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<P
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class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-size: 12.0pt">Dear
KineJapaners,<?xml:namespace prefix = o ns =
"urn:schemas-microsoft-com:office:office" /><o:p></o:p></SPAN></P>
<P
style="MARGIN: 6pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-size: 12.0pt">I’m always
grateful for people who announce their own or other people’s publications on
this forum.<SPAN style="mso-spacerun: yes"> </SPAN>We haven’t had much
mentioned of english-language publications of late, whilst I see that,
alarmingly, my reading pile seems always to grow, despite my best efforts.<SPAN
style="mso-spacerun: yes"> </SPAN>Here’s some recent ones that have come
my way, in the belief that not everyone will have noticed all of them yet.<SPAN
style="mso-spacerun: yes"> </SPAN>They come without any direct knowledge
of them, unless stated.<o:p></o:p></SPAN></P>
<P
style="MARGIN: 0cm 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-size: 12.0pt">Roger<o:p></o:p></SPAN></P>
<P
style="MARGIN: 12pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B style="mso-bidi-font-weight: normal"><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'">Classical
Japanese Cinema Revisited</SPAN></I></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-weight: bold">,
RUSSELL, Catherine, 2011<o:p></o:p></SPAN></P>
<P
style="MARGIN: 6pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B style="mso-bidi-font-weight: normal"><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'">Politics,
Porn and Protest</SPAN></I></B><B style="mso-bidi-font-weight: normal"><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 10.5pt; mso-fareast-font-family: 'Times New Roman'">:
</SPAN></I></B><B style="mso-bidi-font-weight: normal"><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-bidi-font-size: 12.0pt; mso-fareast-font-family: 'Times New Roman'">Japanese
Avant-Garde Cinema in the 1960s and 1970s</SPAN></I></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 9pt; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-weight: bold">,
</SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-weight: bold">STANDISH,
Isolde, 2011, I bumped into a list-member who had the Sight and Sound review
copy of this book, so I shall wait for that review.<o:p></o:p></SPAN></P>
<P
style="MARGIN: 12pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><U><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-weight: bold">Also,
some books with some specific content on Japanese film
:-<o:p></o:p></SPAN></U></P>
<P
style="MARGIN: 12pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-language: AR-SA">Japanese
Counterculture: The Antiestablishment Art of Shuji
Terayama</SPAN></I></B><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-language: AR-SA; mso-bidi-font-weight: bold">,
</SPAN></I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-language: AR-SA; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">RIDGELY,
Steven C., 2010.<SPAN style="mso-spacerun: yes"> </SPAN>Has, for instance,
a 35 page chapter on <I>Den'en ni shisu</I>, 1974.<o:p></o:p></SPAN></P>
<P
style="MARGIN: 12pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B><I><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-language: AR-SA">Rape in
<?xml:namespace prefix = st1 ns = "urn:schemas-microsoft-com:office:smarttags"
/><st1:place w:st="on"><st1:PlaceName w:st="on">Art</st1:PlaceName>
<st1:PlaceName w:st="on">Cinema</st1:PlaceName></st1:place>,
</SPAN></I></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-language: AR-SA">RUSSELL,
Dominique, 2010, This is priced at .£60<SPAN style="mso-spacerun: yes">
</SPAN>Has a chapter 'Fault Lines of Vision: <I
style="mso-bidi-font-style: normal">Rashomon</I> and <I
style="mso-bidi-font-style: normal">The Man Who Left His Will on Film</I>,
Eugenie BRINKEMA.<SPAN style="mso-spacerun: yes"> </SPAN>The essay does
engage with previous critiques of these films.<SPAN
style="mso-spacerun: yes"> </SPAN>I can’t remember how the editor
justified the title but for Japanese films, at least, it’s hardly just ‘art
films’ that are defined by rape.<SPAN style="mso-spacerun: yes">
</SPAN>But that’s another story….</SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-weight: bold"><o:p></o:p></SPAN></P>
<P
style="MARGIN: 6pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B><I><SPAN style="FONT-FAMILY: 'Arial','sans-serif'">World
Cinema and the Ethics of Realism</SPAN></I></B><B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">, </SPAN></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-bidi-font-weight: bold">NAGIB,
Lúcia, 2011, Has chapters on ‘<I>The Realm of the Senses</I>, the Ethical
Imperative and the Politics of Pleasure’ and ‘Hara and Kobayashi’s ‘Private
Documentaries’ ‘.</SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'"><o:p></o:p></SPAN></P>
<P
style="MARGIN: 12pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B style="mso-bidi-font-weight: normal"><I
style="mso-bidi-font-style: normal"><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN">When
Movies Mattered: Reviews from a Transformative Decade</SPAN></I></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">,
KEHR, Dave, U.of Chicago P., reviewed in S&S Sep11 with mention of Ozu,
Mizoguchi and Naruse. Amazon mktplc £11<o:p></o:p></SPAN></P>
<P
style="MARGIN: 2pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">Under
'Revivals and Retrospectives'<SPAN style="mso-spacerun: yes"> </SPAN>has
reviews of :-<o:p></o:p></SPAN></P>
<P
style="MARGIN: 2pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">Story
of the Last [sic] Chrysanthemum, MIZOGUCHI<o:p></o:p></SPAN></P>
<P
style="MARGIN: 2pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">Record
of a Tenant Gentleman, OZU<o:p></o:p></SPAN></P>
<P
style="MARGIN: 2pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">When
a Woman Ascends the Stairs, NARUSE<o:p></o:p></SPAN></P>
<P
style="MARGIN: 2pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">and
under 'New Masters' :-<o:p></o:p></SPAN></P>
<P
style="MARGIN: 2pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">Eijanaika,
IMAMURA<o:p></o:p></SPAN></P>
<P
style="MARGIN: 12pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><U><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold; mso-bidi-font-style: italic">Some
Journal articles :-<o:p></o:p></SPAN></U></P>
<P
style="MARGIN: 6pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN"><SPAN
style="mso-spacerun: yes"> </SPAN>'Fractured Landscapes: detection,
location and history in Uchida Tomu's<I
style="mso-bidi-font-style: normal"><SPAN style="mso-spacerun: yes">
</SPAN>Kiga kaikyo</I> / <I style="mso-bidi-font-style: normal">A Fugitive from
the Past</I>’</SPAN></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN; mso-bidi-font-weight: bold">,
PHILLIPS, Alastair</SPAN><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; mso-fareast-font-family: 'Times New Roman'; mso-fareast-language: ZH-CN">,
<I style="mso-bidi-font-style: normal"><SPAN
style="mso-bidi-font-weight: bold">Screen</SPAN></I> Summer 2011
pp215--232.<o:p></o:p></SPAN></P>
<P
style="MARGIN: 6pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B><SPAN style="FONT-FAMILY: 'Arial','sans-serif'">‘Revisiting
Kurosawa Akira’s <I>The Idiot</I> : A comparison with Sergei
Eisenstein’</SPAN></B><SPAN style="FONT-FAMILY: 'Arial','sans-serif'">, by
list-member Yuna De ALLOY<I> Journal of Japanese and Korean Cinema</I> 2:1, 2010
(There's also article on <EM>Dersu Uzala </EM>and <EM>Okuribito </EM>in that
issue.)<B><o:p></o:p></B></SPAN></P>
<P
style="MARGIN: 6pt 0cm 0pt; LAYOUT-GRID-MODE: char; mso-layout-grid-align: none"
class=MsoNormal><B><SPAN style="FONT-FAMILY: 'Arial','sans-serif'">‘Movie
advertisements and the formation of a new visual environment in interwar
<st1:place w:st="on"><st1:country-region
w:st="on">Japan</st1:country-region></st1:place>’</SPAN></B><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'">, FUJIKI, Hideaki, 2011 in <I>Japan
Forum</I> 23:1.<SPAN style="mso-spacerun: yes"> </SPAN>One can consider,
inter alia, whether <SPAN style="mso-spacerun: yes"> </SPAN>contemporary or
more recent theories articulated around the new ‘figural aesthetics’ stood up to
any empirical tests, and how some critics saw the ‘ubiquitous, distractive and
ephemeral’ culture as superficial.<SPAN style="mso-spacerun: yes">
</SPAN>Or you could just superficially admire the illustrations which are
admirably reproduced. <o:p></o:p></SPAN></P></FONT></DIV></BODY></HTML>