<div dir="ltr"><div dir="ltr"><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">Sorry to jump on this thread late but I'm wondering when they're going to do something that reflects the slogan on all the Olympic signs around Tokyo, "Unity in Diversity" (apparently a "supplementary" slogan to the Japanese, see below, which has to do with "connecting everyone's radiance" <-- slapdash translation, but I wanted to give a general idea).</div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><br></div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">Seems like choosing a non Japanese ( or "non Japanese"?) director for this might have been one super great opportunity to do so.</div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><br></div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">Jeremy Harley</div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif">Mabashi Wonderland Movie Festival</div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><br></div><div class="gmail_default" style="font-family:arial,helvetica,sans-serif"><br></div><div class="gmail_default"><div class="gmail_default"><font face="arial, helvetica, sans-serif">広報メッセージ</font></div><div class="gmail_default"><font face="arial, helvetica, sans-serif">（日本語） みんなの輝き、つなげていこう。</font></div><div class="gmail_default"><font face="arial, helvetica, sans-serif">（英 語） Unity in Diversity</font></div><div class="gmail_default"><font face="arial, helvetica, sans-serif">日本語メッセージの補足として英語を使用</font></div></div></div></div><br><div class="gmail_quote"><div dir="ltr">On Tue, Oct 30, 2018 at 1:29 AM Dolores Martinez <<a href="mailto:dm6@soas.ac.uk">dm6@soas.ac.uk</a>> wrote:<br></div><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">Dear Roger, <div>It’s not a comparison of the two films scene by scene, but you will find it in <span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify">Politics and the Olympic film documentary: </span><span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify">The Legacies of </span><span class="gmail-m_2232778668984473338s20" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";font-style:italic;text-align:justify">Berlin Olympia </span><span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify">and </span><span class="gmail-m_2232778668984473338s20" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";font-style:italic;text-align:justify">Tokyo Olympiad</span><span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify">’ </span><span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify">in</span><span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify"> </span><span class="gmail-m_2232778668984473338s20" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";font-style:italic;text-align:justify">Sports & Society</span><span class="gmail-m_2232778668984473338s20" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";font-style:italic;text-align:justify"> </span><span class="gmail-m_2232778668984473338s19" style="line-height:14.4px;font-size:12px;font-family:"Times New Roman";text-align:justify">vol. 12(6): 811-21.</span></div><div><div style="text-align:justify"><font face="Times New Roman"><span style="font-size:12px">I thi. I think a careful analysis of the two would be interesting. Yours, Lola </span></font></div><br>On Monday, 29 October 2018, Roger Macy <<a href="mailto:macyroger@yahoo.co.uk" target="_blank">macyroger@yahoo.co.uk</a>> wrote:<br><blockquote class="gmail_quote" style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div><div style="font-family:"Helvetica Neue",Helvetica,Arial,sans-serif;font-size:16px"><div></div>
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<p>Thanks Lola,</p>
<p style="margin-top:6pt">I was trying to pin down where you wrote on Ichikawa’s <i>Olympiad</i>. Is
that in your forthcoming ‘Media and Politics of Memory in Japan’ ?</p>
<p style="margin-top:6pt">I think what particularly interests me is <u>which</u> Riefenstahl <i>Olympia</i>
Ichikawa saw. She made a number of films for different national markets,
including Japan, but I’m not sure what would have been archived, or easily
available to Ichikawa. For $400 on Criterion, I would have wanted more on that.</p>
<p style="margin-top:6pt">Anyway, isn’t it worth crediting that, unlike Riefenstahl, Ichikawa
presented one global version ? I wonder what will happen in 2020 with our runaway
fragmentation of audiences and politics.</p>
<p style="margin-top:6pt">Roger</p>
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On Sunday, 28 October 2018, 13:13:25 GMT, Dolores Martinez <<a href="mailto:dm6@soas.ac.uk" target="_blank">dm6@soas.ac.uk</a>> wrote:
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<div><div><div><div dir="ltr"><div>Dear all,</div><div>although I love much about Ishikawa's Tokyo Olympiad, having researched and written about it, I would argue that some aspects of it are somewhat less politically correct than we might like. Aside from the photos of Ishiskawa and Riefenstahl warmly greeting and chatting on various occasions, a careful analysis of his camera work and editing shows him paying homage to her (I am grudgingly having to admit this) pioneering technical innovations in making her documentary. Igarashi, for example, has an interesting analysis of the Japanese women's volleyball win, while I find Ishikawa's editing of the marathon most indebted to her work.</div><div>Just saying...</div><div>Lola</div><div><br clear="none"></div><div><div><div dir="ltr"><div dir="ltr"><div><div dir="ltr"><div><div>Dr Lola Martinez<br clear="none"></div><div>Reviews Editor, JRAI<br clear="none"></div>Emeritus Reader, SOAS<br clear="none"></div>Research Associate, ISCA, University of Oxford<br clear="none"><div><br clear="none"></div></div></div></div></div></div><br clear="none"></div></div><br clear="none"><div><div><div dir="ltr">On Sun, 28 Oct 2018 at 04:03, Markus Nornes <<a shape="rect" href="mailto:nornes@umich.edu" rel="nofollow" target="_blank">nornes@umich.edu</a>> wrote:<br clear="none"></div><blockquote style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr">I've never had problems with Kawase, who I've known since she showed some Yamagata staff Ni Tsusumarete in some classroom shortly after it was done. But I've heard plenty of stories of misbehavior over the years. It's disheartening. <div><div><br clear="none"></div><div>The comparison to Leni Riefenstahl is really unfair. Aside from the fact that one was an actor and the other is a prominent director, the LDP are not Nazis and Abe is hardly Hitler. The historical contexts are also entirely different. </div><div><br clear="none"></div><div>The only real comparison to make has to do with collaboration. But collaboration means something very different in today's Japan than Germany, even in the early 30s. I am writing up something up about the tough position of Chinese filmmakers today. A new film law went into effect recently that is as pernicious as anything the Nazis drew up (I'm teaching the latter right now). It has effectively destroyed any space for independent cinema. Anything made now must be integrated into official culture and structures, starting with censorship. I just got back from Hanzhou's West Lake Film Festival, where "collaboration" was a point of huge concern. The choice is as stark as collaborate, quit or go into exile.</div><div><br clear="none"></div><div>I like the way Aaron puts the issue vis a vis the Olympics "boondoggle." How Kawase comports herself vis a vis the nationalistic BS the games are embedded in will be the question. I'm glad she's doing it, and think it's a great choice. Here's an accomplished fiction filmmaker, and a woman director, who has shown a deep commitment to the documentary. I've dipped into the massive Criterion Collection 100 Years of Olympic Documentaries. They really aren't very good, despite a slew of major names (almost all men, and mainly fiction feature filmmakers). I hope she lets loose form-wise and does an Olympics film like no other. If she doesn't the judgement will be far more severe than what's being written now, that's for sure. </div><div><br clear="none"></div><div>Markus</div><div><div><div dir="ltr"><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><div dir="ltr"><span style="color:rgb(136,136,136)">--- </span></div><div dir="ltr"><div><div dir="ltr"><div dir="ltr"><div style="font-size:small"><font face="courier new, monospace" color="#274e13"><b><img src="https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download" width="56" height="96"><br clear="none"></b></font></div><div style="font-size:small"><font face="courier new, monospace" color="#274e13"><b>Markus Nornes</b></font></div><div style="font-size:small"><span style="font-family:"courier new",monospace"><font color="#38761d"><b>Professor of Asian Cinema</b></font></span></div><div><font size="1" color="#38761d"><font face="courier new, monospace">Department of Screen Arts and Cultures</font><span style="font-family:"courier new",monospace">, Department of Asian Languages and Cultures, Penny Stamps </span><span style="font-family:"courier new",monospace">School of Art & Design</span></font></div><div style="color:rgb(136,136,136);font-size:small"><font face="courier new, monospace" color="#6aa84f"><br clear="none"></font></div><div><font size="1" face="courier new, monospace" color="#93c47d"><b>Department of Screen Arts and Cultures</b></font></div><div><font size="1" face="courier new, monospace" color="#93c47d"><b>6348 North Quad</b></font></div><div><font size="1" face="courier new, monospace" color="#93c47d"><b>105 S. State Street</b></font></div><div><font size="1" face="courier new, monospace" color="#93c47d"><b>Ann Arbor, MI 48109-1285</b></font></div><div style="color:rgb(136,136,136)"><br clear="none"></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br clear="none"></div></div></div><br clear="none"><div><div dir="ltr">On Sat, Oct 27, 2018 at 11:07 PM Frederick Veith <<a shape="rect" href="mailto:notreconciled@gmail.com" rel="nofollow" target="_blank">notreconciled@gmail.com</a>> wrote:<br clear="none"></div><blockquote style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex"><div dir="ltr">Aaron,<div><br clear="none"></div><div>Thanks for the detailed reply. Being in complete opposition to the Olympics myself, that makes sense to me, and isn't surprising. I admit to having been morbidly curious about Kawase's reception for a long time now, but even leaving aside responses to Kawase the person, I'm not sure I see the mismatch that Ishitobi-san (from what little I could see) seemed to be concerned about, which is partly why I was curious about other responses. I don't find Kawase's films to be at all apolitical, but even without getting into the fraught territory of the implicit politics of some of her work, there's an approach to spectacle already in a work like Sharasoujyu which seems to me not at all uncongenial to the task of "officially" documenting the Olympics, whatever else I may think of the politics either of the filmmaker, the event itself, or the propriety of that task.</div><div><br clear="none"></div><div>Fred.</div></div><br clear="none"><div><div dir="ltr">On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron <<a shape="rect" href="mailto:aaron.gerow@yale.edu" rel="nofollow" target="_blank">aaron.gerow@yale.edu</a>> wrote:<br clear="none"></div><blockquote style="margin:0px 0px 0px 0.8ex;border-left:1px solid rgb(204,204,204);padding-left:1ex">Fred,<br clear="none">
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First and foremost is that many of the people I am connected to are against the Olympics itself. Kawase, to them, should be filming the neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the officialdom who is neglecting those people. (In some ways, this reminds me of the furor over Expo 70, when some filmmakers objected to Matsumoto Toshio and others deciding to collaborate with the Expo.) One friend on FB said it would be great if Kawase slyly put in messages about how the Olympics are actually hurting the people of Fukushima in her documentary, but that friend very much doubts that will happen: Kawase has been largely a-political in her filmmaking and has often been willing to serve on government committees.<br clear="none">
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Some colleagues suggested the comparison between Kawase and Leni Riefenstahl, perhaps implying that this is a woman filmmaker interested in art who doesn’t have a problem working for a regime with fascist tendencies if it can allow her to make films.<br clear="none">
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Also, some have speculated about why Kawase got the nod. One rumor that was reported—and all I can say is that it is a rumor—is that Abe Akie, the wife of the prime minister, is a big fan of Sweet Bean, and has often cited it in speeches. <br clear="none">
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And frankly, there are a lot of people out there who don’t like Kawase personally. Earl has just mentioned one of many incidents news of which has spread through the grapevine. <br clear="none">
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I should stress that I am here just reporting some of what I have read. I don’t attest to the veracity of all of it, or agree with all of it. But I do think the first one is a major issue: collaborating with a godawful boondoggle that is literally hurting people is problem. If she could turn that around and criticize the Olympics in her own documentary, that would be wonderful. But I very much doubt that will happen.<br clear="none">
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Aaron<br clear="none">
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