No subject

[Mark Nornes]

I noticed something very curious in the recent announcement of panels 
at our major conferences. SCMS (formerly SCS, the main academic 
conference for film and television studies) has three, count 'em, three 
panels on Japanese cinema, all stocked with Kinema Clubbers. This, 
despite the fact that it has been years since Japanese cinema has had a 
strong presence there. There are also a couple on Chinese cinema as 
well.

On the other hand, I've only seen the panel titles in the newsletter, 
but I was surprised to find that film and television have virtually 
disappeared at AAS. I'm talking about the entire conference, every 
region. They seem to have been supplanted by "media" and "popular 
culture."

This is a curious situation,  and it will be interesting to see what 
happens in the next year or two. Are the scholars populating these 
panels seeing SCMS as a more stimulating or accommodating space? Or are 
the organizations themselves expressing (something?) by their 
selections?

One of many factors behind the organization of Kinema Club III at NYU 
was the rejection of a Japanese film panel by AAS. Any thoughts or 
comments?

Markus








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Here are the panels at SCMS (full schedule: 
http://www.cinemastudies.org/04conf/SCMS04Prelim.htm).

E2: Japanese Anime: History, Theory, and Practice

Room: Birch

Chair: Kumiko Sato (Earlham College)

Steve Fore (City University of Hong Kong), "Realism, Hybridity, and the 
Question of Representation in Contemporary Animation"

Eija Niskanen (University of Wisconsin, Madison), "Ghibli-The Last Film 
Studio in Japan"

Satomi Saito (University of Iowa), "The Evolution of Anime Languages: 
 From 'moe-anime' to 'garu-ge'"

Kumiko Sato (Earlham College), "Anime's Displacement Effect"

5: Cultural Exchanges: Stars and National Identity

Room: Maple B/C

Chair: Daisuke Miyao (Columbia University)

Hideaki Fujiki (University of Wisconsin, Madison/Nagoya University), 
"American Cinema Stars Reshaping Japanese Culture, 1914-1920"

Misa Oyama (University of California, Berkeley), "The Secret Asian Man 
is No Longer a Secret: Sessue Hayakawa's Films After The Cheat "

Daisuke Miyao (Columbia University), "Madame Butterfly to Ideal Wife: 
Exoticism, Americanization, Nationalism, and Tsuru Aoki's Silent 
Stardom"

O8: Perverts, Politics, and Japanese Cinema

Room: Hazelnut

Chair: Jonathan M. Hall (University of California, Irvine)

Akiko Mizoguchi (University of Rochester/National Film Center, Japan), 
"Gay Boom for Women?: Male Homosexual Films as Agents for 
 Homo-&Heterosexual Women in Japan"

Hikari Hori (Gakushuin University, Tokyo), "Two Castration Narratives: 
Obscenity Trials, Directorship, and the Female Pornographer in 
 Japanese Film History"

Jonathan M. Hall (University of California, Irvine), "Experimental 
Oedipus: Matsumoto Toshio's Secret Language of Flowers"

Respondent: Margherita Long (University of California, Riverside) 
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