<div dir="ltr"><div dir="ltr">Thank you for sharing this. I recall the NHK documentary in 2013 revealing that Morisaki's memory was deteriorating during production of his last film (Pecoross), and it is sad to learn of his passing now. <div><br></div><div>And thank you Roger for reminding us of this report. It was written when I was a research student before commencing a master's degree at Waseda. The piece evolved from spending a lot of time with graduate students in Fujii Jinshi's course who put me onto Morisaki and Fujii's book. They knew that I was researching for a thesis on Kawashima Yuzo, and almost demanded that I write something on Morisaki if I was interested in somewhat outsider or rogue filmmakers. As Aaron has pointed out, Morisaki was concerned with marginalised and minority groups, with connections to Okinawa that of course adds further layers to his films. The last of the Shochiku rebels? Indeed Nuclear Gypsies (I never came across the English title back then), is one to watch and a film that I continue to think about whenever hearing of the continued nuclear problems in Japan. I'm sure we will begin to see some retrospective screenings for those fortunate to be in Japan, and probably more DVD releases. </div></div><div><br></div>Luke <div><br></div><div><font face="Times New Roman" style="color:rgb(50,49,48);font-size:13px">Luke Cromer </font><span style="color:rgb(50,49,48);font-family:Tahoma;font-size:13px"></span><div style="margin:0px;padding:0px;border:0px;font-variant-numeric:inherit;font-variant-east-asian:inherit;font-stretch:inherit;font-size:13px;line-height:inherit;font-family:Tahoma;vertical-align:baseline;color:rgb(50,49,48)"><font face="Times New Roman">PhD Candidate and Sessional Tutor <br></font><div style="margin:0px;padding:0px;border:0px;font:inherit;vertical-align:baseline;color:inherit"><font face="Times New Roman">Department of Japanese Studies</font></div><div style="margin:0px;padding:0px;border:0px;font:inherit;vertical-align:baseline;color:inherit"><font face="Times New Roman">School of Languages and Cultures<br></font><div style="margin:0px;padding:0px;border:0px;font:inherit;vertical-align:baseline;color:inherit"><br></div></div><div style="margin:0px;padding:0px;border:0px;font:inherit;vertical-align:baseline;color:inherit"><b style="font-family:"Times New Roman";color:inherit;font-size:inherit;font-style:inherit;font-variant-ligatures:inherit;font-variant-caps:inherit">The University of Sydney </b><br></div><div style="margin:0px;padding:0px;border:0px;font:inherit;vertical-align:baseline;color:inherit"><font face="Times New Roman"><b><br></b></font></div><div style="margin:0px;padding:0px;border:0px;font:inherit;vertical-align:baseline;color:inherit"><font face="Times New Roman"><b><br></b></font></div></div><div class="gmail_quote"><div dir="ltr" class="gmail_attr">On Fri, Jul 17, 2020 at 5:17 PM Roger Macy via KineJapan <<a href="mailto:kinejapan@mailman.yale.edu">kinejapan@mailman.yale.edu</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"><div><div style="font-family:"Helvetica Neue",Helvetica,Arial,sans-serif;font-size:16px"><div></div>
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<p><span style="font-weight:normal">Thanks for this, Matteo and Aaron.</span></p><span style="font-weight:normal">
</span><p style="margin-top:6pt"><span style="font-weight:normal">I expect Fujii included this but can I just add that there was a substantial
Kinema Club Conference Report by Luke CROMER, November 2013. ‘Morisaki Azuma’s Postwar:
A Talk with Yamane Sadao, Ueno Kōshi and Fujii Jinshi’ <a href="https://kinemaclub.org/conference-report/morisaki-azuma-s-postwar-talk-yamane-sadao-ueno-k-shi-and-fujii-jinshi" rel="nofollow" target="_blank">https://kinemaclub.org/conference-report/morisaki-azuma-s-postwar-talk-yamane-sadao-ueno-k-shi-and-fujii-jinshi</a></span></p><div><span style="font-weight:normal"><br></span></div><div><span style="font-weight:normal">Roger</span>
</div><p></p></div></b><div><br></div></div><div><b>From:</b> Gerow Aaron via KineJapan <<a href="mailto:kinejapan@mailman.yale.edu" target="_blank">kinejapan@mailman.yale.edu</a>></div><div><b>To:</b> Japanese Cinema Discussion Forum <<a href="mailto:kinejapan@mailman.yale.edu" target="_blank">kinejapan@mailman.yale.edu</a>></div><div><b>Cc:</b> Gerow Aaron <<a href="mailto:aaron.gerow@yale.edu" target="_blank">aaron.gerow@yale.edu</a>></div><div><b>Sent:</b> Friday, 17 July 2020, 06:07:33 BST</div><div><b>Subject:</b> Re: [KineJapan] Morisaki Azuma has passed away</div><div><br></div>
Sad to hear
of Morisaki’s death. His comedies were different from Yamada’s, even
though they worked together for a time. He tended to focus on marginal,
nomadic, and sometime multi-ethnic communities, in a satirical sometimes
acerbic way. He is definitely one Japanese director virtually unknown
abroad whose work deserves far more attention. <div><br clear="none"></div><div id="gmail-m_2958437132586835669ydp7c6d0c0ayiv8057382735yqtfd50373"><div>Fujii Jinshi edited this critical anthology on Morisaki’s work, which is a good place to start:</div><div><br clear="none"></div></div><div><span><div id="gmail-m_2958437132586835669ydp7c6d0c0ayiv8057382735yqtfd91204"><span>Morisaki</span> <span>Azuma</span></div>-tō sengen</span></div><div><a shape="rect" id="gmail-m_2958437132586835669ydp7c6d0c0ayiv8057382735persistentLink" href="http://hdl.handle.net/10079/bibid/11912416" rel="nofollow" target="_blank">http://hdl.handle.net/10079/bibid/11912416</a><br clear="none"><div><br clear="none"></div></div><br clear="none"><br clear="none">
<span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><span style="border-collapse:separate;color:rgb(0,0,0);font-family:Helvetica;font-style:normal;font-weight:normal;letter-spacing:normal;line-height:normal;text-indent:0px;text-transform:none;white-space:normal;word-spacing:0px;border-spacing:0px"></span><div><div>Aaron Gerow<br clear="none">Professor<br clear="none">Film and Media Studies Program/East Asian Languages and Literatures</div><div>Chair, <span>East Asian Languages and Literatures</span></div><div><span>Yale University</span></div><div>143 Elm Street, Room 210<br clear="none">PO Box 208324<br clear="none">New Haven, CT 06520-<span style="margin:0px;padding:0px;border-color:currentcolor;border-style:none;border-width:0px">8324</span><br clear="none">USA<br clear="none">Phone: 1-203-432-7082<br clear="none">Fax: 1-203-432-6729<br clear="none">e-mail: <a shape="rect" href="mailto:aaron.gerow@yale.edu" rel="nofollow" target="_blank">aaron.gerow@yale.edu</a></div><div>website: <a shape="rect" href="http://www.aarongerow.com" rel="nofollow" target="_blank">www.aarongerow.com</a></div><div><br></div><div><br></div></div></div></div>
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On Friday, 17 July 2020, 05:26:03 BST, matteo boscarol via KineJapan <<a href="mailto:kinejapan@mailman.yale.edu" target="_blank">kinejapan@mailman.yale.edu</a>> wrote:
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<div><div id="gmail-m_2958437132586835669ydp7c7616b0yiv9381844371"><div>Hello everyone, <br><div><br></div><div>It was reported today that director and screenwriter Morisaki Azuma has passed away, he was 92. </div><div><br></div><div>Born in 1927 he joined Shochiku in 1956, first working as an assistant director for Nomura Yoshitarō and Yamada Yōji. His first work as a screenwriter was for Yamada’s なつかしい風来坊 The Lovable Tramp in 1966 (not the Tora-san one), a nice comedy with undertones of seriousness and satire, with Baishō Chieko and Hana Hajime. In the same year he wrote or co-wrote the script for other 3 movies and in the second half of the 60s while continuing to write, always for Shōchiku, he had his debut behind the camera with 喜劇 女は度胸 Women Can’t be Beaten (1969) with Baishō Mitsuko (Chieko’s sister) and Atsumi Kiyoshi, from an original idea by Yamada himself. In 1969 he co-wrote with Yamada the first Tora-san 男はつらいよ and the following year Morisaki directed one of the only two films in the entire series not directed by Yamada, 男はつらいよ フーテンの寅. </div><div>He’s relatively known for Nuclear Gypsies 生きてるうちが花なのよ死んだらそれまでよ党宣言 (1985), one of the best titles ever and a underseen masterpiece, for Location ロケーション (1984), the fictionalized adaptation of photographer Tsuda Ichirō’s book ザロケーション, about his experiences on pink eiga sets, and more recently for the touching and funny Pecoross' Mother and Her Days ペコロスの母に会いに行く (2013). </div><div><br></div><div><br></div><div><div dir="ltr"><div style="line-height:24px"><span>Matteo Boscarol<br></span><div><div style="line-height:24px"><span>記憶ただ陽炎のゆらめき</span></div><div style="line-height:24px"><span>Asian Docs</span></div><div style="line-height:24px"><span>- Documentary in Japan and Asia</span></div><div style="line-height:24px"><a href="http://storiadocgiappone.wordpress.com/" dir="ltr" rel="nofollow" target="_blank"><font color="#000000">http://storiadocgiappone.wordpress.com</font></a></div><div style="line-height:24px"><span>- Film writer for Il Manifesto</span></div></div><div style="line-height:24px"><a href="http://ilmanifesto.it/" dir="ltr" rel="nofollow" target="_blank"><font color="#000000">http://ilmanifesto.it</font></a></div></div><div style="line-height:24px"><br></div><div><span style="line-height:24px"></span></div></div></div></div></div>_______________________________________________<br>KineJapan mailing list<br><a href="mailto:KineJapan@mailman.yale.edu" rel="nofollow" target="_blank">KineJapan@mailman.yale.edu</a><br><a href="https://mailman.yale.edu/mailman/listinfo/kinejapan" rel="nofollow" target="_blank">https://mailman.yale.edu/mailman/listinfo/kinejapan</a><br></div>
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