Daiei Symposium

[kiseko minaguchi]

I did enjoy the first experience of the Meigaku film symposium,  though I
missed the "hahamono" speech. Was there a time table in the e-mailed notice?
I have some "youbou" from the audience's place. While Wakao's films were
screened, Ms Saitou sounded to be giving us some note about the individual
work's background, which was erased by the loud speaker. Secondly, I wish
Professor Yomota would allow the audience to share the communication with
the speaker and  the guest.
Overall, I think  Meigaku students should be very thankful and proud of
having such a meaningful opportunity to learn about the legacy of their
culture.  I'm looking forward to another symposium next year.
Minaguchi
----- Original Message -----
??? : "Aaron Gerow" <gerow at ynu.ac.jp>
?? : "KineJapan" <KineJapan at lists.acs.ohio-state.edu>
???? : 2001?12?10? 13:31
?? : Re: Daiei Symposium


> I hope some of you were able to make it to the Daiei Symposium.
>
> Itakura Fumiaki started things off with a genre study of Daiei's
> hahamono, interestingly focusing not on repeated narrative patterns, but
> on the genre's constitution in discourse and on Daiei's conscious policy
> of promoting the genre.
>
> Shimura Miyoko talked about Daiei's kaidan films in the context of the
> history of Japanese horror or ghost films, arguing in particular about
> how Daiei in the late 1960s was successfully able to enter the market
> after the waning of the kaiju film, take advantage of the yokai boom, and
> produce a successful series of kaidan films for children, likes of which
> have not been seen in theaters since.
>
> Saito Ayakao talked about Wakao Ayako in relation to Masumura Yasuzo's
> films. In her conception of Wakao's change as a star, the pre-1961 Wakao
> (Tsuma wa kokuhakusuru being the dividing point) is a young
> representative of a woman's world "resisting" a male adult world, but the
> post-1961 Wakao is an adult woman who brings her resistance into the
> adult world. Saito wanted to think of this resistance as taking place on
> the set too, and thus see the later Masumura as in part co-productions
> with Wakao.
>
> Kato Mikiro discussed the fall of Daiei industrially, focusing on the
> issues of overproduction due to the block booking system and of Daiei's
> lack of theaters, it always being more of a movie studio movie company
> than other Japanese companies with lots of theaters. THis comes out in
> Daiei's technical superiority.
>
> Finally, Saito and Yomota Inuhiko had a talk with long-time Daiei
> producer Fujii Hiroaki, who produced most of Masumura's films and many of
> Ichikawa Kon's. He talked a lot about the institutional place of the
> kikakubu at Daiei, the characters of Masumura and Wakao, and a lot about
> Mishima Yukio, whose Yukoku Fujii also produced.
>
> As with some of the previous Meigaku film symposiums, perhaps this one
> will also see the light of day in book form.
>
> Any comments from other people who attended?
>
> Aaron Gerow
> Associate Professor
> International Student Center
> Yokohama National University
> 79-1 Tokiwadai
> Hodogaya-ku, Yokohama 240-8501
> JAPAN
> E-mail: gerow at ynu.ac.jp
> Phone: 81-45-339-3170
> Fax: 81-45-339-3171
>
>