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text="#000000"><div style="font-size: 12pt;font-family: tt;"><span
style="font-family: monospace;">Hi Roger,<br><br>Thank you for pointing
this out!<br><br>If I may, here I think "mazaru" probably means
something more like "mix in", so "when kanji are mixed in [with the
kana]" - not quite the same thing as Eisenstein’s "combination" of two
"hieroglyphs". <br><br>It's interesting though to note that Hashimoto's
position is the standard argument for retaining kanji, only backwards -
instead of "we use kanji to avoid ambiguity," it's "I avoid kanji to
preserve ambiguity" (or at least fluidity). The Wikipedia article says
that "location staff" (</span><span style="color: rgb(34, 34, 34);
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text-decoration: none; display: inline ! important; float: none;">現場のスタッ
フ</span><span style="font-family: monospace;">) found his scripts hard
to read for that reason, but I wonder how actors felt about it.</span><span
style="font-family: monospace;"><br><br>Best regards,<br>--Matt<br><br><br></span><br><span>Roger
Macy wrote:</span><br><blockquote
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<p class="ydpacf3fed6MsoNormal"><span style="font-family:Arial">Thanks,
Aaron, as ever, for
your feeds and comments like this.</span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial">I was curious to see on ja.wikipedia
that, </span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:SimSun;mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-fareast-language:JA"
lang="JA">「漢字が混ざるとイメージが固定されるので」と、単独執筆の場合、脚本はすべてカナタイプ</span><span
style="font-family:Arial;mso-fareast-language:JA">[7]</span><span
style="font-family:SimSun;mso-ascii-font-family:Arial;mso-hansi-font-family:Arial;mso-bidi-font-family:Arial;mso-fareast-language:JA"
lang="JA">を使用して、片仮名でタイプしていた。</span><span
style="font-family:Arial;mso-fareast-language:JA"></span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial;mso-fareast-language:JA">For his solo
scriptwriting, he typed entirely in katakana on a<span> </span>kana
typewriter, because “when kanji combine,
the ‘image’ becomes fixed”.</span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial;mso-fareast-language:JA">So, in the days
before word-processing, Hashimoto chose to use a katakana typewriter,
not so
much for speed, but, because, as I read note 7, </span><span
style="font-family:Arial;mso-ansi-language:EN" lang="EN">it was easier
to put a sentence of
dialogue to be perceived as for an untutored ear</span><span
style="font-family:Arial;mso-fareast-language:JA">.</span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial;mso-fareast-language:JA">The note says
Yoda Yoshikata also used a katakana typewriter.</span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial;mso-fareast-language:JA">I appreciate that
Hashimoto is speaking of the script itself as a means of communication
to
produce films in an era of dialogue, whereas Eisenstein’s script, in за
кадром,
is the expression of the film itself in a silent era. Eisenstein spoke
of kanji
combinations as a metaphor to embrace whereas Hashimoto means it
literally, as
something to avoid. But they seem to have spun around the same pole.</span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial;mso-fareast-language:JA">But this point
must have been made before somewhere ?</span></p>
<p class="ydpacf3fed6MsoNormal"
style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span
style="font-family:Arial;mso-fareast-language:JA">Roger</span></p>
</span><br></div><div><br></div>
</div><div id="ydp5ae8b730yahoo_quoted_2279841826"
class="ydp5ae8b730yahoo_quoted">
<div style="font-family:'Helvetica Neue', Helvetica, Arial,
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<div>
On Friday, 20 July 2018, 01:25:55 GMT+1, Gerow Aaron
<a class="moz-txt-link-rfc2396E" href="mailto:aaron.gerow@yale.edu"><aaron.gerow@yale.edu></a> wrote:
</div>
<div><br></div>
<div><br></div>
<div><div id="ydp5ae8b730yiv8981580841"><div>Hashimoto
Shinobu, famed as the screenwriter for Kurosawa Akira's
Rashomon and The Severn Samurai, died on the 19th at the age of 100.
Hashimoto learned screenwriting under Itami Mansaku, and wrote the first
draft of an adaptation of Akutagawa's In a Grove on his own while
working as a salaryman. The screenplay, ending up in the hands of
Kurosawa, was rewritten and made as Rashomon. Hashimoto became part of
Kurosawa's screenwriting team and participated in writing such films <span
class="ydp5ae8b730yiv8981580841text_exposed_show">as
Ikiru, Seven Samurai, Throne of Blood, and Hidden Fortress. He wrote
scripts for many other great directors, including Kobayashi Masaki
(Harakiri, Samurai Rebellion), Okamoto Kihachi (Sword of Doom), Nomura
Yoshitaro (Castle of Sand), Naruse Mikio, Gosha Hideo, Yamamoto Satsuo,
etc. For TV, his Watashi wa kai ni naritai is one of the monumental TV
dramas of Japanese TV history--a script he later adapted for film under
his own direction.</span><div class="ydp5ae8b730yiv8981580841"><span
class="ydp5ae8b730yiv8981580841text_exposed_show"><br
class="ydp5ae8b730yiv8981580841"></span></div><div
class="ydp5ae8b730yiv8981580841"><span
class="ydp5ae8b730yiv8981580841text_exposed_show"><a
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class="ydp5ae8b730yiv8981580841"><div class="ydp5ae8b730yiv8981580841">Aaron
Gerow<br class="ydp5ae8b730yiv8981580841">Professor<br
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Asian Languages and Literatures</div><div
class="ydp5ae8b730yiv8981580841"><span class="ydp5ae8b730yiv8981580841">Yale
University</span></div><div class="ydp5ae8b730yiv8981580841">320 York
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