This is really helpful information, the sort that I come to message boards and discussion forums for. Thank you!<br><br><div class="gmail_quote">On Sun, Sep 4, 2011 at 4:39 PM, Roger Macy <span dir="ltr"><<a href="mailto:macyroger@yahoo.co.uk">macyroger@yahoo.co.uk</a>></span> wrote:<br>
<blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex;">
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<p style="margin:0cm 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>Dear
KineJapaners,</span></p>
<p style="margin:6pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>I’m always
grateful for people who announce their own or other people’s publications on
this forum.<span> </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> </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> </span>They come without any direct knowledge
of them, unless stated.</span></p>
<p style="margin:0cm 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>Roger</span></p>
<p style="margin:12pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><i><span>Classical
Japanese Cinema Revisited</span></i></b><span>,
RUSSELL, Catherine, 2011</span></p>
<p style="margin:6pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><i><span>Politics,
Porn and Protest</span></i></b><b><i><span style="font-size:10.5pt">:
</span></i></b><b><i><span>Japanese
Avant-Garde Cinema in the 1960s and 1970s</span></i></b><span style="font-size:9pt">,
</span><span>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.</span></p>
<p style="margin:12pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><u><span>Also,
some books with some specific content on Japanese film
:-</span></u></p>
<p style="margin:12pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><i><span>Japanese
Counterculture: The Antiestablishment Art of Shuji
Terayama</span></i></b><i><span>,
</span></i><span>RIDGELY,
Steven C., 2010.<span> </span>Has, for instance,
a 35 page chapter on <i>Den'en ni shisu</i>, 1974.</span></p>
<p style="margin:12pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><i><span>Rape in
Art
Cinema,
</span></i></b><span>RUSSELL,
Dominique, 2010, This is priced at .£60<span>
</span>Has a chapter 'Fault Lines of Vision: <i>Rashomon</i> and <i>The Man Who Left His Will on Film</i>,
Eugenie BRINKEMA.<span> </span>The essay does
engage with previous critiques of these films.<span> </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>
</span>But that’s another story….</span></p>
<p style="margin:6pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><i><span>World
Cinema and the Ethics of Realism</span></i></b><b><span>, </span></b><span>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></p>
<p style="margin:12pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><i><span>When
Movies Mattered: Reviews from a Transformative Decade</span></i></b><span>,
KEHR, Dave, U.of Chicago P., reviewed in S&S Sep11 with mention of Ozu,
Mizoguchi and Naruse. Amazon mktplc £11</span></p>
<p style="margin:2pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>Under
'Revivals and Retrospectives'<span> </span>has
reviews of :-</span></p>
<p style="margin:2pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>Story
of the Last [sic] Chrysanthemum, MIZOGUCHI</span></p>
<p style="margin:2pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>Record
of a Tenant Gentleman, OZU</span></p>
<p style="margin:2pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>When
a Woman Ascends the Stairs, NARUSE</span></p>
<p style="margin:2pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>and
under 'New Masters' :-</span></p>
<p style="margin:2pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><span>Eijanaika,
IMAMURA</span></p>
<p style="margin:12pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><u><span>Some
Journal articles :-</span></u></p>
<p style="margin:6pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><span><span> </span>'Fractured Landscapes: detection,
location and history in Uchida Tomu's<i><span>
</span>Kiga kaikyo</i> / <i>A Fugitive from
the Past</i>’</span></b><span>,
PHILLIPS, Alastair</span><span>,
<i><span>Screen</span></i> Summer 2011
pp215--232.</span></p>
<p style="margin:6pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><span>‘Revisiting
Kurosawa Akira’s <i>The Idiot</i> : A comparison with Sergei
Eisenstein’</span></b><span>, by
list-member Yuna De ALLOY<i> Journal of Japanese and Korean Cinema</i> 2:1, 2010
(There's also article on <i>Dersu Uzala </i>and <i>Okuribito </i>in that
issue.)</span></p>
<p style="margin:6pt 0cm 0pt;layout-grid-mode:char" class="MsoNormal"><b><span>‘Movie
advertisements and the formation of a new visual environment in interwar
Japan’</span></b><span>, FUJIKI, Hideaki, 2011 in <i>Japan
Forum</i> 23:1.<span> </span>One can consider,
inter alia, whether <span> </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>
</span>Or you could just superficially admire the illustrations which are
admirably reproduced. </span></p></font></div></div>
</blockquote></div><br><br clear="all"><br>-- <br><div>Mark R. Harris<br></div><div>Profesor de humanidades</div><div>Tecnologico de Monterrey, Campus Sinaloa</div><div>Blvd. Pedro Infante 3773</div><div>Culiacan, CP 80100, Sinaloa, Mexico</div>
<div>+52 (667) 759-1600</div><a href="mailto:mark_r_harris@yahoo.com" target="_blank">mark_r_harris@yahoo.com</a><br><a href="mailto:brokerharris@gmail.com" target="_blank">brokerharris@gmail.com</a><br>