Notes on politics, film and Japan

Tue Jun 1 22:28:40 EDT 1999

Hi,

During the last week or so, a couple of incidents have provoked some
film/Japan related thoughts that I thought might be of interest to some of
you.

Last Saturday, I showed three recent Japanese documentaries at Eiga Arts
under the heading, "Change The Channel, Japanese Video Activism".  Running
up to the show, I was somewhat surprised to find that a couple of the
places I usually drop off posters/fliers to were reluctant to display them
this month.  Some of you may be familiar with the poster (found on the web
site).  It plainly (boldly) displays in Japanese the title of the main
video in the programme, 'What Do You Think About The War Responsibility Of
Emperor Hirohito?'  Below it, in small print is the English translation and
the usual place, date, time, information.  Even the venue that I screened
the programme at (which I have since left and am moving to a new venue as
of this month's show-the plan to move was made a few months ago), seemed to
miraculously run out of fliers overnight.  I gave them another batch to
find that they too 'disappeared'.

In addition to this, a newspaper that usually shows no interest in my
monthly fax, contacted me and the producer of the documentary and ran a
small, informative article about the programme.  I wondered what he was
intending on writing when he asked me if I always show films that
"criticize Japan", to which I replied, that this is the first time I've
shown alternative documentaries.  I was a little worried that he was going
to run some kind of 'Foreigner shows documentaries critical of Japan'
story, but thankfully, he didn't and I was grateful for the extra publicity.

However, this publicity didn't seem to encourage people to come as only ten
people showed up rather than the usual 40 or 50.  As usual, it was about
half foreigners, and the Japanese people were two regulars and three old
men, presumably there out of interest in war related films.  I knew there
were going to be a lot less foreigners show up because many of the people I
know were out of town or at two other events that were happening on the
same evening.  A lot of foreign friends had expressed their regret at not
being able to make it and have asked to borrow the videos.

What surprised me is that no young Japanese people came, particularly when
regular audience members know they can always expect an interesting
programme. The youngest Japanese person there was probably about 40 years
old.  I guess, on the positive side, this does suggest that regular
audience members are a discerning crowd and are not just coming for a cheap
night out but because they are genuinely interested in experimental film
and video.

Anyway, when the screenings finished, the small but appreciative audience
left.  I had provided time to discuss any of the documentaries but no
comments were forthcoming.

On Monday, at work, my supervisor asked me if I could type up my contract
into the computer because they had "lost the copy on file".  No sweat, I
thought. He then asked me if I was showing films at the local university,
to which I replied honestly, that I wasn't.  I had no connection with the
university.  It seems that someone had called up my employers to complain
that I was I showing 'political' films on campus.  My guess is that they
had seen a poster on campus and not bothered to read the finer details.  My
supervisor then pointed out article 24 in my contract that states that I
will not engaged in religious or political activites.  It was then that I
wondered whether my typing out of my full contract was a coincidence or
not.

It irritiated me a little that no-one had bothered to ask me what the
content of the video was and why I decided to show it, to which I would
have replied: "I found it interesting mainly because it clearly depicts the
differences between the younger and older generations in Japan.  The video
is a series of interviews asking the same question (the title of the film)
over and over again.  During the 53mins of the video, we are able to hear a
variety of responses from older people about their first-hand experiences
in the war and their thoughts on the Emperor.  Ideas which are seemingly
out of fashion these days but still clearly affect the lives of Japan's
overwhelmingly large elder population." That's what I would have said.

My employers have, so far, been very supportive of Eiga Arts.  It actually
fulfills, in a small way, part of my job contract by intentionally bringing
together Japanese and foreigners to participate in an 'international
exchange' of films, ideas and cultures.  The videos I showed, all by
Japanese collectives, offered thoughtful and insightful critiques on modern
Japanese society which no foreigner I know (and few Japanese people) would
have had the opportunity to see otherwise.  As far as I'm concerned, it was
refreshing to watch this alternative media instead of the absolute nonsense
broadcast each day on TV.  Audience members I spoke with, left not with a
negative view of Japan, but stimulated by the variety of social and
political currents hidden in a seemingly homogenous society.

Anyway, Monday came and went.

On Tuesday, I was teaching in class about landmines.  What the hell were
you doing that for?, you might ask.  Actually, it's failry common among
Assistant Language Teachers to teach such topics and we are, in fact,
encouraged to do so by the Ministry of Education who employ me and 5000 or
so other foreigners to assist with Japanese children's learning of English
and engage in 'Globalisation and International Relations.'  So, having
finished the class, my Japanese colleague with whom I teach, thanked me for
introducing such an interesting and important topic into the class but
apologised for the student's lack of interest.  He said that Japan has been
a peaceful country for over 50 years now and that Japanese people are
"forgetful" of the consequences of war.

A minor culture clash:  Myself, a 26 year old UK citizen (read 'NATO')
cannot forget.

Finally, last night (Tuesday), I was speaking to Onishi Kenji  about this
year's forthcoming Eiga Arts programmes and mentioned what had been
happening over the last few days.  He wasn't surprised, saying that
commentary on politics and religion in Japan is discouraged and that, using
a word he used when his films were seized at customs recently, Japan is
"strict".  He also mentioned that it's easier to show 'art' films then
documentaries, even when both are commentaries on politics or religion,
presumably because most people leave the theatre bewildered after watching
'experimental films' but not so when having just seen a fairly
straighforward documentary.

Of course, I'm not surprised by this and I doubt you are too.

Lesson learned: It's ok to show films that look nice but half the audience
don't understand.

Hopefully this has stirred up a few thoughts on the political implications
of experimental film.  I'd be interested to hear from anyone.

Best wishes to all

Joss Winn

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