Mon Nov 6 22:57:33 EST 2000
Could any member give me an info about Stella Dallas (1925)? Which film
center has the film? I could at most appreciate getting the outline of the
narrative. I only saw 1937 version of it and need to figure out the imapct
of the original.
Minaguchi, Teikyo U.
???o?l : Aaron Gerow <gerow at ynu.ac.jp>
???? : KineJapan <KineJapan at lists.acs.ohio-state.edu>
???? : 2000?N11??6?? 16:43
???? : Re: Colorado Conference---catharsis/divorce/sex
>>My question, and this would be an interesting thing to discuss on
>>has to do with the way that discussions of the wonders of Nikkatsu Roman
>>Porno and pink eiga never---a word I take seriously---consider the
>>filmmaking in tandem with the reception context. When people point out
>>with the disintegration of the studio system, the pink film becomes the
>>training ground for moves into the mainstream (and the survival of
>>directors, technicians and cameramen who otherwise wouldn't be able to
>>in film), it makes sense to me. However, when discussions turn to the
>>progressive politics of the films, or their worthiness as art, what does
>>mean to ignore what's going on on ground level, in the theaters? How is
>>not a looping between the production and reception contexts, one big
>Much of the problem is in an impressionist based film criticism dominant
>in Japan that only looks at one point of reception: the critic.
>Markus's question deserves more of a pursuit, but let me just add another
>issue to the problem: industry. Even those who praise Roman Poruno or
>pink film as a valuable training ground rarely sit down and consider the
>industrial conditions for all this (beyond, as with regard to Nikkatsu,
>expressing a nostalgia about it being the last bastion of a program
>picture studio system).
>But when Zeze Takahisa came to my Meigaku class to talk, some of these
>issues did come up in relation to Hamano in our discussion afterwards.
>First, it should be pointed out that pink films are essentially produced
>on a subcontractor basis. Essentially, the company gives the director
>about 3 million yen and expects him or her to deliver the film with that
>(I don't know the specifics about developing and other peripheral costs).
> Thus this is not a studio system where the studio makes up budget and
>then produces it in house (this is a major difference with Roman Poruno
>and again reminds us Roman Poruno and contemporary pink films are not the
>same); and there is no real producer system (it is almost an ironic
>epitome of the director system: I'm reminded of Shochiku's contract with
>Kinugasa Teinosuke in the 1920s for something similar in Japanese film
>history). If the director ends up spending less than 3 million in making
>the film, he or she pockets that amount. Zeze noted this in relation to
>a shift in his films from more group to more individual oriented
>narratives: the former were just too costly and it was he, not the
>studio, who was bearing the loss; the latter were just cheaper and thus
>the shift was partially a measure of financial necessity.
>Given this situation, one would imagine that pink directors would
>incorporate themselves, or create their own production companies, for
>various reasons (tax reasons, debt indemnity, etc.). But many like Zeze,
>who himself confesses a lack of business acumen, do not do that. Hamano,
>however, has done that and thus reflects a different attitude towards
>production as well as different industrial conditions. I don't think we
>need to buy into the stereotype of artists unconcerned with business, but
>at least in Zeze's mind, Hamano is a shewd business player who makes sure
>she is on good financial standing. On the one hand, this can ensure the
>kind of industrial "freedom" she spoke of, but on the other, it clearly
>ties her in with the financial interests of the industry--i.e., to make
>films for mostly rural men to "jack off" to. Perhaps her incorporated
>status can allow for a power to express her own vision, but do remember
>she is still only a subcontractor, not the contractor. Her willingness
>to use different names for herself depending on the company (so that the
>same name does not emblazon the releases of competing pink film
>companies) was also cited by Zeze to exemplify her willingness to work
>with the companies.
>More research is needed before we can judge Hamano's industrial status,
>but I think it is also worth noting in terms of reception that Hamano has
>not been subject to resistance on the level of reception that I know of.
>Zeze and the Shitenno, however, were, as many rural theaters and their
>customers complained about their films--perhaps because they were not
>easy to "jack off" to.
>I think we need to think about these issues some more before accepting
>Hamano's self-depiction as a feminist filmmaker.
>International Student Center
>Yokohama National University
>Hodogaya-ku, Yokohama 240-8501
>E-mail: gerow at ynu.ac.jp
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