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<DIV><FONT face=Arial>Thanks.</FONT></DIV>
<DIV><FONT face=Arial>And Steven Ridgely's book has Terayama's romanized name in
Japanese form, so I've corrected that below. </FONT></DIV>
<DIV><FONT face=Arial>Roger</FONT></DIV>
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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="FONT: 10pt arial; BACKGROUND: #e4e4e4; font-color: black"><B>From:</B>
<A title=brokerharris@gmail.com href="mailto:brokerharris@gmail.com">Mark R.
Harris</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A
title=KineJapan@lists.acs.ohio-state.edu
href="mailto:KineJapan@lists.acs.ohio-state.edu">KineJapan@lists.acs.ohio-state.edu</A>
</DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Sunday, September 04, 2011 11:43
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: recent publications in
english on Japanese film</DIV>
<DIV><BR></DIV>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>
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<DIV><FONT face=Arial>
<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><SPAN><EM>Japanese Counterculture: The Antiestablishment
Art of Terayama </EM></SPAN></B><SPAN><EM><SPAN
style="FONT-FAMILY: 'Arial','sans-serif'; FONT-SIZE: 12pt; mso-fareast-font-family: 'Times New Roman'; mso-ansi-language: EN-GB; mso-fareast-language: ZH-CN; mso-bidi-language: AR-SA; mso-bidi-font-weight: bold"><STRONG>Shūji,
</STRONG></SPAN> </EM>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></BLOCKQUOTE></BODY></HTML>