<div dir="ltr"><div class="gmail_default" style=""><div class="gmail_default" style=""><font face="arial, sans-serif" style="">Dear Kinejapaners,</font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><br></font></div><div class="gmail_default" style=""><font face="arial, sans-serif">I am happy to inform you of the release of the new issue of <i>Ebisu. Etudes japonaises, </i>published by the French Research Institute on Japan - Maison Franco-japonaise (FRIJ-MFJ). </font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><br></font></div><div class="gmail_default" style=""><font face="arial, sans-serif">The main feature is entitled "Films in the Mirror: forty years of Cinema in Japan (1980-2020)" and is available online here (open-access) : </font></div><div class="gmail_default" style=""><a href="https://journals.openedition.org/ebisu/6593" target="_blank"><font face="arial, sans-serif">https://journals.openedition.org/ebisu/6593</font></a></div><div class="gmail_default" style=""><font face="arial, sans-serif">The whole issue is in French (with abstract both in English and Japanese), but we could benefit from the participation of scholars (and a filmmaker) well-known on the list, whom I wish to thank once again for their work and patience !<br></font></div><div class="gmail_default" style=""><br></div><div class="gmail_default" style=""><font face="arial, sans-serif">Here goes the summary in English :</font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><br></font></div><div class="gmail_default" style=""><div class="gmail-altertitle" style="margin:0.363em 0px 0px;padding:0px;font-variant-numeric:normal;font-variant-east-asian:normal;font-stretch:normal;line-height:normal;color:rgb(52,52,52)"><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><b>Feature. Films in the Mirror: Forty Years of Cinema in Japan (1980-2020)</b></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><span style="color:rgb(102,102,102);font-style:normal">Edited by</span><span style="color:rgb(102,102,102);font-style:normal"> </span><span style="font-style:inherit;color:rgb(68,68,68)">Mathieu <span class="gmail-familyName" style="">Capel</span></span></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><strong style="font-style:inherit;color:rgb(68,68,68)"><span class="gmail-familyName"><font face="arial, sans-serif"><br></font></span></strong></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><b><font face="arial, sans-serif"><span style="font-style:inherit;color:rgb(68,68,68)"><span class="gmail-familyName">I. </span></span>Distribution, Production, Creation: From the Nikkatsu <span style="font-style:normal">Roman Porno</span> to Netflix</font></b></div><ul class="gmail-summary" style="margin:0px;padding:0px;list-style:none;clear:both;overflow:hidden;color:rgb(0,0,0)"><li class="gmail-textes even" style="margin:2em 0px 0px;padding:0px;list-style:none"><div class="gmail-author" style="margin:0px 0px 0.363em;padding:0px"><font face="arial, sans-serif"><b style="font-style:inherit">Mathieu </b><span class="gmail-familyName" style=""><b style="font-style:inherit">Capel </b><i>Introduction. Notes on the Contemporary Landscape of Japanese Cinema</i></span></font></div></li></ul><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Dimitri <span class="gmail-familyName">Ianni </span></strong><span lang="en" style="">Role and Trajectories of Nikkatsu </span><span style="font-style:normal"><span lang="en">Roman Porno</span></span><span lang="en" style=""> Producers</span><br></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Tom <span class="gmail-familyName">Mes </span></strong>Excess, Restraint, and the Global Film Festival Emergence of Miike Takashi<br></font></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Christopher P. <span class="gmail-familyName">Hood </span></strong>Japanese Disaster Narratives of the Early Twenty-First Century: Continuity and Change<br></font></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Eléonore <span class="gmail-familyName">Mahmoudian </span></strong>The Kuzoku Collective and Japanese Independent Cinema at the Turn of 2010<br></font></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Fabien <span class="gmail-familyName">Carpentras </span></strong>Movies Produced in Collaboration with the Japanese Self-Defense Forces: An Example of Activism in a Multicentric World<br></font></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Raphaëlle <span class="gmail-familyName">Yokota </span></strong>What Can Streaming Platforms Do for Production in Today’s Film Industry in Japan?<br></font></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Hao <span class="gmail-familyName">Wen </span></strong><span lang="en" style="">Japanese </span><span style="font-style:normal"><span lang="en">Indīzu</span></span><span lang="en" style=""> Cinema and the Networked Effort of Neoliberal Auteur-Making: A Case Study of MOOSIC LAB</span><br></font></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><span lang="en" style=""><span lang="en"><font face="arial, sans-serif"><br></font></span></span></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><b><span lang="en" style=""><span lang="en">II. </span></span>Film Critic: The Hasumi “Phenomenon”</b></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><strong style="font-style:inherit;color:rgb(68,68,68)"><span class="gmail-familyName"><font face="arial, sans-serif"><br></font></span></strong></div><div lang="en" style="margin:0px;padding:0px"><font face="arial, sans-serif" style=""><span style="color:rgb(0,0,0)"><b style="font-style:normal">Mathieu </b><span class="gmail-familyName" style=""><b style="font-style:normal">Capel </b><i>Introduction. Hasumi Shigehiko, the Film as an Event</i></span></span><strong style="color:rgb(68,68,68)"><span class="gmail-familyName"><i><br></i></span></strong></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Ryūsuke <span class="gmail-familyName">Hamaguchi </span></strong>Encounter and Shock<span style="font-style:normal;color:rgb(0,0,0)"><span class="gmail-familyName" style=""><br></span></span></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Chika <span class="gmail-familyName">Kinoshita </span></strong>Women and Children’s Struggle: Spectatorship in Hasumi Shigehiko’s Film Reviews<br></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif"><strong style="font-style:normal;color:rgb(0,0,0)">Daisuke <span class="gmail-familyName">Watanabe </span></strong><span lang="en" style="">The Future of the Dual </span><span style="font-style:normal"><span lang="en">Historical/Media Theory Shift</span></span><span lang="en" style="">: Hasumi Shigehiko and the </span><span style="font-style:normal"><span lang="en">Post-Medium Condition</span></span><br></font></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><strong style="font-style:normal;color:rgb(0,0,0)"><font face="arial, sans-serif">Shigehiko <span class="gmail-familyName">Hasumi </span></font></strong></div><div lang="en" style="font-style:italic;margin:0px;padding:0px"><font face="arial, sans-serif">- Cinema as an Institution<span style="font-style:normal"><span lang="en"><br></span></span></font></div></div></div><div class="gmail_default" style=""><font face="arial, sans-serif"><span style="color:rgb(52,52,52);font-style:italic">- Cinema and Criticism</span><br></font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><span style="color:rgb(52,52,52);font-style:italic">- Cinema and Literature</span><span style="color:rgb(52,52,52);font-style:italic"><br></span></font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><span style="color:rgb(52,52,52);font-style:italic">- Narrative, Narration, and their Discourse</span><span style="color:rgb(52,52,52);font-style:italic"><br></span></font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><br></font></div><div class="gmail_default" style=""><font face="arial, sans-serif">Best regards,</font></div><div class="gmail_default" style=""><font face="arial, sans-serif"><br></font></div><div class="gmail_default" style=""><font face="arial, sans-serif">Mathieu Capel</font></div><div class="gmail_default" style=""><font face="arial, sans-serif">The University of Tokyo</font></div><div class="gmail_default" style=""><br></div></div></div>