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<p class="MsoNormal"><span lang="EN-US">Dear <span class="gmail-m_8918711537952466270gmail-m_-3602173312688099591gmail-il">KineJapan</span> members, </span></p><p class="MsoNormal"><span lang="EN-US"> </span></p><p class="MsoNormal"><span lang="EN-GB">We
are pleased to announce a mini-conference "New Horizons in World
Cinema" on 10-11 Nov,
jointly organized by Nagoya University, University of Warwick and Chubu
Branch of the JASIAS. (Venue
is at Higashiyama campus, Nagoya University in Nagoya.) <br></span></p><p class="MsoNormal"><span lang="EN-GB">Prof. Thomas
Elsaesser will provide the keynote speech on "Transnational Cinema or
World Cinema". <span lang="EN-GB">For more detailed information, please refer to the attachment below. </span></span></p><p class="MsoNormal"><span lang="EN-GB"><span lang="EN-GB"></span></span></p><p class="MsoNormal"><span lang="EN-GB"><span lang="EN-GB">
Admission is free, and no preregistration required.
All Kinejapaners are very welcome to join!</span></span><span lang="EN-GB"> <br></span></p><p class="MsoNormal"><br></p><p class="MsoNormal">All the best,</p><p class="MsoNormal"><br></p><p class="MsoNormal"><span class="gmail-m_8918711537952466270gmail-m_-3602173312688099591gmail-il">Wujung</span></p><p class="MsoNormal"><span class="gmail-m_8918711537952466270gmail-m_-3602173312688099591gmail-il"><a href="mailto:joo@nagoya-u.jp" target="_blank">joo@nagoya-u.jp</a></span></p><p class="MsoNormal"><span class="gmail-m_8918711537952466270gmail-m_-3602173312688099591gmail-il"></span></p>
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Nagoya-Warwick International Mini-Conference<br><span style="font-size:21px"><b>New Horizons in World Cinema</b></span><br><br><b>10-11 November 2018</b><br><br>Simultaneous interpretation（English-Japanese） <br>Admission free, no preregistration required<br><b>Venue:</b> <div><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>Conference Hall, Integrated Research Bldg. for Humanities & Social Sciences, Nagoya University<br><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>Campus Map (B4-4) <a href="http://en.nagoya-u.ac.jp/map/index.html" target="_blank">http://en.nagoya-u.ac.jp/map/index.html</a><div><b>URL: </b><a href="https://eizogaku.wordpress.com/events/" target="_blank">https://eizogaku.wordpress.com/events/</a></div><div> <a href="http://jasias-chubu.org/wp/" target="_blank">http://jasias-chubu.org/wp/</a></div><div><b>Organized by</b> <br><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>Cinema Studies Unit, Graduate School of Humanities, Nagoya University<br><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>Department of Film and Television Studies, University of Warwick<br><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>Chubu Branch of the Japan Society of Image and Sciences<br><br>“New
Horizons in World Cinema” is a two-day international mini-conference
(November 10-11, 2018) hosted by the Graduate Programme in Cinema
Studies at Nagoya University, Japan, in collaboration with the
Department of Film and Television Studies at the University of Warwick,
UK, and the Chubu Branch of the Japan Society of Image Arts and
Sciences (JASIAS-Chubu). The conference is also part of
the pre-inaugural events for the Cotutelle PhD Degree Programme in
Global Screen Cultures between Nagoya University and the University of
Warwick, U.K, which will be launched in October 2019.<br><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>The
term “world cinema" is commonly seen as an umbrella term that causally
unifies the theoretical and discursive formulations surrounding the
increasingly global, transnational, and diasporic film cultures of
today. Instead, we propose a more dynamic understanding of the term as
an antidote to the fragmentary ways in which researchers tend to work
within a particular linguistic, geographic, and historical context. We
invite our participants to leverage the concept of “world cinema”
against their existing work, and to open up new lines of inquiry which,
through robust inter-regional dialogue, can extend the critical horizons
of key issues in cinema studies and screen cultures. </div><div><span class="gmail-m_8918711537952466270gmail-m_-2233734616005705918Apple-tab-span" style="white-space:pre-wrap"> </span>Prof.
Thomas Elsaesser will provide the keynote speech, entitled
“Transnational Cinema or World Cinema: Why Filmmakers Find Themselves
Serving Two Masters." The conference will also feature three types of
sessions: a talk session by scholars from the University of Warwick and
Nagoya University, a graduate workshop, and a session organized by
JASIAS-Chubu. Moreover, an essay film directed by Prof. Elsaesser, <i>The Sun Island</i> (2017, 72min, English subtitles), will be screened, followed by a Q&A session with the filmmaker on November 11th. </div><div> <br><br><br><b><font size="3">Nov. 10 (Sat.)</font></b><br><br>10:00-10:15<b> </b> <br>Opening remarks: Hideaki Fujiki (Nagoya University)<br> Karl Schoonover (University of Warwick)<br><br>10:15-12:15<br>******************************************<br><b>SESSION I: Nagoya-Warwick Talks</b><br>******************************************<br>Moderator: Woogeong Joo (Nagoya University) <br><br><b>Karl Schoonover </b>(University of Warwick)<br>“The World Cracked: Sinkholes, GIFs, and Cinematic Ecologies”<br><br><b>Shota T. Ogawa </b>(Nagoya University)<br>“Affect of Scale: Small-gauge Film and Tourism in Imperial Japan”<br><br>13:20-14:50<br>****************************************<br><b>SESSION II: Graduate Workshop</b><br>****************************************<br>Chair: Brett Hack (Nagoya University)<br><br><b>Jamie Zhao</b> (University of Warwick)<br>“Global Queer Media as a Method: Making a Queer Turn in Chinese Film and TV Studies”<br><br><b>Eri Kajikawa</b> (Nagoya University)<br>“Imagining In-Betweenness: A Historical View of Japanese Animation”<br><br><b>Yuka Ito </b>(University of Tsukuba)<br>“Where Is the Border?: Transformation of Framework on the Screen”<br><br><b>Hui Yan Chew</b> (Nagoya University)<br>“Rethinking Sinophone Malaysian Films: A Case Study on Independent Film "Absent Without Leave” <br><br>15:10-16:15<br>****************************************************<br><b>SESSION III: JASIAS-Chubu Presentations</b><br>****************************************************<br>Moderator: Shinjiro Maeda (Institute of Advanced Media Arts and Sciences)<br>Greetings from JASIAS-Chubu: Shinjiro Maeda<br><br><b>Jung-Yeon Ma</b> (Meiji University)<br>“Beyond Cinema: Screen Practice in Contemporary Art ”<br><br><b>Masato Dogase</b> (Chubu University)<br>“Minamata
Documentaries with the Television Media Ecology: An Intricate
Arrangement of Local TV Documentaries’ Audio-Visual Expression”<br><br>16:30-18:00<br>************************************<br><b>SESSION IV: Keynote Speech</b><br>************************************<br>Moderator: Ran Ma (Nagoya University)<br><br><b>Thomas Elsaesser</b> (University of Amsterdam)<br>“Transnational Cinema or World Cinema: Why Filmmakers Find Themselves Serving Two Masters”<br><br><br><b><font size="3">Nov. 11 (Sun)</font></b><br><br>10:30-12:00</div><div>***********************************************************************<br><b>Screening of The Sun Island (2017) dir. Thomas Elsaesser</b><br>***********************************************************************<br>Q&A with the director<br>Moderator: Ran Ma (Nagoya University)<br><br><br><b>PRESENTERS</b><br><br><b>Thomas Elsaesser</b> is
Professor Emeritus at the Department of Media and Culture of the
University of Amsterdam. He is one of the most distinguished and
influential scholars in the history of film studies for these five
decades. From 2006 to 2012 he was Visiting Professor at Yale University
and since 2013 he is Visiting Professor at Columbia University,
New York. Author and editor of some twenty books, Elsaesser has been
published in most European and several Asian languages, including
Japanese (Studying Contemporary American Film, 2002 , with Warren
Buckland, translated by Kazunori Mizushima). Among his recent books
are The Persistence of Hollywood (New York: Routledge, 2012), Film
Theory – An Introduction through the Senses (with Malte Hagener,
2nd revised edition, New York: Routledge, 2015), and Film History as
Media Archaeology (Amsterdam University Press, 2016). His latest book
is European Cinema and Continental Philosophy: Film as Thought
Experiment (London: Bloomsbury, 2018).<br><br><b>Karl Schoonover </b>is
Associate Professor of Film and Television Studies at the University of
Warwick. He is the author of Brutal Vision: The Neorealist Body in
Postwar Italian Cinema (U of Minnesota Press 2012). He is coeditor
of Global Art Cinema (Oxford UP 2010) and co-author of Queer Cinema
in the World (Duke University Press 2016) which received SCMS’s
Katherine Singer Kovács Award for best book of the year. He has also
published recent essays on labour in art films, cinema’s role in human
rights campaigns, and eco-documentaries. He is finishing a book on
cinema as a medium of waste management. <br><br><b>Shota T. Ogawa</b> is
Associate Professor in Cinema Studies at Nagoya University. His current
book project titled Imperial Landscapes across Geographic Scales contextualizes
prewar Japan's small-gauge cine-amateurism in the uneven development of
the Japanese empire. He is also co-editing Routledge Handbook of
Japanese Cinema (forthcoming, 2019) with Joanne Bernardi. In addition to
his recent article, "Rerouting the Modernist Visions of Horino Masao:
Territorial Photography, Mass Amateurism, and Imperial Tourism," TAP
Review vol. 8. no. 2 (Spring 2018), his articles on diasporic Koreans in
Japanese visual culture have appeared in journals
including Screen, Japan Focus: The Asia-Pacific Journal, and Journal of
Japanese and Korean Cinema. <br><br><b>Jung-Yeon Ma</b> was born in
1980, Seoul, Republic of Korea. She graduated from Graduate School of
Film and New Media, Tokyo University of the Arts with her doctoral
dissertation on social implications of art and media technologies, which
was later published as A Critical History of Media Art in
Japan (In Japanese) (Artes Publishing 2014). Preparing her upcoming
co-edited book, Seiko Mikami: A Critical Reader (in Japanese) (NTT
Publishing 2019), she is currently working as assistant professor at
Meiji University, visiting scholar at Tama Art University, and Tokyo
correspondent of Korean monthly art magazine, Wolganmisool.<br><br><b>Masato Dogase</b> is
a lecturer at Chubu University, Aichi Shukutoku University and Waseda
University, teaching Japanese cinema and animation culture. He is a
contributor to the forthcoming anthology Japanese Cinema
Book (Alastair Phillips and Hideaki Fujiki eds., British Film Institute,
2019), contributing his essay ‘Dialogic Social Protests:
Documentaries on/with Student Movements’. His current research project
on Japanese documentaries in the 1960s is subsidized by the JSPS KAKENHI
Grant.<br><br><b>Jamie Zhao</b> received her first PhD in Gender
Studies from the Chinese University of Hong Kong in 2016 and an MA in
Media Studies from the University of Wisconsin in 2012. In later 2018,
she will complete a second doctoral degree in Film and TV Studies at the
University of Warwick, and join Xi’an Jiaotong-Liverpool University as
Assistant Professor of Communications. She has given talks on global
queer media and fandom at over 50 international conferences/events.
Her most recent academic writings can be found in
the journals of Celebrity Studies, Feminist Media Studies, MCLC,
and Transformative Works and Cultures. She coedited Boys’ Love, Cosplay
and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong,
and Taiwan (Hong Kong University Press, 2017). She is currently editing
two journal special issues and preparing two monograph manuscripts
on Chinese-speaking queer entertainment in a globalist context.<br><br><b>Eri Kajikawa</b> is
a PhD student in the Graduate Program in Cinema Studies at Nagoya
University. Her major is cinema and animation history. Her research
presentations include “Audiovisuality of the Utopian
Community in Momotaro: Sacred Sailors” (in Japanese) at National Taiwan
University (May 2016) and “Gravity and Fall: Spatial Representations
and Movement Techniques in Spider and Tulip” (in Japanese) at Nagoya
University of Arts and Sciences (March 2018).<br><br><b>Yuka Ito </b>is a
PhD student in the Graduate School of Humanities and Social Science,
University of Tsukuba. Her current research reconsiders cinema as a
contact point between nation-states and refugees. She recently presented
her paper entitled “The Resistance of cinema to standardization of
refugee” (in Japanese) at the Association for Cultural Studies (2018).<br><br><b>Chew Hui Yan</b> is
a PhD student in the Graduate Program in Cinema Studies at Nagoya
University. She has a MA from the Radio & Television Department at
the National Chengchi University in Taipei, Taiwan. Her research
presentations include “A Study on the Representation of Ethnic
Relationship in Yasmin Ahmad’s films” (2011) and “A Study on
Facebook as a space to release negative emotion” (2012) both at the
Taipei Digital Genesis Seminar. Her research interests include Sinophone
studies, diasporic filmmaking, and Malaysian cinema.</div></div>
</div><div dir="ltr"><br></div><div dir="ltr"><br></div><div dir="ltr">Woojeong Joo, Ph.D.<div>Assistant Professor</div><div>Graduate School of Humanities</div><div>Nagoya University</div><div><a href="mailto:joo@nagoya-u.jp" target="_blank">joo@nagoya-u.jp</a></div></div></div></div>
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