<html><head></head><body><div style="font-family: Verdana;font-size: 12.0px;"><div>Hello everyone,</div>
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<div>here is just a reminder that August 20 is the deadline for abstracts for Kinema Club XIII at Harvard University on January 17, 2014.</div>
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<div>Thanks to everyone that has already sent in proposals. Currently it looks as if we might expand the conference to a second day (the 18th) to accommodate the number of papers. Since we are trying to put together some screenings to accompany the conference that might give more time to see some interesting films as well. </div>
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<div>Also, there have been some questions about how far the papers can stray from each respective year. While of course everyone will probably have to talk about context, I believe it is important to stick as much as possible to the specific year you have chosen. One of the goals of the conference concept is to force us to adjust to a certain, possibly contradictory moment – that does not conform to the smoother, long-term historiographic narratives we usually put together.</div>
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<div>Again, if there are any questions, just write to me at Kinemaclub13@gmail.com</div>
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<div>All the best!</div>
<div>Alex</div>
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<p style="margin: 0px; font-size: 14px; line-height: normal; font-family: Arial; color: rgb(227, 36, 0); "><span style="letter-spacing: 0.0px"><b>Call for Papers for….</b></span></p>
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<p style="margin: 0px; font-size: 18px; line-height: normal; font-family: Arial; color: rgb(0, 86, 214); "><span style="letter-spacing: 0.0px"><b>Kinema Club XIII</b></span></p>
<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; color: rgb(0, 86, 214); "><span style="letter-spacing: 0.0px"><b>at Harvard University</b></span></p>
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<p style="margin: 0px; font-size: 14px; line-height: normal; font-family: Arial; color: rgb(227, 36, 0); "><span style="letter-spacing: 0.0px"><b>Three Times +X. Transitional Moments in Film and Media History in Japan.</b></span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>Dates: January 17, 2014</b></span></p>
<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>Reischauer Institute, Harvard University</b></span></p>
<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>Deadine for submissions: August 20, 2013</b></span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">We welcome submissions for the 13th Kinema Club Conference on Film and Moving Images from Japan!</span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">This Kinema Club will focus on three transitional moments in the history of film and media in Japan, centered around the years 1927, 1962, and 1995. Additionally, to celebrate the 40th anniversary of the Reischauer Institute, we will include the year 1973.</span></p>
<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">Panel proposals on additional years are also possible (though not individual papers), as are panels on questions of historiography in relation to research on film and moving images from Japan.</span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">The concept is therefore somewhat different from previous Kinema Clubs. By focusing respective sessions on specific years, we will be able to recognize heterogeneous constellations. These can be what Harry Harootunian has (in reference to Ernst Bloch) called “noncontemporaneous contemporaneity“, or due to other factors of industry or audience segmentation. These constellations can include relations across different genres, distribution networks, or media platforms at a given historical moment. It will allow recognizing what we might call contradictory coherences of aesthetic, social, and political history.</span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">For this we have selected three years that are often regarded, for different reasons, as transitional:</span></p>
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<li style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">1927 is the year that Tanaka Jun’ichirô and Komatsu Hiroshi see as foundational for modernism in the cinema of Japan, strongly influenced by the 1923 earthquake in Kantô.</span></li>
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<li style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">1962/3 is the time of the appearance of Pink Film and Ninkyô Yakuza film, and the production of the first anime, Tetsuwan Atomu / Astro Boy (even if the first broadcast took place on January 1, 1963). It the year after a large part of Shin Toho’s archives were sold to television, making Japanese films produced for the cinema available on TV for the first time.</span></li>
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<li style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">1995 is often discussed as a year of crisis and rupture, deeply leaving its mark on moving image culture. After the burst of the bubble and the re-organization of the film industry, it is the year in which Neon Genesis Evangelion is broadcast. It is the time when Japanese film is re-”discovered” at international film festivals.</span></li>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">and as a bonus option and due to the 40th anniversary, we include the year 1973, the year of the founding of the Reischauer Institute.</span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; color: rgb(0, 97, 255); "><span style="letter-spacing: 0.0px"><b>Panel submissions of at least three presenters that focus on additional years are also welcome!</b></span></p>
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<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>Dates</b>:</span></p>
<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">The conference will be held on <b>January 16 </b>at the Reischauer Institute at Harvard University. </span></p>
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<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>Submissions:</b></span></p>
<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">Please send abstracts of up to 200 words or any questions to: kinemaclub13@gmail.com</span></p>
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<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">Panel submissions should consist of a panel abstract and the respective paper proposals – all of these around 100 words.</span></p>
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<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>Deadline for submissions is August 20, 2013</b>. </span></p>
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<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">We hope to see you there!</span></p>
<p style="margin: 0px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">Alexander Zahlten</span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">******************************************************************</span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px"><b>What is Kinema Club? </b></span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">Kinema Club is an informal community of scholars, artists, and fans interested in Japanese moving image media established in the early 1990s. A group that Initially formed for informally swapping Xeroxes of tables of content from Japanese film journals eventually established a newsgroup called KineJapan, which instantly grew to 50 names. KineJapan now has over 600 participants from every part of the world. </span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">From this description you might gather than Kinema Club is more an idea than a group. The idea is that Kinema Club provides a rubric within which anything is possible. No one owns it. Anyone can take it and do something creative with it. We have no dues (and no budget or bank account). No system of introductions. No office. It is amorphous, even anarchic, but it has definitely played an important role in networking all the scholars, programmers and fans interested in Japanese cinema. </span></p>
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<p style="margin: 0px; font-size: 12px; line-height: normal; font-family: Arial; "><span style="letter-spacing: 0.0px">One of the most important activities has been our workshops and conferences. At the end of the 1990s, the study of Japanese cinema was undergoing some interesting transformations. Most notably, it was becoming increasingly interdisciplinary. To confront these changes head-on, an intimate workshop was held at the University of Michigan in 1999. One thing became immediately evident: although there were many students and professors studying Japanese film and television, no one really knew each other. KineJapan already had over 200 members at that point, but few people had met face to face. So subsequent workshops and conferences were held in Hawai'i (2003), NYU (2004), McGill (2004), Tokyo (2005), NYU (2005), Yale (2006), Frankfurt (2007), Harvard (2009), Hawai'i (2010), Vienna (2011) and Yale (2012). The programs for many of these conferences are on the archives section of the Kinema Club website.</span></p>
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