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<b><span lang="EN" style="font-size:18pt;line-height:115%;font-family:"Times New Roman",serif">Call for Papers: a Special Section on Okinawan Images in the Journal of Japanese and Korean Cinema, Spring Issue 2021</span></b></p>
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<b><span lang="EN" style="font-size:18pt;line-height:115%;font-family:"Times New Roman",serif"> </span></b><span style="font-family:"Times New Roman",serif;font-size:12pt;text-align:justify"> </span></p>
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<i><span lang="EN" style="font-size:14pt;line-height:150%;font-family:"Times New Roman",serif">Postwar Okinawa in In/Visibility—Realigning Cinematic Images, Histories, and Archives</span></i></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">Almost half a century since its reversion from America’s military rule to the Japanese state in 1972, Okinawa still embraces profound political-historical uncertainties
and social precarity, while waves of protest and struggle continue to unfold as the islands negotiate their future squeezed in-between the power configurations of Japan and America.</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">The tragic yet spectacular burning on October 31, 2019 of the UNESCO World Heritage site of Shuri Castle, a symbol of the former Ryukyu kingdom reconstructed after the
war, dissolves into memories of the Battle of Okinawa in 1945 and other sights of historical annihilation and unrest that took place on the islands. The blazing castle complicates an exotic gaze onto Okinawa’s touristic landscape, where the pervasive presence
of the US military bases remains ‘unseen’ by many of its visitors.</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">How can we grasp postwar ‘Okinawa’
<i>as/in</i> cinematic images, both as a geopolitical site (island chain) and an assemblage of socio-cultural constructions, while attending to their intersecting histories, narratives, as well as archives? If, as pointed out by critics such as Nakazato Isao,
the framing of ‘Japanese cinema’ cannot fully contain certain works by Okinawan filmmakers or some of the moving images on/about Okinawa, is it still possible to talk about ‘Okinawa and cinema’ together by thinking beyond any rigid paradigm of national cinema?
</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">The ‘burning image’ of the Castle registers as a vision of precarity from which the multiple temporalities charting Okinawa’s postwar transformations can be re-imagined
and made perceptible, collapsing facile representational binarisms such as ‘Okinawa versus Japan’/ ‘Okinawans versus Japanese’ and so forth. Also, the (moving) images of the burning, captured, mediated, streamed and circulated through various digitized audio-visual
recording gadgets and via different social media platforms, confront us as a vision of abundance. It is inspiring that new cinematic images, be they streaming clips, documentary footage, fiction films, or artists’ videos, are still being generated and circulated
across various digital platforms to nourish the narratives of a ‘self-speaking island’.</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">Put into historical perspective, it is not true that ‘Okinawa’ has not possessed its own images beyond those produced and promoted within/by the American or Japanese
visual regimes. Working with film and art historians and archivists, we have learned that Okinawa-based/related filmmakers have contributed to efforts to archive and make Okinawa visible through amateur and independent filmmaking since the 1970s.</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">Taking cues from a burning image, this special section asks burning questions. It seeks to examine a wide spectrum of socio-historical and political issues revolving
around postwar Okinawa from the perspective of cinema and cinema culture. Specifically, our survey of the ‘cinematic’ is opened up to various genres of moving images such as fiction films, documentary, essay film, newsreel, home video, and artist’s documentary
and video work and so forth. By engaging the politics of in/visibility, we invite papers that explore new historical perspectives and theoretical undertakings that approach ‘Okinawa’
<i>as</i>/<i>in</i> cinematic images both within the framework of Japanese cinema and beyond.</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">Possible topics include, but not limited to:
</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---Japanese nation/Japaneseness and the questions of subjectivity and identity</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---World War II-related memories and trauma</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---landscape, space, and Okinawa in cinema
</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---sound, voice, and music in Okinawa-related visual works</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---Okinawa as time-image/movement-image</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---film preservation and archiving in Okinawa</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">---gender and the experience of postwar US military occupation</span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<a name="_heading=h.gjdgxs"></a><span lang="EN" style="font-size:14pt;line-height:150%;font-family:"Times New Roman",serif">Please send your
<b>300-word Abstract</b> plus <b>100-word bio</b> to Ma Ran (<u><span style="color:blue"><a href="mailto:ranandran101@gmail.com">ranandran101@gmail.com</a></span></u>)</span><span lang="EN" style="font-family:"Times New Roman",serif"><span id="gmail-1865252086"></span></span><span lang="EN" style="font-size:14pt;line-height:150%;font-family:"Times New Roman",serif">
and Kosuke Fujiki (<a href="mailto:fujiki@pub.ous.ac.jp">fujiki@pub.ous.ac.jp</a>) by <b>20 May, 2020</b>. </span></p>
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<span lang="EN" style="font-size:14pt;line-height:150%;font-family:"Times New Roman",serif">Decisions will be made by
<b>15 June, 2020</b>. </span></p>
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<span lang="EN" style="font-size:14pt;line-height:150%;font-family:"Times New Roman",serif">Full Papers due: <b>1 October, 2020</b>. </span></p>
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<span lang="EN" style="font-size:14pt;line-height:150%;font-family:"Times New Roman",serif">For the detailed ‘instructions for authors’, please refer to the official site of the
<i>Journal of Japanese and Korean Cinema</i> at </span><span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"><a href="https://www.tandfonline.com/action/authorSubmission?show=instructions&journalCode=rjkc20">https://www.tandfonline.com/action/authorSubmission?show=instructions&journalCode=rjkc20</a></span><span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif">.</span><span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"></span></p>
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<span lang="EN" style="font-size:12pt;line-height:150%;font-family:"Times New Roman",serif"> </span></p>
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<div style="font-size:12.8px">Michael Raine, Associate Professor in English and Writing Studies<br>
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<span style="font-size:12.8px">Western University, Canada</span><span><br>
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<div><span style="font-size:12.8px">co-editor, Journal of Japanese and Korean Cinema</span></div>
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