Japan and Cult

[Nathen Clerici]

On 2010-02-15, at 7:55 PM, drainer at mpinet.net wrote:

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> I suppose if you define it like that then any major picture would not be considered cult, or it would at least be somewhat immune to the framework.
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== Since cult definitions usually arise from viewing practices and reception, changes over time can result in changes in cult status.  Lots of classics, like The Wizard of Oz or Casablanca, or even Lord of the Rings, are included in cult listings because of the WAY fans engage with the movie.  

> But again, that becomes tricky because there is always a group somewhere that may be particularly interested in x y and z product.

== Right, which is why I think we can't ignore the content of the films, too.  Every film has some devoted fans, but how many do you need to have a cult?  Or do they just have to be extra-passionate about their devotion (and who would judge that)?

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> That's made clear by the fan-sub phenomenon, which takes big budget and small budget productions into consideration (as you described earlier, a product of home viewing). I would consider that part of cult, generally because those involved in it belong to a distinct subculture (which most people in Japan may not even recognize).

== I also think that the fan-subbing is a kind of cult cinema, but why is it that those particular films (anime) have been selected?  Is there something intrinsic to those movies and not others, such as storylines or visual style?

> I agree with you when you say that anime and live-action work differently, and I think that could be a basis for formulating a working definition of what consists of "cult."

== In the case of live-action vs. anime, I tend to think it's method of distribution, as well as the target market.  The way that teenagers interact with film (anime) is probably different from the way adults interact with live-action cinema.  I am making assumptions here on who watches what, but the point is that teenage anime viewers may have, for example, more time and technological skills to undertake an activity like fan-subs.  Your average adult movie buff or cinephile might not do the same thing-- or perhaps they're not trying to build communities around their film watching?  This is all just speculation-- you'd need to do a lot of research work to find out viewing habits.  

   

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> ----- Original Message ----- From: "Nathen Clerici" <nclerici at interchange.ubc.ca>
> To: <KineJapan at lists.acs.ohio-state.edu>
> Sent: Monday, February 15, 2010 6:15 PM
> Subject: Re: Japan and Cult
> 
> 
> Hello Jim,
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> I agree, deciding 'cultness' is a tricky business.  You wrote that :
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>> A lot of Japanese films certainly qualify as 'cult' items, but by no means all.
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> I'm curious what other Japanese films you would say are NOT cult outside Japan.  I think your example of Shall We Dance? is a good example, and in a separate reply, I mentioned Miyazaki's films, but what else would you add to this list?  I talked to one person who thought that films by Kurosawa (Akira),  Ozu, Oshima and the like are "art," and should not be seen as cult film.  Again, this probably just comes down to how one defines cult, but for scholars of Japanese film, I would think that topic would come up from time to time.
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> Nathen
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> On 2010-02-15, at 2:13 PM, Jim Harper wrote:
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>> I think the question of what is 'cult' is generally informed by genre and audience factors within its country of origin. Sion Sono's Exte is essentially a cult film for both non-Japanese and domestic audiences, but I think there are few non-Japanese film fans who would consider Shall We Dance? a cult film. It might only reach a small non-Japanese audience, but it certainly has the potential to find mainstream success (as it did). A lot of Japanese films certainly qualify as 'cult' items, but by no means all.
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>> Jim.
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>> --- On Mon, 15/2/10, Nathen Clerici <nclerici at interchange.ubc.ca> wrote:
>> Hello all,
>> 
>> My name is Nathen Clerici, and this is my first post.  I am really enjoying all the threads on this list.
>> 
>> I am starting a research project that will examine how Japanese film travels and the channels by which it comes to be seen outside Japan.  I want to frame the problem by looking at how different forms of distribution and exhibition (e.g. art house cinema, university courses, Internet fan sites, etc.) affect how a particular movie is received. Within this framework, I am interested in the idea of cult.  It seems that Japanese cinema is often classified as cult cinema, but I am not sure that it could be received any other way.  Even if we consider a particular Japanese film to be highbrow art, it is most likely still confined to a small-but-adoring audience of cinephiles-- or Japanophiles.  Perhaps J-Horror is an exception?
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>> I am curious, KineJapaners, do you think Japanese films seen outside Japan are cult cinema?
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>> I realize the cultural context changes, but I also think that the modes of viewing (e.g. web-based, fan subs, art house) exert a strong influence. In addition, this is most likely not a question just for Japanese film, but for all film that crosses national/linguistic borders.
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>> Thanks,
>> 
>> Nathen Clerici
>> University of British Columbia
>> PhD Program
>> Asian Studies
>> 
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