A late self-introduction -

Sten-Kristian Saluveer (Niijanaa) sten at niijanaa.net
Sun Jul 11 17:48:00 EDT 2010


Hi Markus,
my deepest apologies that my reply comes hopelessly late. Having just passed the embassy recommendation stage for Monbugakusho research scholarship I've been lately engaged day and night in finding a research advisor from Japan and hence I've been very bad at replying to e-mails.

To begin, I'm still developing the thought into academic form hence  I'd be delighted to hear comments, counterarguments or suggestions that could lead me forward.

As one of the programmers of Tallinn Black Nights Film Festival I've noticed over the years an interesting process involving the local audience's reception and reaction to the Japanese films screened. Namely, it seems that the festival audience does not appreciate too much a "normal" Japanese film, for example small budget  independent drama such as "Fish Story" by claiming that it's too Japanese to enjoy.

At the same time  Japanese films that are accepted as enjoyable belong to two opposing extremes of a range of perception. 
On one hand there's the jidaigeki type with depictions of traditional/historical/exotic Japan such as "Gohatto", but also Kˇuki ningyô" though the latter isn't covering the historical Japan, but I'd argue still has a lot of exotism in it. At the other end  of the range is the body of ultra violent action and horror work covering everything from early Miike and Kitano to now infamous Iguchi/Nishimura output.

My hypothesis is on the basis of the previous  that there might be two different types of cultural imagining taking place (if I may use Benedict Anderson's imaginary communities concept here):
1) imagining of the traditional, exotic  Japan of geisha, samurai, sumo, which in case of Estonian audience is also a contributing factor since the success of Estonian sumo wrestler Baruto Kaito has sparked a huge interest in Japan amongst the population, especially middle age housewives
2) imagining of Japan where violence and perverted sexuality is an accepted norm, and violence is a method of releasing steam out of the society

Japanese films presented  in the local media or festivals are judged (sub)consciously by the audience against this backdrop  and films that do not correspond to either of these categories aren't consequently successful, and generate confusion since the audience doesn't know how to relate to them. 

Of course it might be argued that more diversified festival programming would also result in a more heterogenous presentation of Japan, but I believe that the two above mentioned categories are already internalized to a degree that its rather impossible to achieve a rapid change in the attitude and appreciation films.  I would actually go here as far as saying that  there might be a perception by the audience
that films made in Japan are distinctively Japanese by their essence (Japaneseness as a genre) i.e are either exotic or violent or the mix of both, instead of considering these as films of different genres that are produced in Japan.

From the practical side that's actually something we at the Black Nights programming board struggle with every year by trying to find a healthy balance between exotic and midnight films that would make it even at the box office, and the independent films belonging to the normal/"too Japanese" category.

In connection with my studies I've been trying to investigate and understand the above described through a theoretical perspective, although I admit its a  rather complex maze.  For  sure the whole process involves the background of existing cultural stereotypes of Japan in Estonian society calling for audience studies, the role of local film distribution and marketing messages (I believe that a lot of Oliver's Dew's account of the case of Tartan "Asia Extreme" in UK where violence was marketed as being indication of high artistic value is also applicable in Estonian/Baltic context), politics of festival programming in shaping or reinforcing existing stereotypes and so on.

A big part of the work is audience research  which I'm planning to carry out during this year's festival both as focus group/in depth interviews as well as a general questionnaire since it can be integrated to our annual festival audience opinion package. From a theoretical perspective there's the classic Anderon's imaginary communities viewpoint which I think might be applicable outside the nation state framework by viewing festival audiences as different communities with diverse and shared cultural imaginings. Recently, the theory  seems to be having a  larger revival, having in mind Iordanova et al's "Film Festival Guidebook 2", though unfortunately the volume doesn't present any work related to Japan.

In terms of describing the factors behind the construction of these imaginings of Japan I believe that it's time for an alternative to the well established discourses of soft power, kawaii and techno orientalism, although I'm not sure yet what would  that be if there's any at all. Despite of the previous, I am still quite convinced that Japan/Japanese culture and film as it's representation has a fantastical or imaginary side attached in the minds of the overseas audiences, and international distribution and festival programming politics has a lot power to shape these imaginings to a direction or another.

This goes a bit of out of the context (though relating to the discussion) but I find the case of Nikkatsu's "Sushi Typhoon" launch extremely interesting since it seems there's almost a loop going on where the conditioned demand of the Western B movie/cult film audience for the exotic Japanese film is stimulating the Japanese film industry to cater more and hence reinforce these imaginings. I'm hopefully able to research this a bit more during the next year in Japan and happy to share the results.

Actually, I am extremely grateful if somebody in the list has a suggestions in terms of Japanese supervisor/university for that project.


To conclude, I hope this provided a (partial) answer to your question, and I'd be naturally delighted if somebody could point me to additional resources related to the discussion.
With best wishes,
Sten




On Jul 2, 2010, at 6:05 AM, Nornes, Markus wrote

> Welcome Sten!
> 
> I'm very curious about: 
> 
>> the construction of "imaginary Japan" by the international festival audiences.
> 
> Could you tell us more?
> 
> Markus
> 
> 
> ________________________________________
> From: owner-KineJapan at lists.acs.ohio-state.edu [owner-KineJapan at lists.acs.ohio-state.edu] On Behalf Of Sten-Kristian Saluveer (Niijanaa) [sten at niijanaa.net]
> Sent: Thursday, July 01, 2010 5:48 PM
> To: KineJapan at lists.acs.ohio-state.edu
> Subject: A late self-introduction
> 
> Dear Kinejapaners,
> 
> Although I've been following the conversations on the list for some time I've just realized that I haven't yet introduced myself properly.
> With my deepest apologies comes a short self-introduction.
> 
> For about 9 years I work as a program consultant/programmer of Japanese and Asian cinema, and one of the managers for the Tallinn Black Nights Film Festival (PÖFF, www.poff.ee), the largest art house film festival in the Baltic/Scandinavian region taking place annually in December. The festival runs already for the 14th year and together with sub-festivals presents around 450 features, competions, retrospectives and so on during a 3 week period.
> 
> In addition, I also direct a small, independent film/art house driven genre film festival, the Haapsalu Horror & Fantasy Film Festival (www.hoff.ee) held in April in a spa town of Haapsalu, a former summer retreat of the Russian imperial family .
> 
> In terms of academic interests, I'm currently finishing my second MA in Asian Studies at Estonian Institute of Humanities in Tallinn University, with focus on Japanese cinema and media. My research interests involve the effects of globalization, transnational culture flows and co-production on Japanese film (industry) and the construction of "imaginary Japan" by the international festival audiences.
> 
> As a hopeless buff of Japanese culture I also help a few Estonian festivals to scout and organize concerts of Japanese musicians and DJ's in (Northern) Europe.
> 
> With best wishes!
> Sten
> 
> 
> 
> 
> Sten-Kristian Saluveer (Niijanaa)
> Creative Director
> 
> Niijanaa Audiovisual Communications
> Call: +372 51 65 242
> Write: Sten at niijanaa.net
> Skype: stenskype
> 

Sten-Kristian Saluveer (Niijanaa)
Creative Director

Niijanaa Audiovisual Communications
Call: +372 51 65 242
Write: Sten at niijanaa.net
Skype: stenskype



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