[KineJapan] Oshima book

Tue Dec 24 19:16:22 EST 2013

Dear KineJapaners,
I see that the bilingual book on Oshima, published in connection with the retrospective at San Sebastian, and edited by Quim Casas and Ana Cristina Iriarte, is now available from their online store.
http://tienda.sansebastianfestival.com/
However,although the book, bilingual and well illustrated, is only 25 euros, it turns out that delivery charges range from 6 euros within Spain, to 75 euros outside of Europe.  If I had known that I would have taken a large case of them back on a train.  Their publications office is closed for the holidays, but if I hear anything practical, I'll let interested people know.

Below are my notes on the content made nearer the time of the festival, in case it helps anyone.  The filmography is inclusive of a wide range of media.
Roger

Nagisa Oshima
Edición bilingüe castellano / inglés
CASAS, Quim
IRIARTE, Ana Cristina, coordinators
Donostia Zinemaldia - Festival de San Sebastián, 2013
Preface KOYAMA Akiko p13 Viewing Ōshima through their marriage. 
Nagisa Oshima THOMAS, Jeremy 17 Viewing Ōshima as one of his producers. 
Rebelliousness as a lifestyle SANTAMARINA, Antonio 23 A survey of a transgressive career by the director of Doré Cinema (Spanish Film Archive) 
Killing the father, Nagisa Oshima and tradition in Japanese cinema SÁNCHEZ, Sergi 43 A parallel survey to the above by the Barcelona professor and film critic. Focus on Nihon no yoru to kiri and Gishiki. 
Oshima’s 1960 DESSER, David 53 A lucid take on how Ōshima crafted his films of this period (Desser doesn’t use the word ‘craft’) 
First, the revolution KOVACSICS, Violeta 67 Places Ōshima in a wide range of western film-referenced writing, in relation to the body, and spaces; also mentioning Wakamatsu. 
The phase of the Shochiku Ofuna studios SATŌ Tadao
as SATO, Tadao 77 Another biographical survey but of a limited period.  Has translator’s notes, presumably of the uncredited Daniel Aguilar.  Makes the specific claim that Nihon no yoru to kiri was made to influence an election in the post-Anpo period. 
The collective movement called Nagisa Oshima GO Hirasawa 85 Starts” I doubt if anyone will challenge me if I say that Nagisa Oshima is the most important Japanese filmmaker since the Second World War.” Banish your doubts 
Oshima’s Aesthetic Treatises on Eroticism and Violence TURIM, Maureen 101 Extensive essay on said subject focussing on Ai no korida, Ai no borei, Taiyo no hakaba, Muri shinku: Nihon no natsu, Etsuraku, Merry Christmas, Mr. Lawrence and Gishiki. 
The body politic and the theatres of the flesh in Oshima’s films PAREDES BADIA, Israel 123 The feature films of Ōshima, the “good Marxist”. 
Eros and Civilization: Shohei Imamura’s Akai satsui and Nagisa Oshima’s Hakuchu no torima QUANDT, James 133 A detailed and instructive comparison of the two films. 
“They speak of the height of the Revolution: who will establish that height?” Nagisa Oshima, Masao Adachi and the revolutionary dimension of the cinema BRENEZ, Nicole 145 Extensive quotes of Adachi on Ōshima, through the French.  Examines 100 Years of Japanese Cinema. 
In the mountains of cruelty: Shiku (The Catch) LATORRE, José Mariá 157 see title 
Beheaded images, Ninja bugei-cho PINTOR IRANZO, Ivan 165 see title 
The documentary that devours its offspring. Oshima and the redefinition of Japanese non-fictional cinema MAGUIRO, Carlos 173 Particularly valuable [to me] for its descriptions of  unseen documentary films, including Wasurareta kogun, Daitoa sensō, Guam to 28 nen no nazo o on as well as Yunbogi no nikki. 
Broken scenarios . Traces of the theatre in Oshima’s cinema ESTRADA, Javier H. 185 “Oshima conceives the institutional structure and the masses as actors in an extremely conservative theatre called Japan. 
Oshima’s texts. Cinema, censorship and the State. Dissolution and eruption: selection CASA, Quim 193 With an introduction on sources. 
Notes on the critical fate of Nagisa Oshima MONTERDE, José Enrique 205 That is, the European critical fate.  Ends, “Then, after a long absence and a number of failed projects, Gohatto/Taboo, 1999) [sic] went almost unnoticed; apparently Nagisa Oshima’s time had passed, a symbol, after all, of modernist radicality and “new cinema”.”  
Post history: Tokyo senso sengo hiwa (The Man Who Left His Will on Film) FUJIWARA, Chris 213 See title. 
The obscenity of censorship. An immoral trial AGUILAR, Daniel 227   
The empires of invisible happiness BOU, Núria
PÉREZ, Xavier 241 Ai no korida 
Oshima, the 70s and the apocalypse LOSILLA, Carlos 255 Starts: “This text is dated November 1998 and it was never published.  However it is not by chance that it starts and ends with Ai no korida.” 
Forbidden Loves, Merry Christmas Mr. Lawrence and Max, mon amour RIAMBAU, Esteve 267 See title. 
Honour and desire CASASA, Quim 279 Gohatto. 
Filmography
Feature Films
Short Films
Assistant Director
Scripts for Films not directed by      Oshima
Actor
Television
Documentaries
Scripts for documentaries
Fiction films
Scripts IRIARTE, Ana Cristina 288
288
312
313
315
316
317
317
327
328
330   
Selected Bibliography POTES, Alicia 337 Includes, from p 341, a ‘Críticas y análisis de películas’ which would have been better translated as ‘Critiques of individual films’ rather than “Film critique”. 
‘The Authors’   349   
Index   361   

2013/9/26 Dear Quim Casas,
…  I am particularly interested if all the contributions to the book  - apart from your extracts of Oshima's writings - are original for the book.  Also I would like to know about the translations.
2013/9/26 Yes, all the texts were originally written for the book, except:
Fujiwara text is a new version of one published on a website. The James Quandt wrote some time ago but was unpublished.
The texts of Japanese authors have been translated from Japanese to Spanish by Daniel Aguilar, also the book contributor. Turim, Desser, Fujiwara, Quandt and Jeremy Thomas have written their texts in English and Brenez in french.

best!
quim
http://tienda.sansebastianfestival.com/

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