapted into a film, the results invariably invite scorn
from critics and fans alike. The 1973 Nikkatsu <i style="mso-bidi-font-style:
normal">roman porn</i> film adaptation of a short story by one of Japan’s most
esteemed novelists, Nagai Kafū, was no exception. This paper considers how and
why the film took considerable liberties in adapting the story, in particular
its conspicuous incorporation of archival photographs that document the rise of
Japanese militarism in the late Taishō period (1912-26). Throughout the film,
sepia-colored still photographs of violent rice riots, revolution, and, most
provocatively, the dead hanged bodies of Korean dissenters interrupt and
punctuate the central storyline – an extended scene of sexual intercourse between
a geisha and her client. I consider the political and aesthetic effects of
injecting such stilled images into a genre famous instead for its lush color
moving ones. As the film made Japan’s top film journal’s top ten list of films
in 1973, the integration of these seemingly incompatible photos into a generic
pornographic film seems to have been a success, suggesting curiously enough
both </span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:
Arial;mso-bidi-font-family:Verdana">the evidentiary and masturbatory potential
of the archival photo.<o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Ryan Robert Mitchell<o:p></o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Title: The
Phenomenology of Alterity in Wakamatsu Koji’s <i>Go, Go Second Time Virgin</i></span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p></o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:16.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica">The ethical criticism of film
is a practice that seeks out those moments where our ‘mastery’ as viewers is
challenged by the uncertain affect and desire generated by cinema. This theory
posits that the ‘gaze’ is a property of the cinematic object that announces its
alterity rather than the all-powerful viewer. At disruptive moments, the
image—or Other—gazes back at us challenging the space we inhabit as viewers.
The ethical criticism of film involves interrogating the ways in which we as
subjects, in our consumption and enjoyment, are implicated in relations of
power through the production of images.</span><span style="font-size:9.0pt;
mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:16.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica">My discussion of the ethical
criticism of film will be grounded within the Japanese exploitation genre of
pinku eiga. Specifically, the work of the radical director Wakamatsu Koji will
be considered with reference to how his films disrupt genre expectations and
viewer identification. The presentation will focus specifically on 1969’s <i>Go,
Go Second Time Virgin</i>, a nihilist film that depicts the bleak love
relationship that develops between two abused teenage outcasts. I will be
making the claim that within the context of pink cinema, Wakamatsu's film opens
space for an ethical interrogation of the one's position as spectator.</span><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:16.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica">Drawing from such
post-phenomenological works as Emmanuel Levinas’ <i>Totality and Infinity</i>
and <i>Otherwise Than Being</i>, this presentation will examine our affective
relationship with the moving image, how it positions us as desiring subjects, and
how alterity announces itself within the Wakamatsu’s radical pink eiga.<o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal"><b><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial">Julian Ross<o:p></o:p></span></b></p><p class="MsoNormal"><b><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial">Title: </span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Interdisciplinary
Activities of Shinjuku Bunka and Sasori-za: Theatrical Impact on the early ATG
Films<o:p></o:p></span></b></p><p class="MsoNormal"><i><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></i></p><p class="MsoBodyText2" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;font-weight:
normal;mso-bidi-font-weight:bold">This paper will focus on the activities of
the Shinjuku Bunka and Sasori-za in the 1960s and early 1970s assessing the
impact of non-filmic events on the early films co-produced by the Art Theatre
Guild. Despite evidence of high levels of collaboration and communication often
revolving around ATG, many discussions on ATG emphasise the impact of their
initiative to screen foreign art cinema and little has been developed on the
effects of the interface between film and other art forms that flowered in
Shinjuku’s artistic community.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">In
particular Shinjuku Bunka was a centre of gravity for such artistic communion
and, I will argue, actively encouraged filmmakers and artists to experience
different cultural forms and engender fruitful collaborations. Late-night
performances began in the mid-60s and Kuzui Kinshiro soon built the performance
space ‘Sasori-za’ underneath Shinjuku Bunka which became the heart of <i>angura</i>
theatre, a platform for experimental film screenings and a stage for <i>butoh</i>
dances, all-night jazz concerts and drunken conversations between artists. The
referencing of ‘premodern’ art forms, the rethinking of relationships between
art and audience, the questioning of reality and the limitations of singular
artistic media will be discussed as concerns in the art community and as
crucial within the ATG films.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-indent:.5in"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Specifically,
the paper will propose that dialogue with <i>angura</i> theatre played a
decisive role in shaping the thematic and stylistic trends of the films that
ATG came to produce. It will illustrate these concerns through reference to
cinematic works by Shinoda, Matsumoto and Terayama, analysing the space of
theatre within their filmic diegesis. Terayama’s <i>Throw Away Your Books, Get
Out Onto the Streets</i>, first a collection of essays, second a dramatic
performance, and finally Terayama’s ATG debut, will be of particular
importance.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-indent:.5in"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">The paper
will place film history within the larger pantheon of art history to offer an
interdisciplinary perspective on Japanese film in the 1960s and 1970s.<o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">PANEL 4:<o:p></o:p></span></u></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span lang="EN-CA" style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:
EN-CA">Livia Monnet<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span lang="EN-CA" style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:
EN-CA">Title: The “Cocoro of Rococo:” Girl Subcultures, Humor, and Animetism in
Nakashima Tetsuya’s <i style="mso-bidi-font-style:normal">Kamikaze Girls</i><o:p></o:p></span></b></p><p class="MsoNormal" style="margin-right:49.3pt"><span lang="EN-CA" style="font-family:Arial;mso-ansi-language:EN-CA"><o:p> </o:p></span></p><div style="margin-top: 0in; margin-right: 49.3pt; margin-left: 71pt; margin-bottom: 0.0001pt; "><span lang="EN-CA" style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:
EN-CA">Rococo… embodies the spirit of punk rock and anarchism more than any
other philosophy. Only in Rococo — elegant yet in bad taste, extravagant yet
defiant and lawless — can I discover the meaning of life… This is the Cocoro of
Rococo (a little pun in Japanese if you please. <i style="mso-bidi-font-style:
normal">Cocoro</i> [kokoro] means “spirit”). <o:p></o:p></span></div><div style="margin-top: 0in; margin-right: 49.3pt; margin-left: 71pt; margin-bottom: 0.0001pt; "><span lang="EN-CA" style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:
EN-CA">(Novala Takemoto, <i style="mso-bidi-font-style:normal">Kamikaze Girls</i>,
trans. Akemi Wegmüller, San Francisco: VIZ Media, 2008,7)<o:p></o:p></span></div><div style="margin-top: 0in; margin-right: -0.3pt; margin-left: 35.5pt; margin-bottom: 0.0001pt; text-indent: 28.35pt; "><span lang="EN-CA" style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:
EN-CA"><o:p> </o:p></span></div><div style="margin-top: 0in; margin-right: -0.3pt; margin-left: 35.5pt; margin-bottom: 0.0001pt; "><span lang="EN-CA" style="font-size:
9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:EN-CA">This
talk examines Nakashima Tetsuya’s exhilarating adaptation of Takemoto Novala’s
best-selling light novel, <i style="mso-bidi-font-style:normal">Shimotsuma
monogatari</i> (<i style="mso-bidi-font-style:normal">Shimotsuma Story</i>,
translated as <i style="mso-bidi-font-style:normal">Kamikaze Girls</i>, 2002).
A highly entertaining, stylish and inventive comedy, <i style="mso-bidi-font-style:
normal">Kamikaze Girls </i>(2004) depicts the growing friendship between two high-school
students, Lolita fashion addict Momoko and Yanki biker Ichigo. I shall argue
that the film’s sympathetic representation of girl (“gal”/<i style="mso-bidi-font-style:
normal">gyaru</i>) subcultures as resistance to (what it envisions as) the
parochial, consumerist, conservative mainstream culture of contemporary Japan
is at once undermined and reinforced by its recourse to parody, humor and
animetism as surface<span style="mso-spacerun: yes"> </span>effects.<o:p></o:p></span></div><div style="margin-top: 0in; margin-right: -0.3pt; margin-left: 35.5pt; margin-bottom: 0.0001pt; "><span lang="EN-CA" style="font-size:
9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial;mso-ansi-language:EN-CA">Indeed,
<i style="mso-bidi-font-style:normal">Kamikaze Girls</i>’ anarchic slapstick
humor, parodic mise-en-abyme, and animated sequences showing the heroic actions
of the legendary leader of all-girl biker gangs, Himiko, resonate strongly with
Deleuze’s approach to humour and Thomas Lamarre’s theory of the anime machine.
In <i style="mso-bidi-font-style:normal">The Logic of Sense</i> Deleuze defines
humor as the co-extensiveness of sense with non-sense, an art of the surface
and of doubles, “of nomad singularities and the always displaced aleatory
point,” which substitutes “the savoir-faire of the pure event” and a new type
of esoteric language of the surface for the philosophy of the depth and height
of becoming, of tragedy and irony (<i style="mso-bidi-font-style:normal">The
Logic of Sense</i>, trans. Mark Lester with Charles Stivale, New York: Columbia
UP, 1990, 139-41). Lamarre argues that anime, or the art of Japanese<span style="mso-spacerun: yes"> </span>“full limited animation,” is also an
art of the surface. It may be envisioned as a heteropoïetic machine — an
assemblage of technological, conceptual, aesthetic and socio-cultural relations
that folds into itself universes and territories of thought, technical
operations and affective machines while unfurling divergent series of
animations. Anime’s multiplanar (or superplanar) anime image is a type of
time-image, a distributive field of exploded projection in which movement and
depth are created, or simulated through the sliding of the image’s constitutive
planes, and which saturates the surface of the image with the ontological
crisis of the movement-image and the existential crisis of the characters’
flattened identity and subjectivity to such an extent that the latter are
pushed out of the frame and become migrant “soulful bodies.” (Lamarre, <i style="mso-bidi-font-style:normal">The Anime Machine: A Media Theory of
Animation</i>, Minneapolis: Minnesota UP, 2009). <i style="mso-bidi-font-style:
normal">Shimotsuma monogatari</i>’s protagonists, Momoko and Ichigo, are
depicted precisely as such disconnected, unbound soulful bodies wearing their
affects and ontological crises as it were on the surface of the skin,
characters or images corresponding to Deleuze’s notion of the incorporeal
double or the ego that dissolves itself in the phantasm-event while liberating
the impersonal, pre-individual singularities it contained within itself (<i style="mso-bidi-font-style:normal">Logic of Sense</i>, 8-11, 213-16). It would
thus appear that the film subscribes entirely to Deleuze’s and Lamarre’s notion
that “the most profound is the immediate” (<i style="mso-bidi-font-style:normal">Logic
of Sense</i>, 9), and that subversion, if at all, occurs at and as the surface
of language/the anime image. (<i style="mso-bidi-font-style:normal">Kamikaze
Girls</i> tends to conflate cinematic perspectivism with animetism’s “raising
to power” of the “ballistic perception” of cinema [see Lamarre, <i style="mso-bidi-font-style:normal">The Anime Machine</i>, 26-94, 124-44]).
Nevertheless, the deconstructive logic of parody and of mise-en-abyme; the pop
postfeminist representation of girl (<i style="mso-bidi-font-style:normal">shôjo/gal/gyaru</i>)
bonding; and finally the paradoxes of the temporal loop and the possible worlds
at work in Nakashima’s film suggest that the flattening of subversion and resistance
produces a “new esoteric language” — that of inversion or perversion — that in
its turn requires a rethinking of the logic of the subcultures and “translocal”
media of neoliberal consumer capitalism.<o:p></o:p></span></div><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">Paul Berry<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">Title: Black Lizard Playground: Gender Performance in the Kurotokage
films by Fukasaku, Maruyama, and Mishima (1968) and the 2007 Takarazuka
Version.<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">Mishima Yukio published a play titled Kurotokage in Fujin gaho in 1961
based upon the original 1934 novel by Edogawa Ranpo. Mishima’s play was
performed in 1962 while simultaneously a Kurotokage film with a script by
Shindo Kaneto starring Kyo Machiko was released to the theaters. The most
noted film version was directed by Fukasaku Kinji in 1968 loosely based on
Mishima’s play starring Maruyama (Miwa) Akihiro with Mishima in a cameo as a
“living doll.” The 1968 version gained considerable international attention
after it was revived at the Chicago Lesbian and Gay International Film Festival
in 1985 that was followed by a VHS release in 1992 in the US. In the following
decades a variety of TV dramas and theatrical versions of Kurotokage were
produced. In 2007 Takarazuka staged a musical drama of the Kurotokage plot and
produced a film version of the stage play for release on DVD.<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Verdana"><o:p> </o:p></span></p><div style="margin-top: 0in; margin-right: -9pt; margin-left: 45.5pt; margin-bottom: 0.0001pt; "><span style="font-size:9.0pt;mso-bidi-font-size:
12.0pt;font-family:Arial;mso-bidi-font-family:Verdana">Contrasting the plots
and performances of the female role of Kurotokage played by Maruyama Akihiro in
1968 with that of Sakurano Ayane in 2007 and the male role of the famed
detective Akechi Kogoro played by Kimura Isao in 1968 and Haruno Sumire in 2007
allows a revealing analysis of gender performances. In these two films same sex
actors playing opposite gender roles performed tragic love stories for a broad
popular audience. A key question is the degree to which these actors of one sex
playing the opposite gender role serves to undercut or support the standard
gender conventions of cinema.<o:p></o:p></span></div><p class="MsoNormal" style="margin-right:-9.0pt"><span style="font-size:11.0pt;
mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-right:-9.0pt"><b style="mso-bidi-font-weight:
normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:
Arial">Bryan Hikari Hartzheim <o:p></o:p></span></b></p><p class="MsoNormal" style="margin-right:-9.0pt"><b style="mso-bidi-font-weight:
normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:
Arial">Title: Hosts and Hostesses: Limits of Fiction and Non-Fiction in Jake
Clennell’s <i style="mso-bidi-font-style:normal">The Great Happiness Space</i><o:p></o:p></span></b></p><p class="MsoNormal" style="margin-right:-9.0pt"><span style="font-size:11.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><div style="margin-top: 0in; margin-right: -9pt; margin-left: 45.5pt; margin-bottom: 0.0001pt; "><span style="font-size:9.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial">Jake Clennell’s <i style="mso-bidi-font-style:normal">The
Great Happiness Space </i>(2007) is a film that, like Mitchell Block’s <i style="mso-bidi-font-style:normal">No Lies</i>, involves screened lies on
tiered levels: the lies of the subjects, the lies of the filmmaker, and the
lies of the medium itself. Unlike Block’s film, though, it is an actual
documentary, filmed during a brief stint in Japan where the director was on a
separate shoot for a baseball-themed Japanese film. <i style="mso-bidi-font-style:
normal">The Great Happiness Space</i> documents the life of Issei, the
top-ranking male host working in a popular host club in the red-light Minami
ward of Osaka metropolis.<o:p></o:p></span></div><div style="margin-top: 0in; margin-right: -9pt; margin-left: 45.5pt; margin-bottom: 0.0001pt; "><span style="font-size:9.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial"><span style="mso-tab-count:1"> </span><o:p></o:p></span></div><div style="margin-top: 0in; margin-right: -9pt; margin-left: 45.5pt; margin-bottom: 0.0001pt; "><span style="font-size:9.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial">The male host in Japan shares much in common with his
female counterpart – both are hired to entertain clients of the opposite sex
primarily through conversation. Japanese cinema has a long tradition of
dramatizing the working conditions of female entertainers with the <i style="mso-bidi-font-style:normal">josei eiga</i>, or woman’s film, as it is
known in the west to include the films of Mizoguchi Kenji, who chronicled the
plight of geisha in countless films. The male host is represented much less in
Japanese film history despite the profession being not that recent of a social
development in entertainment culture. Clennell’s film is not the first
non-fiction film to document the inner-workings of a modern host club, but it
is unique in its emphasis on deception as a rule of thumb when working in this
underground industry on the part of not only the hosts, but of the clients as
well. <i style="mso-bidi-font-style:normal">TGHS</i> draws upon the fictional
narrative and spatial conventions of the Japanese woman’s film, in particular
that of Naruse Mikio and his <i style="mso-bidi-font-style:normal">When a Woman
Ascends the Stairs</i>, to create a false sense of drama, but the film, and
Clennell the filmmaker, also employs traditional cinema verite techniques to
undermine both this constructed narrative and the limits of the “honesty” of
cinema verite itself. <o:p></o:p></span></div><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">PANEL 5: <o:p></o:p></span></u></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Jie Li<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Title:
Phantasmagoric Manchukuo: Films of the Manchurian Motion Picture Association
(Man’ei), 1937-1945<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Founded in
1937 to propagate Manchukuo’s “national policy” and to spread the ideology of
the Great East Asia Co-Prosperity Sphere, the Manchurian Motion Picture
Association (Man’ei) produced 108 “entertainment” features, 189 “education”
documentaries, as well as hundreds of newsreels and children’s programs. With
the end of the war, this body of films was lost in the chaos of political
transition, with only a small fraction recovered in the last two decades. Based
on primary research into extant Man’ei features and documentaries, film
magazines, and published reminiscences by former employees, this paper provides
a preliminary overview of what we might call “Manchurian cinema” from 1937 to
1945 through its historical texts and contexts. With almost 2000 employees by
the end of 1944, Man’ei’s staff was constituted by Japanese and Chinese,
leftists and rightists, idealists and cynics, underground Nationalist agents,
Communist guerrillas, and politically naive adolescent actors. Hence I argue
that there may be more authorship behind these films than the monolithic
articulation of a single hegemonic voice—itself subject to shifts in the
wartime ideological climate. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Drawing on
the film magazine <i style="mso-bidi-font-style:normal">Manshu</i> <i style="mso-bidi-font-style:normal">Eiga</i>, the first section of this paper
outlines the way Man’ei was built up, from the recruitment of actors and
crewmembers to the expansion of distribution networks, from the guidelines of
its makers to the perspectives of their audiences. The remaining bulk of the
paper discusses seven extant Man’ei films: wartime interracial romances
starring the legendary Ri Koran (<i style="mso-bidi-font-style:normal">Song of
the White Orchid </i>(1939)<i style="mso-bidi-font-style:normal">, China Nights</i>
(1940)<i style="mso-bidi-font-style:normal">, </i>and <i style="mso-bidi-font-style:
normal">Winter Jasmine </i>(1942), the historical melodrama <i style="mso-bidi-font-style:normal">Eternal Fame</i> (1942), the musical <i style="mso-bidi-font-style:normal">My Nightingale</i> (1943), the comedy <i style="mso-bidi-font-style:normal">Everybody Is Happy </i>(1943), and the
“educational documentary” <i style="mso-bidi-font-style:normal">Lice Are To Be
Feared </i>(1943)<i style="mso-bidi-font-style:normal">. </i>An analysis of
these films gives a glimpse into the diversity of genres, messages, forms, and
historical moments they encompass, showing that Man’ei was not a monolithic
entity reducible to a stereotypical plot in the continental goodwill films or
to the legendary biographies of its chief or brightest star. Transcending the
simplistic binary of resistance and collaboration that characterized mainstream
scholarship on Man’ei or on wartime cinema in general, this paper attends to
the historical ambiguities and political contingencies faced by the filmmakers
and the audiences, taking both an analytical and imaginative approach to the
intended or received meanings of Man’ei cinema’s remnant fragments.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;tab-stops:28.0pt 56.0pt 84.0pt 112.0pt 140.0pt 168.0pt 196.0pt 224.0pt 3.5in 280.0pt 308.0pt 336.0pt;
mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:
normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Helvetica">Eija Niskanen <o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:
normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:
Arial;mso-bidi-font-family:Helvetica">Title: From Coastal Finland to Urban
Tokyo: The Moomin Brand in Japan<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">The
Moomin characters, created originally by the Finnish novelist/artist Tove
Jansson in both novel and cartoon formats, have carved a permanent place in the
hearts of Japanese people. Since the 1970s two Japanese TV anime series have
been produced, the first broadcast on Fuji TV during 1969-70, and the second,
Tanoshii Moomin Ikka on TV Tokyo in 1990-91. Forthcoming is a Finnish- Japanese
co-production of a 3D theatrical-length Moomin movie. some famous names, such
as Rintaro and Miyazaki Hayao were involved as animators for the first series. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Moomin
rights and legally handled in Japan by two companies. Tuttlemori Agency
licencing company created the early Moomin boom, and is also involved in the
forthcoming 3D movie production. Moomin Character Ltd, owned by late Tove
Jansson's niece Sophia Jansson, have approved the second TV series, and own the
rights for most of the Moomin character goods sold in Japan. They were thus
heavily involved in the second Moomin boom of 1990s. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;tab-stops:28.3pt 56.65pt 85.0pt 113.35pt 141.7pt 170.05pt 198.4pt 226.75pt 255.1pt 283.45pt 311.8pt 340.15pt;
mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">My
paper studies the different brand concepts that these two companies have
created in Japan. I also discuss both the differences of the Japanese Moomins
as compared to the original Finnish ones, as well as the different meanings
that the characters have in each country - for ex . the most popular Moomin
character in Japan is the freely wandering Snufkin, whereas in Finland each of
the characters have their fans, for ex. young women see the strong and
argumentative Littly My as their self-image. </span><span style="font-size:
9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;
font-family:Arial;mso-bidi-font-family:Verdana"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">Daniel Herbert<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:15.0pt;font-family:Arial;mso-bidi-font-family:
Verdana">Title: <o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">This paper
examines the recent but now dwindling flow of remakes between Japan and Hollywood,
such as <i style="mso-bidi-font-style:normal">The Ring</i> (2002), <i style="mso-bidi-font-style:normal">The Grudge</i> (2004), and <i style="mso-bidi-font-style:normal">Dark Water</i> (2005). This cycle of
activity created new industrial and intertextual connections between Hollywood
and Japanese cinema and, as part of a larger system of Hollywood’s remakes of
East Asian films, created new linkages with Asian cinema in general. However,
any time one creates cultural or industrial linkages, structural may divisions
also become more apparent, prompting us to wonder: “what was ‘Japanese” in this
exchange?” “How did ‘Japan’ and ‘Japanese cinema’ find a definition here?” In
an attempt to address these questions relationally, one must first look at the
way that the cycle of Hollywood remakes of East Asian films significantly
displaced the prominence of Hollywood remakes of films from Europe. Then, I
will move from this shift to examine the major industrial players that
facilitated the Hollywood-East Asian exchange and their relations to Japanese
cinema. Finally, I will look at the dominant genres and themes undertaken in
Hollywood remakes of Japanese films, which provide cultural counterpoints to
the economic imperatives of the trend.<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Boel
Ulfsdotter</span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
ArialMT"><o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Title: The
Image of Japanese Film through Western Film Posters<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">This paper
offers a double-take on Western film poster practice in relation to Japanese
film based on film poster material from the 1950s and 1960s. My first example
concerns the general attitude among Western poster artists. Beginning with a
short introduction of typical iconographical elements found in Western film posters
for Japanese films at this time, I shall go on to present a case study of how
certain Western poster artists cultivated a traditional image of Japaneseness
in their film posters, regardless of the film genre and narrative mode of the
Japanese film itself. My second example engages with the collection of film
posters for Japanese films in Western and especially French film archives. We
shall see that collection of these posters was often conditioned by their
relevance to similar traditional Western views on Japaneseness despite the
variety of Japanese film genres and individual films actually on offer at the
cinemas. Based on the holdings in some European film archives, I assume that
the majority of them hold only one or two archetypes of film posters related to
Japanese film while other posters were considered unsuitable for collection. We
may thus establish that the collected film posters generally represent a false
historiography of the exhibition of Japanese film in the West. I shall finally
propose that the artistic expression of Japaneseness represented in the older
film posters still reign the Western image of Japanese cinema. They therefore
do not only determine the archival profile of many collecting institutions but
also continue to mould the general image of Japanese cinema in the West. <o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;
mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">PANEL
6:<o:p></o:p></span></u></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></b></p><p class="MsoNormal" style="margin-left:6.0pt;text-indent:-6.0pt"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">「再想像された共同体</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";mso-ansi-language:RU">：</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">戦後日本映画を通してジェンダー、セクシュアリティー、そしてナショナリズムを読みほどく」</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">("</span><span style="font-size:11.0pt;font-family:
Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Re</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">-</span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">imagined</span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Communities</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">: </span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">Undoing</span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">the</span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">Relationship</span><span style="font-size:
11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:
RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ ゴシック"">of</span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:
"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Gender</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">, </span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">Sexuality</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">, </span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">and</span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Nationalism</span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">through</span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Postwar</span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">Japanese</span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Films</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">")</span><span lang="RU" style="font-size:11.0pt;
font-family:"ＭＳ ゴシック";mso-ansi-language:RU"><o:p></o:p></span></p><p class="MsoNormal" style="margin-left:6.0pt;text-indent:-6.0pt"><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-ansi-language:RU"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">「日本」とは実体である以前に想像され、記述され、そして構築されてきた。かつてベネディクト・アンダーソンは、西洋の文脈において「出版資本主義（プリント・キャピタリズム）」を国民国家の基礎を形作る重要な要素と捉えたが、近代においては映画やラジオ、テレビなどがさらなる影響力をもったメディアとして「想像の共同体」を規定するようになっている。日本の科学技術・文化史において、映画やテレビといった映像メディアが描く風景や個人、そして共同体は、単に外部社会の「反映」ではなく、「理想」として想像される「日本」や「人間関係」だったりする。また、いくらかの映像作家たちは規範的となった「想像された日本」に対して異なる声を挙げ、変革を迫る者もいる。「想像された日本」とは、中央と地方、西洋と非西洋といったように想像する主体の位置や関係性によって変化し、また歴史的文脈においてそれぞれ異なって記憶される。このパネルではそれぞれ異なる歴史的な時間性・状況のなかで、個々の映画がどのように作られ、何がどのように表象され、また社会に対して／社会の中でどう振舞ってきたかを、ナショナリズム、ジェンダー、そしてセクシュアリティーの絡み合いを整理することで検討する。</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">塚田幸光</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">(</span><span style="font-size:11.0pt;font-family:Arial;
mso-fareast-font-family:"ＭＳ ゴシック"">TSUKADA</span><span style="font-size:11.0pt;
font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">Yukihiro</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";
mso-ansi-language:RU">)<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">タイトル：</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";mso-ansi-language:RU">「</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">スキャンダル・ジャパン</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";mso-ansi-language:RU">――</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">若松孝二初期作品における性の政治学」</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-ansi-language:RU">("</span><span style="font-size:11.0pt;font-family:Arial">Scandal</span><span style="font-size:11.0pt;font-family:Arial;mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial">Japan</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-ansi-language:RU">: </span><span style="font-size:11.0pt;font-family:Arial">Sexual</span><span style="font-size:
11.0pt;font-family:Arial;mso-ansi-language:RU"> </span><span style="font-size:
11.0pt;font-family:Arial">Politics</span><span style="font-size:11.0pt;
font-family:Arial;mso-ansi-language:RU"> </span><span style="font-size:11.0pt;
font-family:Arial">in</span><span style="font-size:11.0pt;font-family:Arial;
mso-ansi-language:RU"> </span><span style="font-size:11.0pt;font-family:Arial;
letter-spacing:-.65pt;mso-font-kerning:18.0pt;mso-bidi-font-weight:bold">K</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;letter-spacing:-.65pt;
mso-font-kerning:18.0pt;mso-ansi-language:RU;mso-bidi-font-weight:bold">ō</span><span style="font-size:11.0pt;font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:
18.0pt;mso-bidi-font-weight:bold">ji</span><span style="font-size:11.0pt;
font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:18.0pt;mso-ansi-language:
RU;mso-bidi-font-weight:bold"> </span><span style="font-size:11.0pt;font-family:
Arial;letter-spacing:-.65pt;mso-font-kerning:18.0pt;mso-bidi-font-weight:bold">Wakamatsu</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;letter-spacing:-.65pt;
mso-font-kerning:18.0pt;mso-ansi-language:RU;mso-bidi-font-weight:bold">’</span><span style="font-size:11.0pt;font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:
18.0pt;mso-bidi-font-weight:bold">s</span><span style="font-size:11.0pt;
font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:18.0pt;mso-ansi-language:
RU;mso-bidi-font-weight:bold"> </span><span style="font-size:11.0pt;font-family:
Arial;letter-spacing:-.65pt;mso-font-kerning:18.0pt;mso-bidi-font-weight:bold">Early</span><span style="font-size:11.0pt;font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:
18.0pt;mso-ansi-language:RU;mso-bidi-font-weight:bold"> </span><span style="font-size:11.0pt;font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:
18.0pt;mso-bidi-font-weight:bold">Works</span><span lang="RU" style="font-size:
11.0pt;font-family:Arial;letter-spacing:-.65pt;mso-font-kerning:18.0pt;
mso-ansi-language:RU;mso-bidi-font-weight:bold">")</span><span lang="RU" style="font-size:11.0pt;font-family:Arial;mso-ansi-language:RU"><o:p></o:p></span></p><p class="MsoNormal"><span lang="RU" style="font-size:11.0pt;font-family:Arial;
mso-font-kerning:1.0pt;mso-ansi-language:RU"><o:p> </o:p></span></p><p class="MsoNormal"><span lang="RU" style="font-size:11.0pt;font-family:Arial;
mso-ansi-language:RU"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝"">若松孝二は、性を政治の寓意とみなす。いかに映像は、政治をエロス化しうるのか。あるいは、エロスは政治へと転嫁しうるのか。若松作品において、この壮大な実験は、反権力の身振りと共振し、極めてラディカルな性／政治学となる。国辱映画とされた『壁の中の秘事』（1965）や『胎児が密猟する時』（1966）では、権力／暴力が性行為に投影され、両者の奇妙な依存関係が描かれる。性が暴力に接続され、その地場として、「オープンな密室」という逆説的トポスが生起するのだ。1969年の『処女ゲバゲバ』における「荒野の密室」などは、その象徴的な例だろう。本発表では、この「密室」を軸に、60年代後半の若松作品における性と政治、ジェンダーとナショナリズムのつながりを考察する。ここから、スキャンダルな「日本」が見えてくるはずだ。<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">中垣恒太郎 </span><span style="font-size:11.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック"">(NAKAGAKI
Kotaro)<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">タイトル：</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";mso-ansi-language:RU">「</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black">ローカリティとジェンダー</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black;mso-ansi-language:
PT-BR">／</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black">ボディ</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black;mso-ansi-language:
PT-BR">／</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black">アイデンティティの転換</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black;mso-ansi-language:
PT-BR">――</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black">大林宣彦における</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black;mso-ansi-language:
PT-BR">２</span><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";color:black">つの『転校生』と少女像の変遷」</span><span lang="PT-BR" style="font-size:11.0pt;font-family:Arial;color:black;mso-ansi-language:
PT-BR">(Locality and Gender/Body/Identity Switching: Ōbayashi Nobuhiko’s Two
Versions of <i style="mso-bidi-font-style:normal">Exchange Students</i> and
Transitions of Shōjo Images)<o:p></o:p></span></p><p class="MsoNormal"><span lang="PT-BR" style="font-size:11.0pt;font-family:Arial;
mso-ansi-language:PT-BR"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:46.2pt;mso-para-margin-left:3.85gd"><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black"> 大林宣彦（</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">1938-</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black"> ）の『転校生』（</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">83</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">）とそのセルフ・リメイク作品『転校生 さよならあなた』（</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">07</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">）の二作品を素材にローカリティとジェンダーをめぐる問題について検討する。『転校生』は後に「尾道三部作」と称される、大林の郷里・広島県の「尾道」を舞台にした初期の出世作の一つであり、一方、</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">25</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">年の歳月を経て製作された『転校生 さよならあなた』は「長野」を舞台に移し、オリジナル版と設定や台詞を重ねながらもまったく異なる結末を提示したことで話題を集めた。この２つの作品を繋ぐ</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">25</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">年の間に、バブル景気／消費文化の発達とその後の長期化する不景気の時代背景があり、中でも大林が得意とする十代の少年少女たちを取り巻く環境も一変した。もともと「尾道三部作」の特徴として発表年代となる</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">1980</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">年代よりもずっと古い男女の価値観、少女像、そしてノスタルジックに「地方の光景」を描くことを狙いとし、私小説ならぬ「私映画」としてオリジナル版『転校生』や『時をかける少女』（</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">83</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">）が製作されたことを大林自身がくりかえし述べていることを想起するならば、街の光景が変わりゆく</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">80</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">年代に、消えゆく昔ながらの地方の光景を記録しておくかのような「尾道三部作」はまさに時代の産物としてもたらされたと言える。</span><span style="font-size:11.0pt;color:black"><br>
</span><span lang="JA" style="font-size:11.0pt;font-family:"ＭＳ 明朝";mso-ascii-font-family:
"Times New Roman";mso-hansi-font-family:"Times New Roman";color:black;
mso-fareast-language:JA"> </span><span style="font-size:9.0pt;mso-bidi-font-size:
11.0pt;font-family:"ＭＳ 明朝";mso-ascii-font-family:Arial;mso-hansi-font-family:
Arial;color:black">十代の男女の心と体が入れ替わるという設定からは、その時代におけるジェンダー役割が顕著に見出せるものであり、２つの『転校生』を比較することによって</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">25</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">年の歳月をめぐる少年少女を取り巻く状況の変化を見いだせる。オリジナル版のような形では</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial;color:black">21</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;color:black">世紀初頭の現在、かつての少女像を再び提示することはできなかった（選ばなかった）結末の違いに注目することにより、２つの『転校生』をローカリティとジェンダーの観点から再検討していくことにしたい。</span><span style="font-size:11.0pt;font-family:Arial"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">鈴木繁</span><span style="font-size:11.0pt;font-family:"ＭＳ 明朝";mso-ascii-font-family:Arial;
mso-hansi-font-family:Arial">（</span><span style="font-size:11.0pt;font-family:
Arial">SUZUKI CJ [Shigeru]</span><span style="font-size:11.0pt;font-family:
"ＭＳ 明朝";mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">）</span><span style="font-size:11.0pt;font-family:Arial"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:"ＭＳ ゴシック"">タイトル：「90年代以降のニュー・メディアとネオナショナリズム：土屋豊『新しい神様』を中心に」</span><span style="font-size:11.0pt;font-family:Arial"> (New Media and Neo-nationalism in
Postmodern Japan: <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;font-family:Arial;mso-fareast-language:
JA"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">『癒しとしてのナショナリズム』（</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial">2003</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">）のなかで、小熊英二と上野陽子は</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial">1990</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">年代以降の日本において若者や市民の間で醸成されたネオ・ナショナリズムを分析し、その理由を次のように推論している。彼らによれば、</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial">90</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">年代以降のネオ・ナショナリズムは戦後の国家主義（または保守主義）とは異なり、自らのアイデンティティーの拠りどころとして「草の根」的に構築されているのだとする。ほぼ同時期に日本で普及した「民主化されたメディア」であるインターネットでは、日本語のブログや電子掲示板において上記の言説に加え、民族主義的な排他的言説も溢れている。土屋豊は</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial">2000</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:"ＭＳ 明朝";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial">年発表のドキュメンタリー『新しい神様』においてこうした国家主義や保守主義に惹かれる数人の若者を描いた。このインディペンデント映画が可能になった背景には、カムコーダーというもうひとつの電子テクノロジー発達と浸透がある。このドキュメンタリーにおいて土屋が企図したのは、従来のドキュメンタリーの手法や文法を換骨奪胎し、超越的な観察者の位置を捨て、自らもその客体となり、対話的な物語を集合的に作ろうとするジェスチャーである。この発表は「大きな物語」が終焉したとされる「ポストモダン」な日本において、土屋の映画がどのようにオルターナティブな物語を生成し、覇権的な既存の言説／物語への引力から抵抗しようとするのかを分析する。またその際、物語生成が可能になる歴史的・社会的条件を日本における電子メディアやテクノロジーの発展と展開を参照し、近代の男性中心的／男根中止的な近代の国家主体を書き換えようとする多声的・対話的な声に注目して議論する。</span><span style="font-size:9.0pt;mso-bidi-font-size:11.0pt;font-family:Arial"><o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial">PANEL 7: <o:p></o:p></span></u></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial"><o:p> </o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Sharon Hayashi<o:p></o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Title: </span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial">Neoliberalism and New Narratives in Japanese Cinema:
The Resurgence of Collectives and the Rise of Freeter Culture 1995-2010<o:p></o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial"><o:p> </o:p></span></b></p><p class="MsoNormal" style="margin-left:45.0pt;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial;mso-bidi-font-family:Arial">“Neoliberalism and New Narratives
in Japanese Cinema: The Resurgence of Collectives and the Rise of Freeter
Culture 1995-2010,” examines new modes of filmmaking that have
transformed independent film production and distribution networks in Japan
since the mid-1990s. Bolstered by the explosion of films schools, the
appearance of a mini-theatre circuit, and the increasing affordability of
digital recording and editing technology since the mid-1990s, this film
'movement' was initially led by the ‘freeter’ generation, freelance workers in
the early 1990s who chose to remain in part-time jobs after graduating from
university rather than become part of the mindless corporate culture of the
salaryman. The systematic loosening of labor laws since the late 1990s has
allowed companies to replace their full-time regular workers with less
expensive temporary employees and forced over a third of the workforce in Japan
into short-term contract and temp work with none of the benefits or safety net
of fulltime employees. The transformation of the freeter generation into
a ‘precariat’ (precarious proletariat) has been accompanied by a shift in
themes where the DIY aesthetic is now used to present new political narratives
that challenge mainstream accounts of Japan’s youth culture and the effects of
the over fifteen-year recession. <o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Christine Marran<o:p></o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Title: </span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial">Toxic Waters: On Visibility, Invisibility, and the
Ecopolitical in Cinema<o:p></o:p></span></b></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial">To follow Ulrich Beck, one of the characteristics of risk
society is the invisibility of risk. That which cannot immediately be seen,
according to Beck, must be announced and discussed and <i style="mso-bidi-font-style:
normal">made visible</i>. In the films of Imamura Shohei, water features
prominently in the ways that philosopher Frederic Neyrat has suggested when he
writes: “[W]ater, I would say, is three times <i style="mso-bidi-font-style:
normal">chargée</i>--loaded as a vehicle and charged as a battery. . . . There
is a <i style="mso-bidi-font-style:normal">metaphysical</i> load of water, a <i style="mso-bidi-font-style:normal">metaphorical</i> one, and a <i style="mso-bidi-font-style:normal">metapolitic</i> urgency. This triple load is
related to the fundamental relations that water maintains with life, and
consequently with life and death, desert sands and the marine currents, in
other words Nature . . .” There is a metaphysical load of water in the sense
that it is envisioned as the very source of life. And the metaphorical aspect
of water can relieve water from its liquidy, slippery state by making it
meaningful. The metapolitical urgency is the necessity for the ubiquity of
water and the crisis of the ubiquity of toxicity in the water. My first book
was about poison in the form of the metaphor. The poison woman of the early
twentieth century was toxic, deathly toxic, but she was also intoxicating. A
pleasure to watch. A stimulant. A corrupting force. But poison water has little
in the way of metaphorical value simply for the reason of the third “load” that
Neyrat suggests. Water has a metapolitical urgency. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial">This paper considers the metapolitical urgency expressed
about and through water in Imamura Shohei’s <i style="mso-bidi-font-style:normal">Warm
Water Under a Red Bridge</i> (Akai hashi no shita no nurui mizu, 2001), Sato
Makoto’s documentary <i style="mso-bidi-font-style:normal">Living on the River
Agano</i> (Agano ni ikiru, 1992), and Kurosawa Kiyoshi’s <i style="mso-bidi-font-style:
normal">Bright Future</i> (Akarui mirai, 2003). Imamura and Sato’s films
explicitly address the toxic in water. Imamura’s <i style="mso-bidi-font-style:
normal">Red Bridge</i> juxtaposes scenes of liquid ecstacy with the “Ouch-Ouch”
disease. The heroine of the story plays the daughter of a woman who has thrown
herself into the cadmium poisoned water of the same village in prayer for the
victims of the “Ouch Ouch disease,” retelling with Imamura’s idiosyncratic dark
humor the historical cases of mass cadmium poisoning in the valley that caused
the severely painful softening of the bones and kidney failure. Sato’s film is
about denizens dealing with mercury-poisoned water on the Agano River. And <i style="mso-bidi-font-style:normal">Bright Future</i> features jellyfish that
was made to grow accustomed to an otherwise toxic liquid to its
life—desalinated water. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph;mso-pagination:none;mso-layout-grid-align:
none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial">What is uncanny about water and the toxic is both their
visibility and elusiveness. Cinema is a medium that relies heavily on the
visual, so in the visual capture of water, how can we express what is toxic
without narrative or productive montage? The films suggest through water that
even if the visual and visibility is at cinema’s very core, water remains
elusive. In these films, clear rushing water mitigates, carries, delivers,
suffocates. The films under discussion highlight this double gesture of
visibility and invisibility that both water and cinema insinuate. This paper
will also suggest how a particular filmic aesthetic can impact our
understanding of the ecological and relations between organisms through a
discussion of the cinematic use of water.</span><span style="font-size:11.0pt;
mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica"><o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:
16.0pt;font-family:Arial;mso-bidi-font-family:Helvetica">Ryoko Misono<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Title: </span></b><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Suspension
of the Law: The Meaning of the State and the Enunciating Subject in Oshima
Nagisa’s <i>Death by Hanging</i> (1968)<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">In the
beginning of the year 1968, when the student movement was intensified on a
global scale, Oshima Nagisa released a provocative film titled <i>Kōshikei </i>(<i>Death
by Hanging</i>). In the preview of the film, Oshima assumed the role of the
narrator himself, speaking from behind the screen in the first-person plural
pronoun, “we,” and addressing the audience in the second-person pronoun, “you.”
This attempt to directly address the audience despite the irony that cinema is
a form of reproductive art, enabled Oshima to make this film not only a piece
of work defined as “art,” but also an “event” that occurred at a specific time
and place. In this act of enunciation, which occurred in the historical context
of Japan in the late 1960s, Oshima and the members of Oshima’s production
house, Sōzōsha, questioned the axiomatic nature of the state through an
analysis of the death penalty process. This paper examines how Oshima explored
the motif of the death penalty (and the failure of executing the death penalty)
in the geographical framework of modern Japan and its relation to Korea, which
has been Japan’s internal “Other” throughout modern history, to elucidate this
film as a distinguished analysis of the system of “the state” as a legal and
territorial institution.<o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:16.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Jonathan M. Hall<o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Title: Direct Video Action: The Distance and Brevity of
Neoliberalism <span style="mso-tab-count:1"> </span><o:p></o:p></span></b></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:12.0pt;
font-family:Arial;mso-bidi-font-family:Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">Thanks to electronic components that allow for a quickly and
inexpensively made and distributed visual format, one that allows for an
immediate seeing and sharing of the recorded image (or, for that matter, an
un-recorded image), portable video as a medium has been lauded since its
emergence in the late 1960s and early 1970s, but especially since its
proliferation in home video format in the1980s, as a less aesthetic, yet
inherently more political mode of visual communication. Indeed, the 1970s and
1980s saw the emergence of community-based video collectives that created and
circulated fiction and non-fiction work addressing political and social issues
in an unprecedented fashion, often galvanizing community support for activist
purposes. Yet, has video as a medium altered political expression? Has
the medium altered the way in which politics are conducted? Ron Burnett has
cautioned us against an idea that “instrumental forms of communication
can be constructed to promote political involvement and change.”
The operative assumption that Burnett warns us against is one that
assumes the accessibility of the video medium has made it, by definition, a
more democratic one. In this thinking, a rationalist liberal
understanding of citizen and community maps crudely onto the social positions
of videomaker and audience. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">The question is a familiar one for us twelve years after Burnett
posed it. The appearance of mobile-phone camera images as network news
and the present dominance of in industrialized societies of the Internet as a
source of information raise again questions of whether shifts in media
technology can also presume shifts in the political relation between a subject
and image. Recent scholarship has questioned earlier utopian notions of the
internet as fundamentally democratic. While not denying, for example, the
possibility or radical, subversive uses of the Internet, Douglas Schuler
writes, “major decisions about the development, deployment, or use of the
Intnernet were made in a public participation vacuum … many of these decisions
were made with uncharacteristic speed so as to avoid public input, public input
that might in fact raise uncomfortable questions about social uses or public ownership.”
<o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:9.0pt;mso-bidi-font-size:12.0pt;font-family:Arial;mso-bidi-font-family:
Helvetica">But what happens when the relation between subject and society is
presumed to necessitate action? “Direct action” has become an adopted
phrase within some parts of the antiglobalization and anti-neoliberal
movements. This paper describes and considers the work of Japanese
alternative media activism in the context of the 2008 Hokkaido Lake Toya Summit
and beyond. Following an overview of the kind of media activism that
marked the Summit and political action that has followed it, I pursue an analysis
of the historical, structural, and political qualities that characterize video
activism especially as understood within the broader context faced by opponents
to globalization and to neo-liberal economic policies. In particular, I
use the oxymoronic neologism of “direct video action” to describe the vital,
albeit circumscribed position of the video activist today. By inserting
the term “video,” my neologism and my argument seek to examine both the
necessity and the problem of video activism today. Does not the central
term within “direct video activism” undo, in some sense, the very immediacy of
action itself? I explore this question in the context of a Hokkaido
Summit that saw, unprecedented in the history of G8 meetings, a localization
and isolation of global opponents, where the Japanese government limited access
of overseas and domestic Japanese activists. Indeed, when the physical
containment of the activists to campgrounds kilometers from the G8 venue meant
a “zooification” of global protest, what role could internet based video
activism play in expressing a potent action against the State.<o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><b style="mso-bidi-font-weight:normal"><u><span style="font-size:11.0pt;
mso-bidi-font-size:10.0pt;font-family:Arial">PANEL 8:<o:p></o:p></span></u></b></p>
<h1 style="text-align:justify;text-justify:inter-ideograph"><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;font-family:Arial"><o:p> </o:p></span></h1><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Michael
Raine<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Title:
Adaptation and Propaganda: <i style="mso-bidi-font-style:normal">Stagecoach</i>
and the <i style="mso-bidi-font-style:normal">kokumin eiga</i><o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">What does
"adaptation" mean? If it is a form of translation, can we in turn
adapt theories of that movement originating in the linguistic domain to
inter-medial transformations, or even further to adaptation within the film
medium? This presentation traces the echoes of John Ford's <i style="mso-bidi-font-style:
normal">Stagecoach</i> – one of the last US films publicly screened in Japan
before the start of the Pacific War -- in several wartime films. It attempts to
show that well-known history is part of a larger process by which foreign, and
especially American, cinema was "adapted" to the propaganda needs of
total war, becoming one of the most significant, if often unspoken,
understandings of the complex notion of <i style="mso-bidi-font-style:normal">kokumin
eiga</i> (People's Film) that displaced the existing demands of the <i style="mso-bidi-font-style:normal">kokusaku eiga</i> (National Policy film).
The development of a wartime action cinema out of (in relation to) prewar
Hollywood cinema entailed a shift from policy to experience, understood at the
time as the medium-specific effects of film form. That shift was only one
instance in a series of stylistic (affective, if you prefer) "adaptations"
performed by Japanese cinema that have variously been understood under the
rubric of "imitation," "copying," "remaking," etc
and that I call, even more rebarbatively, "transcultural mimesis."
Paying attention to the history of the <i style="mso-bidi-font-style:normal">kokumin
eiga</i> shows that process to be still active, in all its complexity, even in
the midst of total cultural war</span><span style="font-size:11.0pt;mso-bidi-font-size:
10.0pt;font-family:Arial">.<span style="mso-spacerun: yes"> </span><o:p></o:p></span></p><p class="MsoNormal"><span style="font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Naoki
Yamamoto<o:p></o:p></span></b></p><p class="MsoNormal"><b style="mso-bidi-font-weight:normal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">Title:
Struggles over Cinematic Subjectivity: Nikkatsu Tamagawa and the Development of
Realist Film Practice in Wartime Japan<o:p></o:p></span></b></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">This paper
explores how realist filmmaking was developed and became dominant in Japan
after the introduction of sound cinema in the early 1930s. To address this
intricate issue aptly, I narrow my focus to works by Nikkatsu Tamagawa, a major
studio founded in 1934 as the contemporary drama departement of Nikkatsu.
Though active only for a little over seven years (1934-1942), Nikkatsu Tamagawa
soon garnered reputation for its devotion to the production of high-brow
realsit films mostly adopted from contemporary domestic novels. Indeed, the
studio's oeuvres such as Kumagai Hisatora's <i style="mso-bidi-font-style:normal">Sobō
</i>(1937), Tasaka Tomotaka's <i style="mso-bidi-font-style:normal">Robō no
ishi </i>(1938), and Uchida Tomu's <i style="mso-bidi-font-style:normal">Tsuchi
</i>(1939) continuously ranked high in the Kinema Junpo's annual top ten list,
enhanching popularity of the newly emergent genre called “bungei eiga.” At the
same time, the studio also took initiative in merging fiction and documentary
in war films, as Tasaka's Venice prize-awarded <i style="mso-bidi-font-style:
normal">Gonin no sekkohei </i>(1937) provided a template for the subsequent
prosperity of this phenomenon. <o:p></o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:Arial">While
tracing the development of realist film aesthetics in these works, this paper
investigates into Tamagawa's particular production policy that tactifully
advocated its autuer-oriented mode of filmmaking with an overt antogonism
against capitalism. It is this seemingly “liberal” policy that confirmed the
studio's fame as the producer of conscientious realist films. However, such a
“liberal” policy also gained ardent support from most “conservative” critics
like Tsumura Hideo and Sawamura Tsutomu, who ultimately became the adamant
suppoters of state control of the domestic film industry at large. I contend
that this unexpected coalition between liberals and consevatives was not a
paradox in history, but rather the result of their unceasing attempts to
establish a realist mode of filmmaking: In order for any filmmakers to be a
“realist,” they first had to attain a strong subjectivity with which to see
through the “truth” of social reality. Thus, studying their mutual struggles
over the notion of “film auteur,” I argue, would provide us with a new
perspective on Japanese film practice in the transitional period toward World
War II.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;
font-family:Arial;mso-bidi-font-family:Century">Ushida Ayami<o:p></o:p></span></p><p class="MsoNormal" style="mso-pagination:none;mso-layout-grid-align:none;
text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;
font-family:Arial;mso-bidi-font-family:Century">Title: </span><span style="font-size:11.0pt;mso-bidi-font-size:13.0pt;font-family:"ＭＳ ゴシック";
mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:
Century">日本映画評論・批評における戦争責任</span><span style="font-size:11.0pt;mso-bidi-font-size:
13.0pt;font-family:Arial;mso-fareast-font-family:"ＭＳ ゴシック";mso-bidi-font-family:
Century"><o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd"><span style="font-size:9.0pt;mso-bidi-font-size:10.0pt;font-family:"ＭＳ 明朝"">現在、『キネマ旬報』『記録映画』『映画評論』『映画芸術』『思想の科学』『新日本文学』を中心に1951年から1970年までの日本映画評論・批評の系譜に取り組んでいる。先行文献資料として、映画評論家・小川徹の編纂した『現代映画論大系』（全6巻、冬樹社、1970年～1972年）がある。『現代映画論大系』は優れた評論・批評のみの掲載であり、日本の評論・批評を広範囲に記したものではない。が、評論・批評に関し、手本となる先行文献である。そこで映画評論の指針としての分類は先行資料に習い「戦後映画の出発－日本占領下から解放－」「個人と力の回復－戦前からの映画監督たちの復活－」「日本ヌーベルバーグ－1950年代後半から1960年代にかけての状況－」「土着と近代の相剋－日本の家族制度の崩壊－」「幻想と政治の間－50年安保と60年安保の学生運動－」とした。この分類からも明確であるように、日本映画における「戦争」という映画評論・批評に着目し、日本の映画評論家・批評家は映画を通じ、何を語りたかったのか論じる。<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;
font-family:Arial"><o:p> </o:p></span></p>
<h1 style="text-align:justify;text-justify:inter-ideograph"><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;font-family:Arial">Seio
Nakajima</span><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial;mso-fareast-language:JA"><o:p></o:p></span></h1><p class="MsoBodyText2"><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial;mso-fareast-language:JA">Title: </span><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;font-family:Arial">Mapping
the Transnational </span><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial;mso-fareast-language:JA">Genesis of the Post-War Japanese
Cinematic Field</span><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial">: </span><span style="font-size:11.0pt;mso-bidi-font-size:
11.5pt;font-family:Arial;mso-fareast-language:JA">Case Studies of the
Productions of <i style="mso-bidi-font-style:normal">Madame White Snake</i>
(1956) and <i style="mso-bidi-font-style:normal">Legend of the White Snake</i>
(1958)<o:p></o:p></span></p><p class="MsoBodyText2"><span style="font-size:11.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial"><o:p> </o:p></span></p><p class="MsoNormal" style="margin-left:45.5pt;mso-para-margin-left:3.79gd;
text-align:justify;text-justify:inter-ideograph"><span style="font-size:9.0pt;
mso-bidi-font-size:11.5pt;font-family:Arial;mso-fareast-language:JA">By
extending recent seminal efforts by scholars such as Yau Shuk Ting and Tze-yue
G. Hu, this paper analyzes the transnational factors that led to the
(re)emergence of the post-war Japanese film industry, presenting comparative
case studies of the productions of <i style="mso-bidi-font-style:normal">Madame
White Snake</i> (Byakufujin no yōren, dir. Toyoda Shiro, 1956)</span><span style="font-size:9.0pt;mso-bidi-font-size:11.5pt;font-family:Arial"> </span><span style="font-size:9.0pt;mso-bidi-font-size:11.5pt;font-family:Arial;mso-fareast-language:
JA">and<i style="mso-bidi-font-style:normal"> Legend of the White Snake</i> (Hakujaden,
dir. Yabushita Taiji, 1958). Past studies have effectively highlighted the
existence of the transnational, particularly the Japan-Hong Kong, nexus of film
industrial production in the immediate post-war era. However, in a move to go
beyond the “methodological nationalism” (Ulrich Beck), when it comes to
integrating the “textual” analysis and the “institutional” analysis, the
existing studies have often presented a simplistic geopolitical arguments. For
example, a typical study would argue that the “non-authentic” depiction of
Chinese culture in <i style="mso-bidi-font-style:normal">Legend of the White
Snake</i> was the result of the strategic move by the Japanese film industry to
become the leader in animation production in the Asian region by having
distinctive Japanese translation of Chinese culture. However, such a
“reflection theory” entails a danger of falling into a tautology of explaining
existing reality by rational-choice, strategic concerns. In this paper, in
order to avoid such a pitfall, </span><span style="font-size:9.0pt;mso-bidi-font-size:
11.5pt;font-family:Arial">I develop an approach sensitive both to the nature
and content of cultural products (film as discourse) and to the social
arrangements and organization of production of those cultural products (film as
institutions</span><span style="font-size:9.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial;mso-fareast-language:JA">). </span><span style="font-size:
9.0pt;mso-bidi-font-size:11.5pt;font-family:Arial">This is done by putting to
work two interrelated but distinct approaches in sociology: </span><span style="font-size:9.0pt;mso-bidi-font-size:11.5pt;font-family:Arial;mso-fareast-language:
JA">Pierre </span><span style="font-size:9.0pt;mso-bidi-font-size:11.5pt;
font-family:Arial">Bourdieu's concept of the “field of cultural production” and
the “theory of fields” in economic sociology and organizational analysis. My
central argument is that </span><span style="font-size:9.0pt;mso-bidi-font-size:
11.5pt;font-family:Arial;mso-fareast-language:JA">even when the scope of analysis
is transnational, without the detailed mapping of the field of cultural
production of domestic industry (e.g., position and reputational status of Toei
Animation Studio within the field of cultural production of all the film
studios existing in Japan at the time, distinctive dispositional “habitus” and
career “trajectory” of the managers and the workers of the film studio as
compared to those of other existing studios), the analysis remains within the
“methodological nationalism” in the sense it takes the transnational action of
a certain film studio as somehow representing Japanese, national geopolitical
concerns. In other words, in order for us to truly move toward a transnational approach,
we need to bring the “national” back in more seriously into our analytical
purview. I attempt to present a preliminary sketch of such an approach by
presenting detailed case studies of<i style="mso-bidi-font-style:normal"> </i>the
two films co-produced by Japanese (Toho and Toei Animation Studio) and Hong
Kong (Shaw Brothers) film studios in the 1950s.<o:p></o:p></span></p><p class="MsoNormal" style="text-align:justify;text-justify:inter-ideograph;
mso-pagination:none;mso-layout-grid-align:none;text-autospace:none"><span style="font-size:11.0pt;mso-bidi-font-size:10.0pt;font-family:Arial"><o:p> </o:p></span></p>
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