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<p><font face="Arial">Dear All,</font></p>
<p><font face="Arial">Best wishes for 2025!</font></p>
<p><font face="Arial">Please find below (and attached) the Call for
Papers for the young researchers colloquium "From Japan to
Brazil and Vice-versa: Historical and Aesthetic Perspectives of
a Diasporic Cinema", to be held online and at ENS Lyon (France)
on June 24th and 25th, 2025.</font></p>
<p><font face="Arial">Feel free to write us any questions about this
colloquium,</font></p>
<p><font face="Arial">Best regards,</font></p>
<p><font face="Arial">Lucie, Romane and Emmanuel</font></p>
<p><font face="Arial"><b>-- <br>
</b></font></p>
<p align="justify"><font face="Arial">CfP - Young Researchers
Colloquium<b><br>
</b></font></p>
<p align="justify"><font face="Arial" size="4"><b><u>From Japan to
Brazil and Vice-versa: Historical and Aesthetic Perspectives
of a Diasporic Cinema</u><br>
ENS Lyon (France) & online, June 24th and 25th, 2025</b></font></p>
<p align="justify"><font face="Arial">In 2024, the 77th Festival of
Cannes' short film competition selected Amarela (2024), a film
by Japanese-Brazilian director André Hayato Saito, which focuses
on the experiences of Japanese-Brazilians. This event reflects a
growing interest in a diverse, transnational, and multilingual
filmography on the subject of the Japanese diaspora,
particularly the Japanese-Brazilians, who are the largest group
affected by return migration (or “detour migration” (Perroud,
2007)) to Japan. This Young Researchers Colloquium aims at
visualizing and iscussing that film corpus and its aesthetic,
socio-historical and methodological issues.</font></p>
<p align="justify"><font face="Arial">The first massive immigration
of Japanese populations to Brazil occurred in 1908, to replace
European laborers at the coffee plantations of São Paulo
(Nishida, 2017). Aboard the Kasato Maru, 781 migrants left
Kobe’s harbor in direction of Santos, located in the state of
São Paulo, following previous migrations to Hawaii (1868), the
United States (1880), and Peru (1899) (Han, 2017). Despite
restrictions by the Brazilian government in the 1930s, these
“nikkeis” (in Brazilian) or “nikkeijin” (in Japanese), meaning
Japanese descendants born and living abroad, formed a
significant community of around 2 million people by the 2020s.
Today, this is the largest community of Japanese descent in the
world. </font></p>
<p align="justify"><font face="Arial">In the 1980s, a reverse form
of migration of Japanese-Brazilians to Japan began as Brazil
faced an economic crisis. The Japanese authorities encouraged
the return of nikkeis/nikkeijin by preferentially giving them
“long-term resident” visas (teijūsha) (Cherrier, 2024), to meet
the country's demand for low-cost labor (De Carvalho, 2003).
Initially, migrants planned to stay only for a short time in
Japan, which is why the Japanese term dekasegi—meaning
short-term migrant workers—was used to describe them. However,
their difficult reintegration upon returning to Brazil and
economic issues led many of them to extend their stays in Japan,
in a “vicious migration cycle” (Yamanaka, 2000). Most of them
eventually settled permanently in Japan (Tsuda, 1999). If
Japanese-Brazilians were the third-largest foreign community in
Japan by the 2000s, they now form the fifth-largest foreign
community in Japan at 204,879 people, after Chinese people
(716,606), Vietnamese (432,934), Koreans (409,855) and Filipinos
(276,615) (Cherrier, 2024). Japanese-Brazilians are also one of
the country's main ethnic minorities, alongside
Japanese-Koreans, Burakumin, Ainu, and Okinawans (Tsuda, 1999).</font></p>
<p align="justify"><font face="Arial">The Japanese diasporas,
including those from Brazil, and associated issues (immigration,
the making of diasporas, the affirmation of a cultural identity,
and social integration) have been widely studied in social
sciences since the 1990s, mainly in English, Japanese,
Portuguese and French (see for example works from Jeffrey
Lesser, Takeyuki Tsuda, Daniela de Carvalho and Pauline
Cherrier). </font></p>
<p align="justify"><font face="Arial">The history of Japanese
immigration is deeply intertwined with cinema. Indeed, the
arrival of the first Japanese migrants coincided with the
emergence of filmmaking in Brazil. In 1908, just a few months
after the Kasato Maru docked, the State of São Paulo
commissioned the production of a silent short film titled
Japoneses apanhando café nas fazendas paulistas. Unfortunately,
no copies of this film have been found. From the 1920s onward,
non-fiction short films documenting the experiences of
nikkeis/nikkeijin in Brazil became increasingly common. Hikoma
Udihara, an amateur filmmaker, stands out as one of the most
notable figures of this movement, having created nearly 85 short
films between 1927 and 1959. As the practice of filmmaking
became more established, the diffusion of films —mainly Japanese
productions—increased within the Japanese-Brazilian community.
In this context, traveling cinemas played a significant role,
particularly in rural areas, by allowing Japanese immigrants to
watch films. Alexandre Kishimoto (2013) highlighted the key role
played by four movie theaters in the Liberdade district of São
Paulo during the 1950s and 1960s. These theaters not only
facilitated the dissemination of Japanese cinema within the
Japanese-Brazilian community but also attracted Brazilian
audiences with no Japanese heritage.</font></p>
<p align="justify"><font face="Arial">Afterwards, two major
university-trained Japanese-Brazilian filmmakers constituted the
historical foundation of Japanese-Brazilian diasporic cinema:
Olga Futemma, former director of the Cinemateca Brazileira,
short film director, and producer of several films, and Tizuka
Yamasaki, director and screenwriter. Among other films, Yamasaki
directed Gaijin – Caminhos da Liberdade in 1980, a commercial
and critical success (winning awards at Cannes and Gramado),
which is considered the first fiction film focused on the
Japanese-Brazilian community and which helped popularize the
history of Japanese migration in Brazil. Concerning animated
films, the Japanese-Brazilian community also played a pioneer
role in Brazil: Piconzé (1972), one of the first Brazilian
animated feature films in color, was directed by Ypê Nakashima,
a Japanese artist who immigrated to São Paulo in 1956 and
surrounded himself with around 30 animators from the Japanese
community to make the film. </font></p>
<p align="justify"><font face="Arial">Today, several contemporary
filmmakers from Japan, Brazil, and the Japanese-Brazilian
community have explored diasporic issues. Their films have been
appraised at festivals: from the fiction Saudade (2011) by
Tomita Katsuya to the documentary Okinawa Santos (2020) by Yōju
Matsubayashi, along with films by Paulo Pastorelo (Tokiori -
Dobras do Tempo, 2011), Marcos Yoshi (Bem-vindos de Novo, 2021),
Vicente Amorim (Corações Sujos, 2011), Nanako Kurihara (A
Grandpa from Brazil, 2008), Tsumura Kimihiro and Mayu Nakamura
(Lonely Swallows, 2012). Moreover, in 2008, for the centenary of
the arrival of the first Japanese immigrants, a major
retrospective of Japanese-Brazilian films was held in Brazil,
followed by an international symposium at the Universities of
São Paulo and Osaka. This event led to the identification and
establishment of a nikkei Brazilian film archive, although the
collection remains incomplete due to difficulties in getting
hold of part of the films and their poor preservation.</font></p>
<p align="justify"><font face="Arial">Over the past 15 years,
several studies on films addressing Japanese-Brazilian diaspora
issues have been published in Portuguese (since the centenary)
and Japanese (since the 2010s). However, these films remain
under-explored by English- and French-speaking scholars. Two
recent publications in English are worth noting: Ignacio
López-Calvo's book on Japanese-Brazilian literature and films
(López-Calvo, 2019) and Emy Takada's thesis on Tizuka Yamasaki
(Takada, 2021).</font></p>
<p align="justify"><font face="Arial">As these films are gradually
gaining attention from curators and researchers, it seemed
important to us to invite international scholars to share their
expertise and to engage in bilingual (English-French)
discussions during this colloquium.</font></p>
<p align="justify"><b><font face="Arial">Proposals are expected to
be diverse in terms of methodologies and objects of study.
They are expected to discuss, through cinema and its ethical
and sociopolitical stakes, these diasporic phenomena and their
place in societies and national histories. Topics of interest
may include (but are not limited to):</font></b></p>
<p align="justify"><b><font face="Arial">● The aesthetics of films
addressing Japanese-Brazilian diasporic issues, particularly
in relation to discourses on identity, memory, and intimacy
(one might also question the aesthetic difference between
fictions and documentaries);<br>
● The circulation of film aesthetics between Japan and Brazil
through the diasporic network;<br>
● The contexts and challenges of production and distribution
of these films, as well as the role of Japanese-Brazilian
filmmakers and technicians within cinematic production and
distribution networks;<br>
● Japanese-Brazilian diaspora issues in audiovisual media and
museum installations.</font></b></p>
<p align="justify"><font face="Arial"><b>Scientific committee:</b><br>
Pauline CHERRIER (University of Aix-Marseille,
IrAsia/CEJ-INALCO)<br>
Kevin J. MCKIERNAN (University of Minnesota Twin Cities)<br>
Alberto DA SILVA (Sorbonne Université, CRIMIC)<br>
Élise DOMENACH (Ecole Nationale Supérieure Louis Lumière, IAO)<br>
Regiane ISHII (Universidade de São Paulo, ECA)<br>
Lúcia RAMOS MONTEIRO (Universidade Federal Fluminense, PPG-Cine)<br>
</font></p>
<p align="justify"><font face="Arial"><b>Organizing committee:</b><br>
Romane CARRIÈRE (ENS Lyon, CERCC)<br>
Lucie RYDZEK (University of Lorraine, CREAT/IAO)<br>
Emmanuel DAYRE (ENS Lyon, IAO)<br>
</font></p>
<p align="justify"><font face="Arial" color="#0000a0"><b>Submission
details:</b><br>
Individual paper proposals, in English or in French, are to be <u>sent
to <a class="moz-txt-link-abbreviated" href="mailto:lucie.rydzek@univ-lorraine.fr">lucie.rydzek@univ-lorraine.fr</a>, <a class="moz-txt-link-abbreviated" href="mailto:romane.carriere@ens-lyon.fr">romane.carriere@ens-lyon.fr</a>
and <a class="moz-txt-link-abbreviated" href="mailto:emmanuel.dayre@ens.fr">emmanuel.dayre@ens.fr</a></u>. They must comprise:<br>
● Name, firstname, affiliation, email address, presentation
on-site or online<br>
● Title<br>
● Abstract (up to 3000 characters including spaces)<br>
● Bio-bibliography (up to 500 characters including spaces)<br>
</font></p>
<p align="justify"><font face="Arial" color="#0000a0">Presenters
will have 20 minutes to present their paper in English or in
French, followed by 10 minutes of questions. All visuals need to
be in English. The colloquium will be hosted at the Ecole
Normale Supérieure Lyon, France. Online presentations will be
possible for those who can not join in-site, although we
encourage on-site presentations. The colloquium may lead to the
publication of a shared book.</font></p>
<p align="justify"><font face="Arial" color="#0000a0"><b>Calendar:</b><br>
● Submission deadline: <u>March 10th, 2025 (23:59, UTC+1)</u><br>
● Committee decision: by April 2025<br>
● Colloquium dates: June 24th and 25th, 2025</font><font
face="Arial" color="#0000a0"><br>
</font></p>
<p><font face="Arial">The colloquium is supported by the Lyon
Institute of East Asian Studies (IAO, Lyon), the Comparative
Studies and Research Center on Creative Arts (CERCC, Lyon) and
the Research Center on Expertise, Arts and Transitions (CREAT,
Metz).</font><br>
<font face="Arial"><br>
</font></p>
<div class="moz-signature">-- <br>
Lucie RYDZEK<br>
PhD Student</div>
<div class="moz-signature">Lorraine University<b><br>
</b></div>
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