<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Dear KineJapaners<br><div><br></div><div>For those of you in Tokyo, I'm giving a presentation this Friday at the Meiji Gakuin film workshop. The talk will be in English.</div><div><br></div><div>All are welcome!</div><div><br></div><div>Friday 19th July, 6:30pm</div><div>Meiji Gakuin University, Shirokane campus, Hepburn/Hebon building, 4th floor room 7402</div><div>"The vernacular archive: mapping the spaces of amateur and non-theatrical film"</div><div><br></div><div>regards</div><div><br></div><div>Oliver</div><div><br></div><div><br><div>Begin forwarded message:</div><br><blockquote type="cite"><div dir="ltr"><div>日時： 7月19日（金） 18時半開始</div><div>場所： 明治学院大学白金キャンパス ヘボン館 7402教室 <br></div><div>発表者：オリバー・デュー（明治学院大学言語文化研究所外国人研究員）</div>
<div> <span style="font-family:"\00ff2d\00ff33\00660e\00671d"" lang="JA">タイトル：「バナキュラー・アーカイヴ: アマチュア・非劇場公開映画空間をマッピングする」</span></div><br>発表のアブストラクトは以下のとおりです。<br><p style="margin:15px 0px 5px;font-size:18px"><b>The vernacular archive: mapping the spaces of amateur and non-theatrical film</b></p>
<div style="margin:0px;text-align:justify;font-size:16px">There
is growing scholarly attention to the vast landscape of film culture
that lies beyond the theatrically distributed feature. The terms that
have a near synonymic association with non-theatrical film—sponsored,
amateur, orphaned, hidden, found (notwithstanding that a great many
feature films become orphaned and lost too)—indicate that the ownership
of non-theatrical film is particularly fluid, and that a given body of
films can be incorporated into and excluded from a variety of archival
practices over time, slipping in and out of official oversight and
public awareness. As crucial as FIAF member archives are as official
repositories, if we are to trace the career of non-theatrical film, it
is also necessary to consider the vernacular archiving practices being
carried out in university collections, local government offices, ethnic
associations, private film laboratories, amateur film circles, and so
on. As media archaeologists suggest, vernacular film archiving is as
much about what has been abandoned and thrown away, as it is about what
has been saved. </div><div style="margin:0px;text-align:justify;text-indent:12px;font-size:16px">As
a case study in this approach to the non-theatrical, I look at one
corpus of film, the 16mm footage shot by cameraman Kim Sonha between
1958-66, which depicts his mother’s work as a black-market trader near
Shinjuku station in Tokyo. I trace the films’ movement from the domicile
to archival festivals, via the intercession of documentaries that
incorporate Kim’s footage, <i>Sengo zainichi gojūnenshi</i> (Oh 1998) and <i>Haruko</i>
(Nozawa 2004). The very different contexts that this corpus moves
through and activates say much about the precarious situation of
nontheatrical film, its reliance on shifting political economies to
“sponsor” its continued existence and visibility, but also points to the
deconstructive potential of the archive, to the startling new
configurations of film culture that sifting through the vernacular
archive can uncover.<br></div></div></blockquote></div><br></body></html>