<html><head></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. <div><br></div><div>After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD.<div><br></div><div>VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong.</div><div><br></div><div>M.<br><div><br><div><div>On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote:</div><br class="Apple-interchange-newline"><blockquote type="cite"><font size="3" face="Arial">Apart from the animes and the Kore-ada, THE
GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are
all titles that have been getting some touring festival life and have been
seen in both English subbed theatrical copies and screeners. (BACKWATER
is on the Festivalscope site for example, for those who can access it)</font>
<br>
<br><font size="3" face="Arial">The frustration often seems to be the odd
film that Japanese critics really go for in the poll, but which don't seem
to make it even out in international film festival circulation - perhaps
because of the split between titles that get championed by festival programmers
and those that have mainstream Japanese studio release. </font>
<br>
<br><font size="3" face="Arial">This is re Arron's comments; I suspect the
one film I won't get to see on this year's list is PEKOROSU NO HAHA NI
AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably
make it to many a film festival near you, because a number of influential
western programmers have got behind it (Just as last year the hard to see
film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant
OUR HOMELAND - was only finally seen on the back of a JAL airline seat).</font>
<br>
<br><font size="2" face="sans-serif">Best wishes</font>
<br>
<br><font size="2" face="sans-serif">Quentin Turnour, Manager, Arc Canberra
Cinema Programs,</font>
<br><font size="2" face="sans-serif">National Film and Sound Archive of Australia,</font>
<br><font size="2" face="sans-serif"><a href="mailto:quentin.turnour@nfsa.gov.au">quentin.turnour@nfsa.gov.au</a></font>
<br><font size="2" face="sans-serif">Fax: +61 2 6249 8159</font>
<br><font size="2" face="sans-serif">Ph +61 2 6248 2054</font>
<br><font size="2" face="sans-serif">Mob: + 61 4 428 368908</font>
<br><font size="2" face="sans-serif">[Please note that I am often absent
Mondays]</font>
<br>
<br><font size="2" face="sans-serif">All mail and freight shipments to:</font>
<br><font size="2" face="sans-serif">att: Cinema Programming (Quentin Turnour),</font>
<br><font size="2" face="sans-serif">Loading Dock, National Film and Sound
Archive of Australia,</font>
<br><font size="2" face="sans-serif">McCoy Cct, Acton, Canberra,</font>
<br><font size="2" face="sans-serif">ACT 2601, AUSTRALIA.</font>
<br><font size="2" face="sans-serif">Freight shipment inquiries to Cynthia
Piromalli: </font>
<br><font size="2" face="sans-serif"><a href="mailto:cynthia.piromalli@nfsa.gov.au">cynthia.piromalli@nfsa.gov.au</a> </font>
<br><font size="2" face="sans-serif">ph +61 2 628 2289</font>
<br><font size="2" face="sans-serif"> </font>
<br>
<br>
<br>
<br>
<br><font size="1" color="#5f5f5f" face="sans-serif">From:
</font><font size="1" face="sans-serif">Mark Roberts <<a href="mailto:mroberts37@mail-central.com">mroberts37@mail-central.com</a>></font>
<br><font size="1" color="#5f5f5f" face="sans-serif">To:
</font><font size="1" face="sans-serif">Japanese Cinema Discussion
Forum <<a href="mailto:kinejapan@lists.service.ohio-state.edu">kinejapan@lists.service.ohio-state.edu</a>>, </font>
<br><font size="1" color="#5f5f5f" face="sans-serif">Date:
</font><font size="1" face="sans-serif">09/01/2014 04:50 PM</font>
<br><font size="1" color="#5f5f5f" face="sans-serif">Subject:
</font><font size="1" face="sans-serif">Re: [KineJapan]
Kinema Junpo Best Ten 2013</font>
<br><font size="1" color="#5f5f5f" face="sans-serif">Sent by:
</font><font size="1" face="sans-serif"><a href="mailto:kinejapan-bounces@lists.service.ohio-state.edu">kinejapan-bounces@lists.service.ohio-state.edu</a></font>
<br>
<hr noshade="">
<br>
<br>
<br><font size="3">Hi Jonathan,</font>
<br>
<br><font size="3">The 5% number is based upon me having checked the 90 new
Japanese films screened at TIFF from 2007 to 2012, as well as all of the
Japanese films screened at FILMeX since its inception, putting all of these
titles into a database, and then checking them on IMDB and Amazon for distribution
and availability. I am not trying to count fan-subbed versions of films
because I assume they are all illegal.</font>
<br>
<br><font size="3">My report on TIFF has more details about patterns of international
distribution: </font>
<br>
<br><a href="http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html"><font size="3" color="blue"><u>http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html</u></font></a>
<br>
<br><font size="3">For FILMeX, the details are in my report for forthcoming
Directory of World Cinema: Japan 3 from Intellect Books.</font>
<br>
<br><font size="3">Of course, IMDB and Amazon are not perfect data sources.
If anybody has suggestions about more comprehensive online sources, I'm
all ears.</font>
<br>
<br><font size="3">Best,</font>
<br>
<br><font size="3">Mark</font>
<br>
<br>
<br><font size="3">On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote:</font>
<br>
<br><font size="2" face="Tahoma">Mark, </font>
<br><font size="2" face="Tahoma">Regrettably, this doesn't surprise me. Is
your 5% figure one you're estimating? Or is there some research or official
figure you're referring to?</font>
<br><font size="2" face="Tahoma">Jonathan</font>
<br>
<br><font size="3" face="Times New Roman">For reference, only about 5% of
the new Japanese films screening in festivals here appear to be making
it onto DVD, BR, or VOD outside of Japan.</font>
<br>
<br><font size="3">_______________________________________________<br>
KineJapan mailing list</font><font size="3" color="blue"><u><br>
</u></font><a href="mailto:KineJapan@lists.service.ohio-state.edu"><font size="3" color="blue"><u>KineJapan@lists.service.ohio-state.edu</u></font></a><font size="3" color="blue"><u><br>
</u></font><a href="https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan"><font size="3" color="blue"><u>https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan</u></font></a>
<br><tt><font size="2">_______________________________________________<br>
KineJapan mailing list<br>
<a href="mailto:KineJapan@lists.service.ohio-state.edu">KineJapan@lists.service.ohio-state.edu</a><br>
</font></tt><a href="https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan"><tt><font size="2">https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan</font></tt></a><tt><font size="2"><br>
</font></tt>
<br>_______________________________________________<br>KineJapan mailing list<br><a href="mailto:KineJapan@lists.service.ohio-state.edu">KineJapan@lists.service.ohio-state.edu</a><br>https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<br></blockquote></div><br></div></div></div></body></html>