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<p class="MsoNormal">Hi David,<o:p></o:p></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Congratulations on your new edited volume from Blackwell, I’m excited to read it. I think you might have the
<i>Routledge Handbook of Japanese Cinema</i> confused with something else? The contents of the Routledge handbook, which I’ll paste below, do not include any reprinted work. We do include translations of selected excerpts from two previously published essays,
by the late Misono Ryoko and the scholar Nakamura Hideyuki (we worked with Prof. Nakamura directly on the translated excerpt that constitutes his chapter and of course obtained permission from Prof. Misono’s husband).<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<div>
<p class="MsoNormal"><span style="font-size:12.0pt">One of our objectives in putting our Routledge book together was to create a venue for work previously underrepresented in English language scholarship. We knew that your formidable Blackwell book and the
equally valuable <i>Japanese Cinema Book</i> were already in the works and hoped for synergy, not duplication, between all three books.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Alas, neither Shota nor I knew what Taylor & Francis would charge for the book. Their Asian Studies editor approached me with the idea of a handbook on Japanese cinema, I knew their Handbook series and have
used many of these books as valuable resources, and I saw an opportunity to put together, with Shota, what we hope is useful work. I am all in when it comes to open access resources, which I hope is clear from my (open access) resource,
<a href="https://rej.lib.rochester.edu/">Re-Envisioning Japan</a>, and I have long been a big fan of the initiative at U Michigan.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt">Here is the link for <i>The Routledge Handbook of Japanese Cinema</i> page on the Taylor & Francis website:,
<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><a href="https://www.routledge.com/Routledge-Handbook-of-Japanese-Cinema/Bernardi-Ogawa/p/book/9781138685529">https://www.routledge.com/Routledge-Handbook-of-Japanese-Cinema/Bernardi-Ogawa/p/book/9781138685529</a><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p> </o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">TABLE OF CONTENTS<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Introduction</span><b><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span></b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Part I.</span></b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"> <b>Decentering Classical Cinema:
Modernity, Translation, and Mobilization</b></span><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">1. Suspense and Border Crossing: Ozu Yasujirō’s Crime Melodrama<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Ryoko Misono (translated by Kimberlee Diane Sanders and Shota T. Ogawa)<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">2. Beyond Mt. Fuji and the Lenin Cap: Identity Crisis in Taniguchi Senkichi’s <i>Akasen kichi </i>(The Red Light Military
Base<i>, </i>1953)<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Hideyuki Nakamura (translated by Shota T. Ogawa and Bianca Briciu)<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">3. Home Movies of the Revolution: Proletarian Filmmaking and Counter-Mobilization in Interwar Japan<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Diane Wei Lewis<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">4. <i>When Marnie Was There</i>: Female Friendship Film and the Genealogy of Queer Girls Culture<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Yuka Kanno<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">5. Making Sense of Nakai Masakazu’s Film Theory, "Kino Satz"<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Mitsuyo Wada-Marciano<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">6. Geysers of Another Nature: The Optical Unconscious of the Japanese Science Film<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Anne McKnight<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Part II. Questions of Industry: Critical Studies of Regulatory Frameworks, Creative Labor, and Distributive Networks</span></b><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">7. Kaiju Films as Exportable Content: Reassessing the Function of the Japanese Film Export Promotion Association<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Takeshi Tanikawa (translated by Caitlin Casiello and Joanne Bernardi)<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">8. “Fugitives” from the Studio System: Ikebe Ryō, Sada Keiji, and the Transition from Cinema to Television in the Early
1960s<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Takafusa Hatori<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">9. Solo Animation in Japan: Empathy for the Drawn Body<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Paul Roquet<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">10. Media Models of "Amateur" Film and Manga<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Alexander Zahlten<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><b><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span></b><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Part III. Intermedia as an Approach: Tracing Genealogies across Disciplines and Media</span></b><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">11. <i>Utsushie</i>: Japanese Magic Lantern Performance as Pre-cinematic Projection Practice<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Machiko Kusahara<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">12. "Inter-Mediating" Global Modernity: <i>Benshi</i> Film Narrators, Multisensory Performance, and Fan Culture<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Kyoko Omori<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">13. Between Silent and Sound: The Liminal Space of the Japanese "Sound Version"<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Johan Nordström<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">14. Marionettes No Longer: Politics in the Early Puppet Animation of Kawamoto Kihachirō<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Noboru Tomonari<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">15. Rhetorics of Autonomy and Mobility in Japanese "AAA" Games: The <i>Metal Gear Solid</i> and <i>Resident Evil </i>Series
within a Global Media Context<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Daniel Johnson<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">16. Pointing Through the Screen: Archiving, Surveillance, and Atomization in the Wake of Japan’s 2011 Triple Disasters<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Joel Neville Anderson<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Part IV. The Object Life of Film: Site-Specific Approaches to Japanese Cinema Studies</span></b><span lang="JA" style="font-size:12.0pt;font-family:"MS Mincho";color:#212529"> </span><b><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">17. A Historical Survey of Film Archiving in Japan<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Kae Ishihara<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">18. Japanese Film History and the Challenges of IMAGICA WEST Corp.<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Kanta Shibata (translated by Thomas Kabara and Isabella Bilodeau)<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">19. A Case Study of Japanese Film Exhibition in North America: The Japan Society, New York<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Kyoko Hirano<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">20. Regional Film Archive in Transit: Yasui Yoshio and Kobe Planet Film Archive<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Shota T. Ogawa<o:p></o:p></span></i></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">21. New Paths toward Preserving Japanese Cinema: The Toy Film Museum Backstory<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-bottom-alt:auto;background:white"><i><span style="font-size:12.0pt;font-family:Helvetica;color:#212529">Joanne Bernardi<o:p></o:p></span></i></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;font-family:Helvetica;color:#212529"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:#212529">Best wishes,<o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:#212529">Joanne<o:p></o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:#212529"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:#212529"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;color:black">Joanne Bernardi, Ph.D. (she/her)<br>
Professor, Japanese Studies | Film and Media Studies<br>
Head, MLC Japanese Program<br>
Dept. of Modern Languages and Cultures<br>
University of Rochester | PO Box 270082<br>
Rochester NY 14627 USA<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt;color:black">joanne.bernardi@rochester.edu<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size:10.0pt"><a href="https://www.sas.rochester.edu/mlc/people/faculty/bernardi_joanne/"><span style="color:#0563C1">https://www.sas.rochester.edu/mlc/people/faculty/bernardi_joanne/</span></a><o:p></o:p></span></p>
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<p class="MsoNormal"><span style="font-size:12.0pt"><o:p> </o:p></span></p>
<p class="MsoNormal" style="background:white"><span style="font-size:12.0pt;color:#212529"><o:p> </o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoNormal">n Sun, Feb 14, 2021 at 1:42 PM Desser, David M via KineJapan <<o:p></o:p></p>
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<p class="MsoNormal"><a href="mailto:kinejapan@mailman.yale.edu">kinejapan@mailman.yale.edu</a>> wrote:<o:p></o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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<blockquote style="border:none;border-left:solid #B5C4DF 4.5pt;padding:0in 0in 0in 4.0pt;margin-left:3.75pt;margin-right:0in" id="MAC_OUTLOOK_ATTRIBUTION_BLOCKQUOTE">
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<p class="MsoNormal">I have one that will be out in a year or so, too! From Blackwell. (Yes,<o:p></o:p></p>
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<p class="MsoNormal">it's years overdue...)<o:p></o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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<div>
<p class="MsoNormal">I also had no idea that a number of my works had been included in the<o:p></o:p></p>
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<div>
<p class="MsoNormal">large Routledge *Japanese Cinema*. That can't be normal to reprint<o:p></o:p></p>
</div>
<div>
<p class="MsoNormal">without permission? Many of you reading this are represented in that<o:p></o:p></p>
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<div>
<p class="MsoNormal">volume. Did you know that to be the case and were you ever consulted or<o:p></o:p></p>
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<div>
<p class="MsoNormal">asked for permission? It's usual to ask permission even if one is not the<o:p></o:p></p>
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<div>
<p class="MsoNormal">copyright holder, which I am, I think, sometimes. It's not that I wouldn't<o:p></o:p></p>
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<div>
<p class="MsoNormal">have agreed, but I swear I never knew that I was in that volume.<o:p></o:p></p>
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<div>
<p class="MsoNormal"><o:p> </o:p></p>
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<div>
<p class="MsoNormal">Thanks, Mark.<o:p></o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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<div>
<p class="MsoNormal">David<o:p></o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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</blockquote>
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<p class="MsoNormal">------------------------------<o:p></o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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<p class="MsoNormal"><o:p> </o:p></p>
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