the eerie silence on KineJapan is maddening!

Pete Larson pslarson2 at
Fri Mar 18 07:29:51 EDT 2011

I'm glad someone agrees with me that the foreign coverage of the nuclear 
reactor has been vastly oversensationalized and has been riddled with 
disinformation and misinformation. This extremely poor coverage comes at 
the expense of the people who were directly affected by the quake and 
the following tsunami. These are the people who should be receiving 
coverage. Granted, it has all the Hollywood that one could ever want.

Most disturbing to me has been the awful dehumanization of people living 
in Japan, and the portrayal of Japan as inherently dangerous for 
foreigners, reinforcing tired stereotypes of the US as the only safe 
place for Americans.

On 3/18/2011 4:23 AM, Lindsay Nelson wrote:
> As someone who has been in Tokyo since August (currently in Kyoto to 
> have a bit of a break from the aftershocks), I can say a few things.
> 1. The nuclear power plant story is being ridiculously sensationalized 
> in the American media. Article after article and expert after expert 
> have declared that there is absolutely no danger to anyone outside the 
> immediate vicinity of the plant, and yet the major news outlets ignore 
> these stories and continue to vamp up the fear. Worse, they do this at 
> the expense of reporting on the real crisis, which is the 400,000 + 
> people in the northeast who have limited food, water, and shelter and 
> are already dying as a result.
> 2. Many people have made the decision to leave--at least 
> temporarily--for a variety of reasons. Aftershocks were constant for 
> the first 24 hours after the quake, and they continue even now. I 
> personally have not slept much at all for the past week--partially 
> because of the stress of the aftershocks, and partially because I have 
> been dealing with frantic, panicked family members who were horrified 
> that I hadn't fled the city. I also worried about blackouts as my only 
> heater is electric, it's getting very cold, and kerosene / space 
> heaters are completely sold out. I've left for a few days to get some 
> sleep and try to re-group, but I plan to return. The bottom line is 
> that even if there is no danger from the power plant, there are plenty 
> of other reasons why people might choose to leave. And given the 
> changing nature of the power plant situation and the huge amount of 
> conflicting information available, I can understand why some people 
> would be concerned enough to leave.
> 3. Regarding film archives and screenings--for the most part it's 
> business as usual in Tokyo. The scheduled blackouts have been avoided 
> so far because people are doing a great job of conserving energy. Some 
> universities have postponed classes and some smaller companies have 
> shut down to allow their employees to spend time with their families, 
> but most places are up and running. Very few Japanese are leaving the 
> city (the shinkansen were crowded today as I headed for Kyoto, but 
> Monday is a national holiday, so that's not too surprising). If 
> regular blackouts become a necessity this will of course impact daily 
> life considerably, but for now other than slightly reduced train 
> service, a gasoline shortage, and shortages of items like bread, milk, 
> and rice (really just the result of over-buying, not an actual 
> shortage), Tokyo seems pretty normal to me.
> I provide informal updates about the situation on the ground and links 
> to helpful articles at
> --Lindsay Nelson
> On Fri, Mar 18, 2011 at 12:03 AM, Quentin Turnour 
> <Quentin.Turnour at <mailto:Quentin.Turnour at>> wrote:
>     William,
>     Perhaps to shift things just to the issue of film
>     archives...Thanks for your great and thoughtful post, Odd also
>     considering I've just spent the morning doing a run through of the
>     NFC's 35mm print of the SHINGUN/MARCHING ON and also reading your
>     great on-line article about this unusual early Showa silent.
>     Literarily a few minutes after your post came up, Kae Ishihara at
>     the Film Preservation Society posted an email and link to
>     English-speaking FPS members
>     In the last few days I've had some contact with her, Akira Tochigi
>     at the NFC and a few others in the Japanese screen culture
>     community (such as Fujioka Asako of the Yamagata Doco festival - a
>     cultural event which of course takes place within a prefecture
>     once removed but still very close to the tragedy of the tsunami).
>     But Kae's email is a great summary of what's happening with the
>     NFC and regional film archives, and even some Japanese film
>     industry matters - Sony's HDCam tape plant was at Sendai, for
>     example.
>     As I alluded to, ironically we've been doing a season here of
>     1920s Japanese silents from the NFC and Matsuda, and the
>     reconstruction of the Kanto area post-1923 obviously looms as a
>     sub-text in many of the films we were screening... Or as a text on
>     some of the mid-1920s Ministry of Education Tokyo reconstruction
>     films, such as the eccentric PUBLIC MANNERS TOKYO SIGHTSEEING
>     (...which has led us to making the decision to postponed a
>     screening of these films).
>     Our program included a visit by the benshi Mr. Kotoaka Ichiro, who
>     bravely went ahead with a performance of his final session only
>     minutes after getting the news of the earthquake and then had some
>     difficulties getting back to Tokyo from Australia the following
>     day. We are currently ben asked to hold the prints from this
>     series for the NFC until advised; as the FPS's site indicate it
>     seems not so much that their facilities have been damaged, but
>     shipping services are still unreliable, power is a problem and
>     staff simply have having trouble getting to work
>     Finally, and noting the debate that your email inadvertently
>     sparked over foreign perceptions... Those who know some of the
>     history of what happened in the wake of Great Kanto will remember
>     that immediate international goodwill degenerated badly in mutual
>     recrimination in the weeks and months following; especially in
>     Japanese-US relations. Whilst some of this had to do with the
>     coming of US legislation restricting Japanese immigration, the
>     beginnings of militant nationalism, and a   trickle of
>     international press accounts of bad Japanese official behaviour
>     (especially of the anti-Korean pogroms), lets hope the same thing
>     doesn't happen again.
>     Quentin Turnour, Programmer,
>     Access, Research and Development
>     National Film and Sound Archive, Australia
>     McCoy Circuit, Acton,
>     ACT, 2601 AUSTRALIA
>     phone: +61 2 6248 2054  |  fax: + 61 2 6249 8159
> <>
>     The National Film and Sound Archive collects, preserves and
>     provides access to Australia's historic and contemporary moving
>     image and recorded sound culture.
>     *ReelDrew at <mailto:ReelDrew at>*
>     Sent by: owner-KineJapan at
>     <mailto:owner-KineJapan at>
>     18/03/2011 02:27 PM
>     Please respond to
>     KineJapan at
>     <mailto:KineJapan at>
>     To
>     KineJapan at
>     <mailto:KineJapan at>
>     cc
>     Subject
>     	the eerie silence on KineJapan is maddening!
>     I have been a member of KineJapan for the last ten years. I joined
>     originally out of a need to obtain translations of the intertitles
>     of Japanese silents on VHS in my collection. I am very grateful to
>     those members on KineJapan who aided me and made it possible for
>     me to, among other things, write an article on Hiroshi Shimizu
>     that is published on Midnight Eye.
>     Since then, I have regularly received almost daily the messages
>     that have been posted here. In all honesty, a large
>     number--perhaps the majority, in fact--have been of limited
>     interest to me inasmuch as they tend to deal with contemporary
>     Japanese films. Consistent with my enthusiasm for films in other
>     countries, including my own, produced in earlier decades, it is my
>     interest in the Japanese cinema of the past, especially the films
>     of the 1920s and 1930s, that has been of consuming interest to me.
>     Nevertheless, from time to time issues involving those golden
>     years do come up here.
>     However, whether or not the topic has been of particular interest
>     to me, I have always valued the fact that KineJapan has always
>     been there, an extremely valuable resource to be consulted when
>     needed. Never before since I've been here did this group shut
>     down. Certainly, it was very active right through the events of
>     9/11 as were other film discussion groups in which I participated.
>     Since the tragic events that began a week ago, though, this place
>     has suddenly turned into a ghost town. Aside from a very limited
>     amount of posts specifically on the topic of the tsunami, there
>     has been absolutely nothing here. No one has even bothered to post
>     how things are going on in Tokyo, while all sorts of wild,
>     apocalyptic rumors circulate unchecked in the US that Tokyo is
>     about to become irradiated, that it may be doomed. I believe a few
>     welcome posts here from knowledgeable people in the Japanese
>     capital might help to clarify the situation and perhaps alleviate
>     some of these fears.
>     I have had a consuming obsession with early Japanese cinema for
>     the last 36 years. In trying to interest people in the West in
>     this topic and to recognize the value of Japanese films from those
>     years, I have long had to confront an enormous amount of
>     indifference and insensitivity to these achievements by too many
>     in America and elsewhere in the outside world. It has taken so
>     long to bring attention to these films here. Indeed, it was only
>     this January that the premier venue for classic cinema in the
>     United States, Turner Classic Movies, after being on the air for
>     17 years, finally presented three Japanese silents--Ozu's famous
>     masterpieces, "Tokyo Chorus," "I Was Born, But. . .," and "Passing
>     Fancy." So it is only very recently that this neglected period of
>     Japanese film is just starting to receive some recognition here.
>     Given this obession of mine, I would very much like to know how
>     the archives and other collections of Japanese cinema are coping
>     with the current crisis in Tokyo. Are they able to function
>     normally in their work of preservation considering the power
>     blackouts etc.? If there really should be an evacuation of the
>     capital, has there been discussion of removing films and other
>     cultural treasures from Tokyo to Kyoto, a much safer city and
>     which I personally feel should be restored to the position of
>     Japan's capital?
>     As to whether now is the proper time to discuss the preservation
>     of culture in view of the terrible loss of life and the continuing
>     threat, I believe that, far from being at odds or incompatible,
>     the preservation of human life and humanity's cultural heritage
>     are inseparable. The heroic people of Egypt have shown all of us
>     the way recently in this area. During a time of turmoil in which a
>     corrupt, discredited dictatorship was attempting to hang on to
>     power by employing ruthless methods against the protestors,
>     demonstrators courageously appeared to form human chains around
>     the Library in Alexandria and the Egyptian Museum in Cairo to
>     protect these treasures of our history. I would hope that, should
>     it ever become necessary, a similar sense of cultural
>     responsibility will be demonstrated in other countries, including
>     Japan. The heritage of Japan, including its film history, is the
>     common property not just of one country but indeed, the legacy of
>     all the people of the earth.
>     In all those non-Western countries that the West chose to lump
>     together as "Oriental," for much of the 20th century the four most
>     significant in terms of creating outstanding cinemas in the first
>     half of the last century were Japan, China, India, and Egypt. This
>     preeminence in the new art of film was emblematic of these
>     nations' continuing cultural leadership in the modern world. In
>     terms of documenting and preserving the national film heritage,
>     however, Egypt under the Mubarak regime was scandalous. The
>     Egyptian film archive was by far the worst run in the entire
>     world, mismanaged by members of Mubarak's family. So neglected was
>     the state of the archive that it was a common sight to see rats
>     crawling out of cans of film in the vaults. The situation with the
>     Egyptian archive was thus symptomatic of the larger ills
>     afflicting the society under the corrupt regime that ruled Egypt
>     for thirty years. Needless to say, with the present rebirth of
>     Egypt through revolution there is a far greater hope that the
>     glories of Egyptian cinema from its bright beginnings in the
>     silent era to the achievements of later decades will be at last
>     properly preserved.
>     While the infrastructure of Japan including its archives can
>     hardly compare to its counterparts in Egypt in the Mubarak years,
>     there has nevertheless been a steady decline in Japan in the two
>     decades since the economic bubble burst in the early 1990s. Egypt
>     is now trying to recover from a social disaster, Japan from a
>     natural one exacerbated, it seems, by a variant of the same
>     corruption and cronyism that long afflicted Egypt. I think Japan,
>     like Egypt, will need to transform itself anew, but as with Egypt,
>     that transformation must be solidly based on the preservation and
>     dissemination of past achievements including a glorious legacy of
>     early cinema. Consequently, in addition to my general concern at
>     the eerie silence that has suddenly taken over KineJapan, as
>     though all its members have been struck dumb, I would in
>     particular like to know how the film archives and other
>     institutions consecrated to cinema history in Japan are faring
>     during the present crisis.
>     William M. Drew

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