<html><head><meta http-equiv="Content-Type" content="text/html charset=utf-8"></head><body style="word-wrap: break-word; -webkit-nbsp-mode: space; -webkit-line-break: after-white-space;" class="">Much thanks for the tip Roger.<div class=""><br class=""></div><div class="">I’m assuming that this story is connected to the Multfilm Batavia propaganda film collection that Netherlands Sound and Vision has been working on with NHK for the last few years and which they launched online in 2020. <a href="https://www.beeldengeluid.nl/en/knowledge/projects/japanese-propaganda-films-1942-1945-made-available-online" class="">https://www.beeldengeluid.nl/en/knowledge/projects/japanese-propaganda-films-1942-1945-made-available-online</a>.</div><div class=""><br class=""></div><div class="">But it’s not quite clear that this isn’t yet another strand to the story of the Sendenbu’s filmmaking in wartime Dutch East Indies. This has so many loose ends; also brings in the wartime stories of Joris Ivens and the ‘Filmmaker with Three Names’ Hinatsu Eitaro (amongst others) - as well as a whole lot of complex ethical issues of collaboration between occupiers, filmmakers and subjects. And they are spread across languages and historian communities that don’t seem to be in much conversation with each other. So I’d be curious if you know anything more?</div><div class=""><br class=""></div><div class="">Quentin Turnour</div><div class="">National Archives of Australia<br class=""><div><blockquote type="cite" class=""><div class="">On 27 Nov 2021, at 7:12 AM, Roger Macy via KineJapan <<a href="mailto:kinejapan@mailman.yale.edu" class="">kinejapan@mailman.yale.edu</a>> wrote:</div><br class="Apple-interchange-newline"><div class=""><div class=""><div class="yahoo-style-wrap" style="font-family:Helvetica Neue, Helvetica, Arial, sans-serif;font-size:16px;"><div dir="ltr" data-setdir="false" class=""><div class=""><!--[if gte mso 9]><xml>
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<![endif]--><p class="ydp51b38328MsoNormal">There’s only one Japanese film at IDFA this year but it’s a
gem for film historians - <span style="font-family: 'MS Mincho';" lang="JA" class="">いまは むかし</span>.
Documentarist ISE Shin’ichi uncovers the wartime output of his father ISE Chōnosuke
in Indonesia,
which turns out to be preserved well in Amsterdam.
Son, granddaughter and team visit the studio in Java where the films were
edited and get glimmers of survivor’s tales. The son confesses he was estranged
from his father, so I’m left curious how Shin’ichi got into films. We end with
a summarized filmography of father. From A.D. on <i class="">Village without a Doctor</i>,
1940, and propaganda films for Nichi’ei Java, he had a substantial post-war
career as editor on films like Sakuma Dam, and director of many more.</p>
<span style="font-size:12.0pt;font-family:Arial;mso-fareast-font-family:SimSun;mso-bidi-font-family:"Times New Roman";mso-ansi-language:EN-GB;mso-fareast-language:ZH-CN;mso-bidi-language:AR-SA" class=""><a href="https://www.idfa.nl/en/film/ab281077-a2a1-4f58-87bf-553c1a15a39b/now-is-the-past-my-father-java-the-phantom-films#tickets" rel="nofollow" target="_blank" class="">https://www.idfa.nl/en/film/ab281077-a2a1-4f58-87bf-553c1a15a39b/now-is-the-past-my-father-java-the-phantom-films#tickets</a></span></div><div class=""><br class=""></div><div dir="ltr" data-setdir="false" class="">Roger<br class=""></div></div></div></div>_______________________________________________<br class="">KineJapan mailing list<br class=""><a href="mailto:KineJapan@mailman.yale.edu" class="">KineJapan@mailman.yale.edu</a><br class="">https://mailman.yale.edu/mailman/listinfo/kinejapan<br class=""></div></blockquote></div><br class=""></div></body></html>