Dear Joseph, <br><br>thank you for your reply, I couldn`t agree more with your points. <br>Let me just add that, in my opinion, the PFF works at two different levels:<br><br>- as a platform to launch new filmmakers (Tsukamoto, Nakashima, Sono and so on...) or, at least, to give them the necessary confidence in pursuing their paths (as in the case of Matsui Yoshihiko for instance...)<br>
<br>- as a chance to experience a different approach to filmmaking<em>/</em><span style="visibility: visible;" id="main"><span style="visibility: visible;" id="search"><em></em>visual art, the pleasure to enjoy a multitude of visions, often childish, </span></span><span class="status-body"><span class="status-content"><span class="entry-content">rambling and inconsequent but somehow more alive than the "regular" movies, even the so-called "indipendent" ones.<br>
<br>Best<br><br>Matteo Boscarol </span></span></span><br>- Il Manifesto -<br><a href="http://www.cineclandestino.it/" target="_blank">http://www.cineclandestino.it</a> <br><a href="http://artaud.wordpress.com/" target="_blank">http://artaud.wordpress.com</a><br>
<br><div class="gmail_quote">2010/11/28 Joseph Murphy <span dir="ltr"><<a href="mailto:murphy7312@ufl.edu">murphy7312@ufl.edu</a>></span><br><blockquote class="gmail_quote" style="border-left: 1px solid rgb(204, 204, 204); margin: 0pt 0pt 0pt 0.8ex; padding-left: 1ex;">
<div style="">Dear Matteo,<div>That's a great point. The PFF has been extremely important in maintaining an independent eye on Japanese film, and imo there are a number of established directors whose most interesting work is in the Pia archives, for example, Yaguchi Shinobu's chaotic <i>Ame Onna</i> (Rain Women, 1994) and Hashiguchi Ryosuke's delicately observed <i>Last Night's Secret</i> (Yuube no himitsu, 1989). These are a couple among the very fine directors, who got their start at Pia.</div>
<div>There is plenty of work at the PFF that deserves close analysis, but also, as I think you may intend, there is a very important story to be told of the importance of the festival in bridging the collapse of the Japanese studio system in the 1970s, and the emergence of a new Japanese cinema, with a quantity begets quality ethos, in the 1990s. It is a line in parallel with the pink film directors and Hasumi Shigehiko's Todai seminars. </div>
<div>I have an article on Yaguchi that touches on the festival's importance:</div><div><span style=""> </span>"Brownian Movement in Recent Japanese CInema," </div><div><span style=""> </span>Postscript, vol. 18, no. 1 (1999)</div>
<div><br></div><div>I don't know where it's gone from there.</div><div>yours,</div><div>J. Murphy</div><div><br></div><div><br></div><div><div><div></div><div class="h5"><br><div><div>On Nov 26, 2010, at 4:14 AM, Me wrote:</div>
<br><blockquote type="cite"><div>Dear All,<br><br>I was wondering if there has ever been an in-depth examination of the <br>PiaFilmFestival, either on-line or in academic papers.<br><br>Thank you in advance<br><br>Regards<br>
<br>Matteo Boscarol<br>- Il Manifesto -<br><a href="http://www.cineclandestino.it" target="_blank">http://www.cineclandestino.it</a> <a href="http://artaud.wordpress.com" target="_blank">http://artaud.wordpress.com</a><br>
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