PiaFilmFestival

[Joseph Murphy]

Dear Matteo,
That's a great point.  The PFF has been extremely important in  
maintaining an independent eye on Japanese film, and imo there are a  
number of established directors whose most interesting work is in the  
Pia archives, for example, Yaguchi Shinobu's chaotic Ame Onna (Rain  
Women, 1994) and Hashiguchi Ryosuke's delicately observed Last Night's  
Secret (Yuube no himitsu, 1989).  These are a couple among the very  
fine directors, who got their start at Pia.
There is plenty of work at the PFF that deserves close analysis, but  
also, as I think you may intend, there is a very important story to be  
told of the importance of the festival in bridging the collapse of the  
Japanese studio system in the 1970s, and the emergence of a new  
Japanese cinema, with a quantity begets quality ethos, in the 1990s.   
It is a line in parallel with the pink film directors and Hasumi  
Shigehiko's Todai seminars.
I have an article on Yaguchi that touches on the festival's importance:
	"Brownian Movement in Recent Japanese CInema,"
	Postscript, vol. 18, no. 1 (1999)

I don't know where it's gone from there.
yours,
J. Murphy



On Nov 26, 2010, at 4:14 AM, Me wrote:

> Dear All,
>
> I was wondering if there has ever been an in-depth examination of the
> PiaFilmFestival, either on-line or in academic papers.
>
> Thank you in advance
>
> Regards
>
> Matteo Boscarol
> - Il Manifesto -
> http://www.cineclandestino.it http://artaud.wordpress.com

<>---<>----<>-----<>------<>
Assoc. Professor and Assoc. Chair
Dept. of Languages, Literatures and Cultures
University of Florida
Gainesville, FL 32601-5565
www.clas.ufl.edu/users/murphy7312

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