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<p class="ydpd661a4MsoNormal" style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span>Thank you, Beat, Adrian and María
José for your helpful comments which I will pass onto </span><span>Wayne</span><span>.</span></p>
<p class="ydpd661a4MsoNormal" style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span>Yes, </span><span>‘A Foreigner’s Cinematic Dream of Japan’ is relevant both
in theme and content. <span> </span>I must save up for
it. But getting a whole chapter through Google books is more than I usually get.</span></p>
<p class="ydpd661a4MsoNormal" style="margin-top:6.0pt;layout-grid-mode:char;mso-layout-grid-align:none"><span>Let’s hope someone has or will digitize </span><i><span>Nippon</span></i><span>.</span></p>
<span style="font-size:12.0pt;font-family:Arial;mso-fareast-font-family:MS Mincho;mso-ansi-language:EN-GB;mso-fareast-language:JA;mso-bidi-language:AR-SA">Roger</span></div><div><br></div></div><div><br></div>
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On Monday, 17 May 2021, 19:42:28 BST, Beat Frey via KineJapan <kinejapan@mailman.yale.edu> wrote:
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<div style="margin:0 0 10.0px 0;">I had Lausanne on the phone today. They have a 35mm print created for the restauration initiated by Waseda in 2006 which will certainly be digitalised, but in a yet unknown future because they obviously have tons of other material to take care of. All 3 parts of the compilated movies in abridged version (the 2nd part is missing in the print at the Cinémathèque française). Japanese spoken (added) with German title cards, 3 reels out of 4, 1 missing.</div>
<div style="margin:0 0 10.0px 0;">Best may be to inquire with Waseda if they have digitalised their copy or intend to do it.</div>
<div style="margin:0 0 10.0px 0;"><b>Gesendet:</b> Sonntag, 16. Mai 2021 um 22:02 Uhr<br clear="none">
<b>Von:</b> "Beat Frey via KineJapan" <kinejapan@mailman.yale.edu><br clear="none">
<b>An:</b> "KineJapan discussion forum" <kinejapan@mailman.yale.edu>, "Japanese Cinema Discussion Forum" <kinejapan@mailman.yale.edu><br clear="none">
<b>Cc:</b> "Beat Frey" <beatfrey@gmx.ch><br clear="none">
<b>Betreff:</b> Re: [KineJapan] Viewing 'Nippon'</div>
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<div class="ydp841e647fyiv4301784240mail_android_message" style="line-height:1;padding:0.5em;">Hi Roger,<br clear="none">
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As you certainly know, the Cinemathèque suisse had restored their copy for a screening in Bologna in 2006. As it happens, I have asked them a few days ago if they have a digital copy. Chances are small I think, but I shall keep you updated.<br clear="none">
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Beat<br clear="none">
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--<br clear="none">
Envoyé à partir d’un Smartphone Android avec GMX Mail.</div>
<div class="ydp841e647fyiv4301784240mail_android_quote" style="line-height:1;padding:0.3em;">Le 16.05.21, 21:47 Roger Macy via KineJapan <kinejapan@mailman.yale.edu> a écrit:</div>
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<div style="margin:0 0 10.0px 0;"><b>Gesendet:</b> Montag, 17. Mai 2021 um 06:16 Uhr<br clear="none">
<b>Von:</b> "Adrian- Restoration Asia via KineJapan" <kinejapan@mailman.yale.edu><br clear="none">
<b>An:</b> "'Japanese Cinema Discussion Forum'" <kinejapan@mailman.yale.edu><br clear="none">
<b>Cc:</b> "Adrian- Restoration Asia" <adrian@restorationasia.org><br clear="none">
<b>Betreff:</b> Re: [KineJapan] Viewing 'Nippon'</div>
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<p class="ydp841e647fyiv4301784240MsoNormal"><span>To possibly answer Roger’s question on copyright in ‘Nippon’, if this film was created by UFA then Transit Film GmbH, as successor to their rights pre-1945, may have an interest.</span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span> </span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span>The addition of German intertitles and sound to extracts from three Japanese productions would most likely create a new production with it its own copyright. That said, I am not a lawyer!</span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span> </span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span>Regardless it is certainly a film I would also very much like to see.</span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span> </span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span>Best regards,</span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span> </span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span>Adrian Wood,</span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span>Fukuoka</span></p>
<p class="ydp841e647fyiv4301784240MsoNormal"><span> </span></p>
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<p class="ydp841e647fyiv4301784240MsoNormal"><b>From:</b> KineJapan <b>On Behalf Of </b>Maria Jose Gonzalez via KineJapan<br clear="none">
<b>Sent:</b> 17 May 2021 11:51<br clear="none">
<b>To:</b> Roger Macy via KineJapan <kinejapan@mailman.yale.edu><br clear="none">
<b>Cc:</b> Maria Jose Gonzalez <tkarsavina@yahoo.com><br clear="none">
<b>Subject:</b> Re: [KineJapan] Viewing 'Nippon'</p>
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<p class="ydp841e647fyiv4301784240MsoNormal"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;"><a shape="rect" href="https://books.google.co.jp/books?id=d2MNEAAAQBAJ&lpg=PA34&ots=_oONz61fBN&dq=Carl%20Koch%20Nippon&pg=PA34#v=onepage&q=Carl%20Koch%20Nippon&f=false" rel="nofollow" target="_blank">A Foreigner’s Cinematic Dream of Japan</a></span></p>
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<h2 style="margin-right:0.0cm;margin-bottom:4.5pt;margin-left:0.0cm;line-height:14.25pt;"><span style="font-size:10.5pt;font-family:, sans-serif;color:rgb(38,40,42);">A Foreigner’s Cinematic Dream of Japan</span></h2>
<p class="ydp841e647fyiv4301784240ydp3be9dc0ecard-description" style="margin:0.0cm;line-height:12.0pt;"><span style="font-size:9.0pt;font-family:, sans-serif;color:rgb(151,155,167);">In early 1936, a German film team arrived in Japan to participate in a film coproduction, intended to show the '...</span></p>
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<p class="ydp841e647fyiv4301784240MsoNormal"><span style="font-size:10.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">On Monday, 17 May 2021, 04:47:05 AM GMT+9, Roger Macy via KineJapan <<a shape="rect" href="mailto:kinejapan@mailman.yale.edu" rel="nofollow" target="_blank">kinejapan@mailman.yale.edu</a>> wrote: </span></p>
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<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">Dear All,</span></p>
<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal" style="margin-top:6.0pt;"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">I’ve been asked by Wayne Arnold, of the University of Kitakyushu, who is researching ‘Arthur Miller and Japan’ about what ‘Japanese films’ Arthur Miller had seen when he wrote, in Paris, on 17 October, 1933 (underlining is ours) :-</span></p>
<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal" style="margin-right:0.0cm;margin-bottom:0.0cm;margin-left:17.0pt;"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">A most beautiful end to a most wonderful day was Sylvia<br clear="none">
Sidney’s performance of Cho-Cho-San—<i>Madame Butterfly</i>. I was<br clear="none">
thrilled. More than that, deeply moved. <u><span style="background-color: yellow; background-repeat: repeat; background-attachment: scroll; background-image: none; background-size: auto;">Having seen the celebrated<br clear="none">
films by the Japanese players some time ago (Ancient, Medieval, and<br clear="none">
Modem Japan) I had some basis of comparison whereby to judge her<br clear="none">
interpretation.</span></u> All that an Occidental could bring to the role I felt<br clear="none">
she had brought. It is one of the most restrained, most artistiq films<br clear="none">
America has produced. A pure film with the operatic melodies well<br clear="none">
subdued and never intruding. The dignity of the theme worthy to<br clear="none">
make you weep.</span></p>
<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal" style="margin-top:6.0pt;"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">Miller had arrived in Paris in 1932 and the range of films with Japanese players to be seen was limited. One film fits his description very well – the European-edited compilation by Carl Koch, <i>Nippon</i>. Pordenone says </span></p>
<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal" style="margin-right:0.0cm;margin-bottom:0.0cm;margin-left:19.85pt;"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">cut versions (each 20 minutes) of three Japanese silent films — two 1928 jidai geki, <i>Tempei Jidai-Kaito Samimaro</i> (<i>The Time of the Tempei Shamimaro</i>) by Eichi Koishi and <i>Kagaribi</i> (<i>Torches</i>) by Tetsuroku Hoshi, as well as <i>Daitokai Rodoshahen</i> (<i>The Life of Workers in the Big City</i>), a gendai geki by Kiyohiko Ushihara .... This anthology is structured as a historical panorama, from the early Tempei era via the Tokugawa period up to the present.</span></p>
<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal" style="margin-top:6.0pt;"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">Clearly, Miller’s yardstick of the authentic was heavily pre-digested and seems to accord with his romanticized view. But Wayne would like to see it and, indeed, so would I. Does anyone know of a viewing source outside the archives ? (I can’t see that anyone could claim copyright on it.)</span></p>
<p class="ydp841e647fyiv4301784240ydpb26c9d94msonormal" style="margin-top:6.0pt;"><span style="font-size:12.0pt;font-family:Helvetica , sans-serif;color:rgb(38,40,42);">Roger</span></p>
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