I wasn't at AAS, but this discussion reminds me of what every anthrologist of Japan encounters at various points in their career: Japanese hostility at being an object of study for foreigners. So for more than 30 years (I've been doing this a long time), I've been challenged with comments ranging from 'why Japan, we are not a primitive society' to 'why ama, they are not proper Japanese women' to 'why popular culture, that's not a worthy subject' to 'isn't that book title orientalist?' It is about trying to control outsiders' imaginings about Japan, which seems as difficult as trying to control foreigners' imaginings about merry olde England, or sophisticated Paris (in fact someone has written a paper about the trauma suffered by young Japanese women who encounter the 'real' Paris -- there is a similar trauma suffered by many of my Japanese students encountering rundown multicultural London). Anyway, I'm not sure that trying to control the way others imagine Japan is possible, even though there is more to it than pinku eiga, cosplay and anime as I tried to convince the students who did my anthropology courses! But we should be sensitive to the fact that such partial, sometimes obsessive and occasionally orientalist attitudes do bother many Japanese.<div>
Lola <br><div>
<br><br>On Saturday, 5 April 2014, Michael Raine <<a>mraine3@uwo.ca</a>> wrote:<br><blockquote class="gmail_quote" style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div dir="ltr">
Thank you for your thoughts on this Rob. I'm not familiar with the Japanese work being done in this area either, but I would be surprised if it doesn't exist. Just to be clear: I do think this material belongs in the classroom. Some of the participants pointed out that students are already reading the material (in disregard of local laws) but even if it were rare it could still be worth teaching. Perhaps the topic of the panel was not so much "cool Japan" as "queer Japan" -- meaning not a label for particular object choices but for representations and reading practices that are excluded from mainstream society, seen as transgressive and shameful if not illegal. Their existence, and they way they question both art-historical and social categories, are certainly something worth thinking about. But I do think resistance to the objects themselves, and their inclusion in the classroom, will come from people who identify as progressive, on the Left, as well as people who identify as conservative or on the Right. I hope all these topics get discussed anyway; I'd certainly be interested in knowing how it went. Maybe someone at the workshop could write up a report for the Kinema Club website... <br>
</div><div><br><br><div>On Fri, Apr 4, 2014 at 4:11 PM, Rob Buscher <span dir="ltr"><<a>robbuscher@hotmail.com</a>></span> wrote:<br>
<blockquote style="margin:0 0 0 .8ex;border-left:1px #ccc solid;padding-left:1ex">
<div><div dir="ltr">I'm glad you brought this up Michael - I was also quite interested by the force with which the Japanese academic responded to the panel at AAS. I was rather surprised by the panel myself, since the title "End of 'Cool' Japan" had very little to do with the overall theme of the panel, in my opinion at least. <div>
<span style="font-size:12pt"><br></span></div><div><span style="font-size:12pt">For those of you who were not at AAS, this panel dealt primarily with the legal issues surrounding the use of sexually risque materials in class such as the study of BL or lolicon manga. </span><span style="font-size:12pt">Straying from cinema, although we do have similar issues of navigating appropriateness in the study of Pinku Eiga. </span><div>
<br></div><div>The difference in my mind is that while there are several Japanese academics who are involved in the scholarly study of Pinku Eiga, I am unfamiliar with any such work being conducted in Japanese on the manga that this panel addressed. I wouldn't say that I agree with the criticism of the academic at AAS, but it certainly raises some questions about what influences non-Japanese to take interest in such topics. I would be curious to hear input from other folks on the list. </div>
<div><br></div><div>Best,</div><div>Rob </div><div><br></div><div>Rob Buscher</div><div>Programming Director</div><div>Philadelphia Asian American Film Festival</div><div><a href="http://www.paaff.org" target="_blank">www.paaff.org</a><br>
<div><br><div><br><div><hr>Date: Fri, 4 Apr 2014 15:52:51 -0500<br>From: <a>raine.michael.j@gmail.com</a><br>To: <a>kinejapan@lists.service.ohio-state.edu</a><br>
Subject: Re: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor<div><div><br><br><div dir="ltr"><div>I thought this panel was one of the most interesting at AAS last weekend. I enjoyed the presentations but I was also struck by the forceful objection by an audience member. If I understand it correctly, she was not happy that a panel of non-Japanese was choosing deliberately "outre" material to show in a university classroom setting. I'm not sure if the objection was more cultural (there is better work to study) or nationalist (foreigners shouldn't be exposing the underside of Japan).<br>
<br>Also, I think the panel tended to characterize the restrictions on content as stemming from a "conservative backlash," right-wing and drawing on the power of the State. I certainly agree that there is such a thing and, teaching in Canada, I've experienced it first-hand. However, I'm not sure that objections to the kind of material under discussion come only from the Right: in Canada the law against non-photographic pornography depends on a "harms discourse" that is often used by progressives. In general, there are many voices on "the Left" calling for censorship of pornography and limits to the kind of material that students can be made to study. For example, the recent rise in calls for "trigger warnings" and the provision of a "safe space" for education. <br>
<br></div>In any case, I would be very interested he hear how the discussion goes and whether these questions are addressed in the panel. Wish I could be there!<br><br>Michael<br><div><br clear="all"><div>
<div dir="ltr"><div>Michael Raine, Film Studies<br></div>Western University, Canada<br></div></div>
<br><br><div>On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <span dir="ltr"><<a>amnornes@umich.edu</a>></span> wrote:<br><blockquote style="border-left:1px #ccc solid;padding-left:1ex">
<div dir="ltr"><div><span style="color:rgb(20,24,35);font-family:Helvetica,Arial,'lucida grande',tahoma,verdana,arial,sans-serif;font-size:13.63636302947998px;line-height:16.290908813476563px">I wish you all could come. At least you'll know what's up. This will eventually be a book, it seems.</span></div>
<div><span style="color:rgb(20,24,35);font-family:Helvetica,Arial,'lucida grande',tahoma,verdana,arial,sans-serif;font-size:13.63636302947998px;line-height:16.290908813476563px"><br></span></div><div><span style="color:rgb(20,24,35);font-family:Helvetica,Arial,'lucida grande',tahoma,verdana,arial,sans-serif;font-size:13.63636302947998px;line-height:16.290908813476563px">Markus</span></div>
<div><span style="color:rgb(20,24,35);font-family:Helvetica,Arial,'lucida grande',tahoma,verdana,arial,sans-serif;font-size:13.63636302947998px;line-height:16.290908813476563px"></span></div></div></blockquote></div>
</div></div></div></div></div></div></div></div></div></div></div></blockquote></div></div></blockquote></div>
</div>