So sez the Prez

[Abe' Mark Nornes]

I just read something that raised my eyebrows and put me in a scrappy mood.

Since it's about many of those on KineJapan, I thought I'd offer a few
tidbits. It's from a round table discussion between Hasumi Shigehiko, a.k.a.
Tokyo University President, and two of his professors from Tokyo University
Graduate School of General Culture Studies, Matsuura Yoshiteru and Kobayashi
Yasuo. The discussion is basically about the study of mass culture in the
modern era, particularly the intersection of modernity, consumerism, and
mass media. Hasumi leads the way, calling for the establishment of a "Hyosho
Bunkaron" (they always put it in quotes) in the academy. This could be
translated something like Cultural Representation Studies.

Suddenly, Hasumi lashes out at American film studies. Here's a rough
translation:

"Actually, this field called "Cultural Representation Studies" is in none of
the American and European universities. From this perspective, we could say
that it is unique to Japan. For example, if we were to considering cinema,
American has what is called "Film Studies." However, this is extremely
closed in the academic system. American film studies scholars are useless
anywhere else in the world. They produce only people who are useful
exclusively within American academism."

A few pages later, Kobayashi points out that the cinema has lost much of its
social impact, and thus criticism has also lost much of its power. [In a
comment that makes no sense unless it's a little brown nosing, he suggests
that the era for criticism is over now that Hasumi, "the last critic,"
became Todai president.] But Hasumi points out that film's high point in
terms of its impact on society was in the 1930s, something you can
especially see by considering American film and thinking about issues like
media and the massification of society.....

"Therefore, if you were to approach this through film studies, it would be
absolutely worthless. If you approached it through film studies, you
wouldn't understand a single thing."

It's hard to know what to make of these vitriolic comments. Why the venom?
Who is he actually attacking here? Considering the truly impressive work
that's been done in film studies vis a vis reception and film's relationship
to class, modernity, imperialism, etc. etc., I think it's safe to say he's
not really talking about American film studies. Put another way, it's
apparent he has no idea what he's talking about. Indeed, Hasumi has written
little (I won't say "anything" because I haven't read "everything" he's ever
written) that could pass peer review of, say, _Cinema Journal_. Basically,
he's a great critic, but a lousy film scholar.

Markus

PS: I guess I should provide the footnote, although Hasumi might considering
it a bit dilettantish:

Hasumi Shigehiko, Kobayashi Yasuo, Matsuura Yoshiteru. "Hyosho bunkaron no
genzai to mirai," University Press (Tokyo University) No. 327 (January
2000): 1-23.