<br><font size=2 face="sans-serif">Kind thanks to Martin and others who've
made contact suggestions regarding Japanese experimental cinema. I've been
a little aware of Lightcone; the dynamic fellow-Austrralian programmer/distributor
team at Other Film in Brisbane have I believed worked with them. I'll pass
on other contacts. </font>
<br>
<br><font size=2 face="sans-serif">I'm also aware of the work of Japanese
experimental film-makers in Lux and also Canyon in the US: Lux seems to
distribute the work of Iimura Takahiro, Ogata Atsushi and Harada Goh; Canyon
distributes Iimura and some of Takabishi Noriko and Kano Shiho's work.
</font>
<br>
<br><font size=2 face="sans-serif">Fine filmmakers, but unless I've missed
some names, that small list just seems to confirm the narrowness of access
and experience Markus complained about. It doesn't seem to me to be comprehensive
access to the Japanese experimental tradition, compared to the distribution
offered by both of North American and UK film-makers. </font>
<br>
<br><font size=2 face="sans-serif">From the little I've experienced, Japanese
experimental cinema seems to me to be just as rich a tradition of that
of, say, Austria. So not to seem Anglo-centric, something like the model
of Sixpack Film distribution in Vienna (http://www.sixpackfilm.com/?lang=en&p=info)
- outwardly focused - yet still so grounded and particular in and to the
local screen culture - would help put it on par with its Euro-US peers.
Sixpack have played a key role in distributing the work of some of the
key European names in the Film Comment poll.</font>
<br>
<br><font size=2 face="sans-serif">An example I was thinking of was the
Artist's Film and Video Study and Research collection at St Martin's Collage
in London; not so much an exhibitor, but perhaps the leading such collection
in the UK for researching experimental cinema practice and history. They
have been trying to 'internationalise' their collection; the curators there
know and deeply appreciate Japanese experimental cinema, but have mentioned
that attempts to build a links to build a collection of some key Japanese
works have been very difficult.</font>
<br>
<br>
<br><font size=2 face="sans-serif">Quentin Turnour, Programmer, <br>
Access, Research and Development<br>
National Film and Sound Archive, Australia<br>
McCoy Circuit, Acton, <br>
ACT, 2601 AUSTRALIA<br>
phone: +61 2 6248 2054 | fax: + 61 2 6249 8159<br>
www.nfsa.gov.au<br>
<br>
<br>
The National Film and Sound Archive collects, preserves and provides access
to Australia's historic and contemporary moving image and recorded sound
culture. <br>
<br>
<br>
</font>
<br>
<br>
<br>
<table width=100%>
<tr valign=top>
<td width=40%><font size=1 face="sans-serif"><b>Martin Vieillot <eigagogo@free.fr></b>
</font>
<br><font size=1 face="sans-serif">Sent by: owner-KineJapan@lists.acs.ohio-state.edu</font>
<p><font size=1 face="sans-serif">15/07/2010 10:14 PM</font>
<table border>
<tr valign=top>
<td bgcolor=white>
<div align=center><font size=1 face="sans-serif">Please respond to<br>
KineJapan@lists.acs.ohio-state.edu</font></div></table>
<br>
<td width=59%>
<table width=100%>
<tr valign=top>
<td>
<div align=right><font size=1 face="sans-serif">To</font></div>
<td><font size=1 face="sans-serif">KineJapan@lists.acs.ohio-state.edu</font>
<tr valign=top>
<td>
<div align=right><font size=1 face="sans-serif">cc</font></div>
<td>
<tr valign=top>
<td>
<div align=right><font size=1 face="sans-serif">Subject</font></div>
<td><font size=1 face="sans-serif">Re: Film Comment poll</font></table>
<br>
<table>
<tr valign=top>
<td>
<td></table>
<br></table>
<br>
<br>
<br><tt><font size=2>Following Jasper's suggestion & still related
to the UK, seems the "Great Britain Sasakawa Foundation" may
be of some help (http://www.gbsf.org.uk/) as they helped setting
up a Takashi Ito 75min screening last april in Birmingham (http://www.flatpackfestival.org/event/takashi-ito)
<br>
<br>
<br>
<br>
<br>
<br>
----- Mail Original -----<br>
De: "Jasper Sharp" <jasper_sharp@hotmail.com><br>
À: "kinejapan" <kinejapan@lists.acs.ohio-state.edu><br>
Envoyé: Mercredi 14 Juillet 2010 13h55:22 GMT +01:00 Amsterdam / Berlin
/ Berne / Rome / Stockholm / Vienne<br>
Objet: RE: Film Comment poll<br>
<br>
And following on from Martin's suggestion, there's a number of Japanese
experimental artists represented by Lux in London - http://lux.org.uk/.
<br>
<br>
Best <br>
<br>
Jasper <br>
<br>
Midnight Eye: The Latest and Best in Japanese Cinema <br>
www.midnighteye.com <br>
<br>
More details about me on http://jaspersharp.com/ <br>
<br>
<br>
<br>
<br>
> Date: Tue, 13 Jul 2010 19:56:54 +0200 <br>
> From: eigagogo@free.fr <br>
> To: KineJapan@lists.acs.ohio-state.edu <br>
> Subject: Re: Film Comment poll <br>
> <br>
> Dear Quentin, <br>
> <br>
> If it can help ... you can contact LightCone which got a small but
interesting catalogue on japanese artists: http://www.lightcone.org/catalogue/liste.php.
<br>
> <br>
> <br>
> It's not as great as IF, but at least they answer emails and provide
complete info to help seting up screenings. Seems they don't have much
ressources (analysis/biography) though. <br>
> <br>
> <br>
> Martin <br>
> <br>
> <br>
> ----- Mail Original ----- <br>
> De: "Quentin Turnour" <Quentin.Turnour@nfsa.gov.au>
<br>
> À: KineJapan@lists.acs.ohio-state.edu <br>
> Envoyé: Mardi 13 Juillet 2010 05h50:50 GMT +01:00 Amsterdam / Berlin
/ Berne / Rome / Stockholm / Vienne <br>
> Objet: Re: Film Comment poll <br>
> <br>
> <br>
> Co-incidentally screening Japanese experimental cinema to English
language audiences came up as a topic when I was meeting a number of artist
film and video /experimental programmers on a recent trip to the UK. <br>
> <br>
> Like me, they were programmers who knew something - or more - about
Japanese experimental cinema tradition and current practice and would be
more than keen to present Japanese work their programming. Most are professionals
who are sensitive to getting the screening technically and aesthetically
right and willing to pay what it costs (although not always in a position
to fund film-maker's trip to present the work, which is an issue for some
practitioners). <br>
> <br>
> However I heard persistent frustration with the non-responsiviness
of approaches to distributors. I'm afraid Image Forum was a particular
target. Mutual language issues are acknowledge, as is the need to do the
leg work of getting to Japan regularly and building the contacts and some
of the mutual respect that a few members of this listserv have been able
to cultivate over the years. And there are a few great and beautiful exceptions
amongst Japanese distributors who are very keen to help. <br>
> <br>
> But compared to Korea and Thailand (for example), where from experience
distributors and film-makers are often very keen to get their work out,
regular programming Japanese experimental cinema is much harder because
of what seems like a lack of enthusiasm at the other end. It's a familiar
cry from programmers not just in this sector, but from all of us wanting
to promote Japanese cinema: "If only they would answer their emails..!".
<br>
> <br>
> Quentin Turnour, Programmer, <br>
> Access, Research and Development <br>
> National Film and Sound Archive, Australia <br>
> McCoy Circuit, Acton, <br>
> ACT, 2601 AUSTRALIA <br>
> phone: +61 2 6248 2054 | fax: + 61 2 6249 8159 <br>
> www.nfsa.gov.au <br>
> <br>
> The National Film and Sound Archive collects, preserves and provides
access to Australia's historic and contemporary moving image and recorded
sound culture. <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> Martin Vieillot <eigagogo@free.fr> <br>
> Sent by: owner-KineJapan@lists.acs.ohio-state.edu <br>
> <br>
> 09/07/2010 11:51 AM <br>
> Please respond to <br>
> KineJapan@lists.acs.ohio-state.edu <br>
> <br>
> To KineJapan@lists.acs.ohio-state.edu <br>
> <br>
> cc <br>
> <br>
> Subject Re: Film Comment poll <br>
> <br>
> <br>
> <br>
> <br>
> Thanks Markus for the info... pretty interesting list! <br>
> <br>
> For those who doesn't know anything about asian avant-garde, would
it be possible to get few names from others interesting "non-english
speaking" japanese artists? Only saw Daichi Saito works, and infos
are rather difficult to get (except maybe for Image Forum releases, and
only when they are willing to collaborate in spreading knowledge about
theirs works..) <br>
> <br>
> >From a more general point of view, is there a "critic gap"
between experimental film & experimental animated film fields? It's
pretty surprising not to see Virgil Widrich's Fast Film quoted in this
list!!! <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> ----- Mail Original ----- <br>
> De: "Markus Nornes" <amnornes@umich.edu> <br>
> À: KineJapan@lists.acs.ohio-state.edu <br>
> Envoyé: Jeudi 8 Juillet 2010 22h32:18 GMT +01:00 Amsterdam / Berlin
/ Berne / Rome / Stockholm / Vienne <br>
> Objet: Film Comment poll <br>
> <br>
> Polls are strange things. If you know anything about Asian avant-garde,
you know this is a somewhat twisted list. First of all, not a single Japanese
experimental filmmaker listed in the best of the last decade or the "top
50 filmmakers." I can't decide if I'm surprised or not. <br>
> <br>
> On the other hand, there are three Japanese filmmakers listed as "filmmakers
for the 21st century": Kano Shiho, Saito Daichi (#3!), and Nishikawa
Tomonari (#1!!). All three are quite good, but the reasons these three
above all others are selected is obvious. Kano somehow found some serious
fans among the Canadian experimental crowd some years back and spread out
from there. Saito and Nishikawa are living in North America and, more importantly,
speak English. Kano can't really speak English, so she needed her programmer
friends; this might explain why she was selected over so many other Japanese
filmmakers who are at least as good or probably better. I also got to meet
Saito and Nishikawa at Ann Arbor FF this year; they seem honestly interested
in helping to get more Asian avant-garde work into the North American conversation—but
I have to say it was rather shocking how little they actually knew about
what was going on there (I noticed that elsewhere on the FC announcement
Saito was listed as Canadian, and actually it's pretty appropriate whatever
his nationality actually is.) <br>
> <br>
> Lincoln Center is apparently showing a selection of a lot of this
work. <br>
> <br>
> Markus <br>
> <br>
> <br>
> <br>
> <br>
> <br>
> May/June 2010 <br>
> <br>
> AVANT-GARDE POLL <br>
> <br>
> In the past decade, the making and showing of experimental film worldwide
has gone from strength to strength, so much so that it can be categorically
said that avant-garde cinema is as vital now as it has ever been. This
addendum to our Jan/Feb end-of-decade wrap-up serves to acknowledge just
some of the experimental film achievements of the 21st century’s first
10 years. The rankings on the three lists below were obtained through the
tabulation of the number of mentions a given film or filmmaker received
in poll responses from a 46-strong group of critics, programmers, and teachers.
<br>
> <br>
> <br>
> <br>
> BEST AVANT-GARDE FILMS & VIDEO 2000-2009 <br>
> <br>
> 1. At Sea Peter Hutton, U.S., 2007 (18) <br>
> 2. Pitcher of Colored Light Robert Beavers, U.S./Switz., 2007 (16)
<br>
> 3. ( ) Morgan Fisher, U.S., 2003 (15) <br>
> tie Ah Liberty! Ben Rivers, U.K., 2008 (15) <br>
> tie Observando el Cielo Jeanne Liotta, U.S., 2007 (15) <br>
> tie Star Spangled to Death Ken Jacobs, U.S., 2004 (15) <br>
> 7. Ten Skies James Benning, U.S., 2004 (14) <br>
> 8. The Fourth Watch Janie Geiser, U.S., 2000 (13) <br>
> tie The Heart of the World Guy Maddin, Canada, 2000 (13) <br>
> tie RR James Benning, U.S., 2007 (13) <br>
> 11. Black and White Trypps Number Three Ben Russell, U.S., 2007 (12)
<br>
> tie The Decay of Fiction Pat O’Neill, U.S., 2002 (12) <br>
> tie The God of Day Had Gone Down Upon Him Stan Brakhage, U.S., 2000
(12) <br>
> tie An Injury to One Travis Wilkerson, U.S., 2002 (12) <br>
> tie Kolkata Mark LaPore, US/India, 2005 (12) <br>
> tie 13 Lakes James Benning, U.S., 2004 (12) <br>
> 17. The General Returns from One Place to Another Michael Robinson,
U.S., 2006 (11) <br>
> tie Song and Solitude Nathaniel Dorsky, U.S., 2006 (11) <br>
> 19. False Aging Lewis Klahr, U.S., 2008 (10) <br>
> tie The Glass System Mark LaPore, U.S., 2000 (10) <br>
> tie Instructions for a Light and Sound Machine Peter Tscherkassky,
Austria, 2005 (10) <br>
> tie A Letter to Uncle Boonmee Apichatpong Weerasethakul, Thailand,
2009 (10) <br>
> tie She Puppet Peggy Ahwesh, U.S., 2001 (10) <br>
> tie Skagafjördur Peter Hutton, U.S./Iceland, 2004 (10) <br>
> 25. As I Was Moving Ahead Occasionally I Saw Brief Glimpses of Beauty
Jonas Mekas, U.S., 2000 (9) <br>
> tie The Great Art of Knowing David Gatten, U.S., 2004 (9) <br>
> tie The Ground Robert Beavers, U.S., 1993-2001 (9) <br>
> tie The Hedge Theater Robert Beavers, U.S./Switzerland, 2002 (9) <br>
> tie Poetry and Truth Peter Kubelka, Austria, 2003 (9) <br>
> tie Sarabande Nathaniel Dorsky, U.S., 2008 (9) <br>
> tie The Visitation Nathaniel Dorsky, U.S., 2002 (9) <br>
> tie When It Was Blue Jennifer Reeves, U.S./Iceland, 2008 (9) <br>
> 33. Arbor Vitae Nathaniel Dorsky, U.S., 2000 (8) <br>
> tie In Comparison Harun Farocki, Germany/Austria, 2009 (8) <br>
> tie It’s Not My Memory of It – Three Recollected Documents The Speculative
Archive, U.S., 2003 (8) <br>
> tie Meditations on Revolution, Part V: Foreign City Robert Fenz, U.S.,
2003 (8) <br>
> tie Nest of Tens Miranda July, U.S., 2000 (8) <br>
> tie O’er the Land Deborah Stratman, U.S., 2009 (8) <br>
> tie Psalm III: Night of the Meek Phil Solomon, U.S., 2002 (8) <br>
> tie Winter Nathaniel Dorsky, U.S., 2008 (8) <br>
> 41. California Trilogy: Los, Sogobi, El Valley Centro James Benning,
U.S., 2000-01 (7) <br>
> tie *Corpus Callosum Michael Snow, Canada, 2002 (7) <br>
> tie Dream Work (for Man Ray) Peter Tscherkassky, Austria, 2001 (7)
<br>
> tie Horizontal Boundaries Pat O’Neill, U.S., 2008 (7) <br>
> tie Let Each One Go Where He May Ben Russell, U.S./Suriname, 2009
(7) <br>
> tie Still Raining, Still Dreaming Phil Solomon, U.S., 2009 (7) <br>
> tie The Two Minutes to Zero Trilogy Lewis Klahr, U.S., 2003-04 (7)
<br>
> tie What the Water Said, nos. 4-6 David Gatten, U.S., 2007 (7) <br>
> <br>
> <br>
> TOP 50 FILMMAKERS <br>
> <br>
> 1. Nathaniel Dorsky (54) <br>
> 2. James Benning (49) <br>
> 3. Ken Jacobs (45) <br>
> 4. Lewis Klahr (41) <br>
> 5. Stan Brakhage (37) <br>
> tie Phil Solomon (37) <br>
> 7. Robert Beavers (35) <br>
> 8. David Gatten (32) <br>
> tie Peter Hutton (32) <br>
> 10. Michael Robinson (30) <br>
> 11. Ernie Gehr (29) <br>
> tie Ben Russell (29) <br>
> 13. Mark LaPore (27) <br>
> 14. Ben Rivers (24) <br>
> 15. Janie Geiser (23) <br>
> tie Jeanne Liotta (23) <br>
> 17. Luther Price (21) <br>
> 18. Jennifer Reeves (20) <br>
> 19. Pat O’Neill (19) <br>
> 20. Apichatpong Weerasethakul (18) <br>
> 21. Peggy Ahwesh (17) <br>
> tie Stephanie Barber (17) <br>
> tie Vincent Grenier (17) <br>
> tie Jim Jennings (17) <br>
> tie Peter Tscherkassky (17) <br>
> tie Fred Worden (17) <br>
> 27. Guy Maddin (16) <br>
> tie Bruce McClure (16) <br>
> tie Julie Murray (16) <br>
> 30. Morgan Fisher (15) <br>
> 31. Scott Stark (14) <br>
> tie Deborah Stratman (14) <br>
> tie Travis Wilkerson (14) <br>
> 34. Harun Farocki (13) <br>
> tie Jonas Mekas (13) <br>
> 36. Bruce Conner (12) <br>
> tie Robert Fenz (12) <br>
> tie Michael Snow (12) <br>
> tie Leslie Thornton (12) <br>
> 40. Heinz Emigholz (11) <br>
> tie Miranda July (11) <br>
> 42. Eve Heller (10) <br>
> tie Michele Smith (10) <br>
> tie The Speculative Archive (10) <br>
> 45. Jacqueline Goss (9) <br>
> tie Nicky Hamlyn (9) <br>
> tie Peter Kubelka (9) <br>
> tie Sharon Lockhart (9) <br>
> tie Jean-Marie Straub & Danièle Huillet (9) <br>
> tie Jim Trainor (9) <br>
> <br>
> <br>
> 25 FILMMAKERS FOR THE 21ST CENTURY <br>
> (emerging artists beyond the top 50) <br>
> <br>
> 1. Tomonari Nishikawa (23) <br>
> 2. Jim Finn (15) <br>
> 3. Daichi Saito (13) <br>
> 4. Luis Recoder & Sandra Gibson (11) <br>
> tie Alexandra Cuesta (11) <br>
> tie Kevin J. Everson (11) <br>
> tie Laida Lertxundi (11) <br>
> 8. Shiho Kano (10) <br>
> tie Vanessa O’Neill (10) <br>
> 10. Paul Chan (9) <br>
> tie Paul Clipson (9) <br>
> tie Emily Richardson (9) <br>
> tie Sylvia Schedelbauer (9) <br>
> 14. Minyong Jang (8) <br>
> tie Hannes Schüpbach (8) <br>
> tie Fern Silva (8) <br>
> tie Gretchen Skogerson (8) <br>
> tie Ryan Trecartin (8) <br>
> tie Soon Mi Yoo (8) <br>
> 20. Bobby Abate (7) <br>
> tie Chris Kennedy (7) <br>
> tie Andrew Lampert (7) <br>
> tie Matt McCormick (7) <br>
> tie Rebecca Meyers (7) <br>
> tie Jonathan Schwartz (7) <br>
> <br>
> <br>
> Poll participants: Acquarello, Steve Anker, Thomas Beard, Ariella
Ben-Dov, Amy Beste, Robin Blaetz, Nicole Brenez, Autumn Campbell, Fred
Camper, Abigail Child, David Dinnell, Patrick Friel, David Gatten, Jacqueline
Goss, Ed Halter, Alexander Horwath, Kristin M. Jones, Chris Kennedy, Nellie
Killian, Lewis Klahr, Irina Leimbacher, Scott MacDonald, Matt McCormick,
Mark McElhatten, Kevin McGarry, Don McMahon, Olaf Möller, Oona Mosna, Pablo
de Ocampo, Susan Oxtoby, Andréa Picard, Tony Pipolo, Steve Polta, J.R.
Rigsby, Jeremy Rossen, Lynne Sachs, Keith Sanborn, Michael Sicinski, Josh
Siegel, P. Adams Sitney, Gavin Smith, Phil Solomon, Scott Stark, Chris
Stults, Jim Supanick, Genevieve Yue <br>
> <br>
> © 2010 by the Film Society of Lincoln Center <br>
> <br>
<br>
<br>
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</font></tt>
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