From dburall1 at rochester.rr.com Fri Jul 26 21:24:34 2013 From: dburall1 at rochester.rr.com (dburall1 at rochester.rr.com) Date: Fri, 26 Jul 2013 21:24:34 -0400 Subject: [KineJapan] famous movie theaters from the silent era In-Reply-To: Message-ID: <20130727012434.BYWZC.4370.root@hrndva-web10-z02> Hello everyone, I'm posting this question on behalf of a colleague. Can anyone help? "At the end of the war, did any famous movie theatres from the silent era remain open and intact? (e.g. Cinema Palace, Musashinokan, Taishokan, Ushigomeakan, Aoikan etc. ?). I know several were destroyed in the Earthquake, but rebuilt shortly thereafter. But did they survive the war?" thanks, Joanne Bernardi _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Fri Jul 26 04:30:17 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Fri, 26 Jul 2013 17:30:17 +0900 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> <9A2DBE44-C2F6-4D3D-AEE4-2124BA74A517@mail-central.com> Message-ID: Hi Markus, I'm curious about this too, so I spent a few minutes digging. The ACA has a page that tries to explain the copyright law and "free use", such as it is: http://www.bunka.go.jp/chosakuken/gaiyou/chosakubutsu_jiyu.html It looks like the law addresses a bunch of edge cases for consumption, but not much in the way of "transformative" uses. Not surprising, I guess. The Copyright Division of the ACA also has a service for educators, though I imagine they just the basic cases (i.e., industry PR): http://www.bunka.go.jp/chosakuken/index_4.html Perhaps they could be queried directly, putting those tax dollars to work ! Finally, here is an article from 2009 about both free and transformative use: http://www.ritsumei.ac.jp/acd/cg/ss/sansharonshu/451pdf/03-09.pdf It seems to be making a case for an expanded frame of free use in Japan. Best, M. On Jul 26, 2013, at 7:44 AM, Markus Nornes wrote: > That's very similar to the basis SCMS has used for its fair use case (official statements and documentation on their website, as well as Bordwell's blog). > > What about documentary films? If a film draws on bits of other films or news broadcasts (or any kind of copyrighted material) to make an argument?and not necessarily involving parody?is the filmmaker in an analogous position as the scholar? They are in the United States, at least since the fair use movement here took hold some years back. > > Markus > > > On Thu, Jul 25, 2013 at 5:41 PM, Mark Roberts wrote: > On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: > >> It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? > > Regarding fair use, I believe this exists in Japan, for DVD stills at least. > > When I encountered this issue last year, everything pointed to article 32.1 of the Japanese copyright law (?????32?), according to which academics are entitled to reproduce quotations for research purposes. Two conditions must be met: (1) the quotation must be a smaller unit than the entire text, where "smaller" means a fragment, and does not concern the size of the image; and (2) the purpose of including the quotation should serve some kind of argument or analysis. I.e., it's not just there to "look good". > > I am not sure how the TPP provisions on copyright would interact with this existing law, but it sounds like it would be a new channel in which rights holders could assert their claims. > > M > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > -- > Markus Nornes > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > Department of Screen Arts and Cultures > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Fri Jul 26 02:18:14 2013 From: amnornes at umich.edu (Markus Nornes) Date: Fri, 26 Jul 2013 02:18:14 -0400 Subject: [KineJapan] Research Guide Crowd Sourcing Corrections Message-ID: Greetings friendly readers! Aaron and my Research Guide to Japanese Film has been picked up by Yumani for translation. We are going to add new entries to all sections and make corrections. Does anyone know of new collections (or changes to existing collections) that we should include in the new addition? Has anyone noticed anything that requires correction? We would LOVE to hear from you! (Probably off list is best.) Markus and Aaron -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Thu Jul 25 18:44:33 2013 From: amnornes at umich.edu (Markus Nornes) Date: Thu, 25 Jul 2013 18:44:33 -0400 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: <9A2DBE44-C2F6-4D3D-AEE4-2124BA74A517@mail-central.com> References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> <9A2DBE44-C2F6-4D3D-AEE4-2124BA74A517@mail-central.com> Message-ID: That's very similar to the basis SCMS has used for its fair use case (official statements and documentation on their website, as well as Bordwell's blog). What about documentary films? If a film draws on bits of other films or news broadcasts (or any kind of copyrighted material) to make an argument?and not necessarily involving parody?is the filmmaker in an analogous position as the scholar? They are in the United States, at least since the fair use movement here took hold some years back. Markus On Thu, Jul 25, 2013 at 5:41 PM, Mark Roberts wrote: > On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: > > It sounds like "transformation" and fair use are built into Japanese > copyright law. Anyone have a handle on that? Does Japanese law have > anything like the "four factors" guiding fair use in the US? Is there a > decent gloss on this? > > > Regarding fair use, I believe this exists in Japan, for DVD stills at > least. > > When I encountered this issue last year, everything pointed to article > 32.1 of the Japanese copyright law (*?????32?* > ), according to which academics are entitled to reproduce quotations for > research purposes. Two conditions must be met: (1) the quotation must be a > smaller unit than the entire text, where "smaller" means a fragment, and > does not concern the size of the image; and (2) the purpose of including > the quotation should serve some kind of argument or analysis. I.e., it's > not just there to "look good". > > I am not sure how the TPP provisions on copyright would interact with this > existing law, but it sounds like it would be a new channel in which rights > holders could assert their claims. > > M > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -- *Markus Nornes* Chair, Department of Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and Cultures Professor, School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Thu Jul 25 17:41:24 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Fri, 26 Jul 2013 06:41:24 +0900 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> Message-ID: <9A2DBE44-C2F6-4D3D-AEE4-2124BA74A517@mail-central.com> On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: > It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? Regarding fair use, I believe this exists in Japan, for DVD stills at least. When I encountered this issue last year, everything pointed to article 32.1 of the Japanese copyright law (?????32?), according to which academics are entitled to reproduce quotations for research purposes. Two conditions must be met: (1) the quotation must be a smaller unit than the entire text, where "smaller" means a fragment, and does not concern the size of the image; and (2) the purpose of including the quotation should serve some kind of argument or analysis. I.e., it's not just there to "look good". I am not sure how the TPP provisions on copyright would interact with this existing law, but it sounds like it would be a new channel in which rights holders could assert their claims. M -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From Alex.Zahlten at gmx.de Wed Jul 24 17:20:35 2013 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Wed, 24 Jul 2013 23:20:35 +0200 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com>, Message-ID: An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From stephen at asianfilm.info Wed Jul 24 11:11:59 2013 From: stephen at asianfilm.info (Stephen Cremin) Date: Thu, 25 Jul 2013 00:11:59 +0900 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: <43538E8D-8F27-4033-AFFE-1D5D156EC9B1@mail-central.com> References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> <90B502AD-69EF-453D-BD5C-9EA32739F22B@mail-central.com> <722EDC49EDBD4E3BBB15EFD6FA3101D6@asianfilm.info> <43538E8D-8F27-4033-AFFE-1D5D156EC9B1@mail-central.com> Message-ID: Thanks, Mark. If there's no specific news angle right now, it might make sense for one of our print publications later in the year. But keep this list updated with developments. It sounds like the kind of story that deserves several articles. I'll dig it into a bit when I'm back in Beijing next week. Stephen On Wednesday, 24 July 2013 at 10:46, Mark Roberts wrote: > Hi Stephen, > > There is now increasing pressure to include Taiwan in the TPP as well, and I would expect more discussion to appear in the Taiwanese media. The impact on the National Health Insurance system alone should be enough to provoke a response. > > I have not yet seen an analysis of how the TPP would affect circuits of international film distribution, but the ISDS clause means that the industries with the deepest pockets will be able to lawyer up and go after any domestic protections that stand in their way. Obviously, Hollywood has vast resources and can litigate until all opponents have collapsed. TPP provides a framework for them to pursue this. > > I would be very interested to see an article about this in Film Business Asia. > > Best, > > M > > > On Jul 24, 2013, at 9:14 AM, Stephen Cremin wrote: > > I'm familiar with ACTA and thoughtI had been following the negotiations as best I could despite the secrecy, but I've never heard of TPP. I see EFF have been on top of it, so I guess the US and European technical news sites that I follow haven't given particular attention to TPP. > > > > The MPAA will absolutely find Japanese copyright law too permissive, even if the government does start jailing downloaders: > > https://torrentfreak.com/anti-downloading-law-hits-japan-up-to-2-years-in-prison-from-today-121001/ > > > > I lived in Taipei from 2003-2010 and I witnessed how the US studios - who were encouraged to come to Taiwan in the 1970s under preferential tax conditions - used all their bullying powers to stop Taiwan cinema from getting a foothold in the market. (As they tried in South Korea in the 1990s.) > > > > If the true history of the resurgence in Taiwan cinema in the last decade is ever published, the book will have to dedicate a chapter to the exhibitor who started to take "red packets" from Taiwan producers to give their titles a level playing field against Hollywood films. > > > > Without this person, despite the shift to more commercial films ten years ago, the market share of Taiwan films would have been stuck at 3%. Years later the government stepped in and started offering subsidies to cinemas, effectively paying the "bribes" on behalf of producers. > > > > Anyway, as publisher of Film Business Asia, I do want to track the TPP story and thanks for bringing it my attention. Like Screen International, FBA is not a US trade publication and we aren't beholden to the Hollywood studios. Although I can't speak for Screen International. > > > > Stephen Cremin > > > > > > On Wednesday, 24 July 2013 at 05:09, Mark Roberts wrote: > > > > > Another thing to consider here is the "Investor-State Dispute Settlement clause" (ISDS) in the TPP. What this means, in effect, is that if foreign corporations claim that Japanese law are negatively impacting their business, they can sue the Japanese government. The decision, however, will be decided by a special court in the WTO. > > > > > > So, if the MPAA found Japanese copyright law to be too permissive, they could sue for damages and under the terms of the TPP, the Japanese government could be found on the losing end by the WTO. > > > > > > The idea is to provide foreign corporations with a means to compel member states to change laws they find disagreeable, through a system of "offshore private investment tribunals". A large body of legal experts have warned that this will lead to "a massive increase in corporate claims against attempts by governments to create environmental and natural resource policies". I would suspect the same for copyright claims. > > > > > > Interestingly, while people debate whether or not Abe Shinzo is an ethnic nationalist, his party is pushing for this trade agreement that will have the effect of stripping the nation of its economic sovereignty in the sphere of international trade. > > > > > > M > > > > > > On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: > > > > A whole bunch of questions arose in my mind. Here are a couple. > > > > > > > > What would the ban on parallel importation mean for Asia libraries? They couldn't purchase books for their collections without permission from the copyright holder? > > > > > > > > It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? > > > > > > > > I ask partly because at Yamagata, Asako Fujioka and I are inviting Gordon Quinn (of Kartemquin Films) to talk about the incredible success of the American fair use movement. (This is in a big program on documentary ethics.) > > > > > > > > Markus > > > > > > > > > > > > On Tue, Jul 23, 2013 at 9:32 AM, Mark Roberts wrote: > > > > > With the LDP victory in the election this past Sunday, Japan is now closer to entering the Trans-Pacific Partnership (TPP). > > > > > > > > > > As many of you are aware, the TPP will have very significant effects on different sectors of the Japanese economy, including cinema. > > > > > > > > > > The TPP negotiations are taking place in secret, though representatives of over 600 corporations have private access. Chapters of the text on IP and copyright have been leaked, and groups like the Electronic Frontier Foundation (EFF) have published materials to clarify the impact. EFF believes that revisions to copyright law will also impact fair use. > > > > > > > > > > What Will Japan's Entry Into TPP Mean for Internet Users? > > > > > https://www.eff.org/deeplinks/2013/07/what-will-japans-entry-tpp-mean-internet-users > > > > > > > > > > New Leaked TPP Text Puts Fair Use at Risk > > > > > https://www.eff.org/deeplinks/2012/08/new-leaked-tpp-puts-fair-use-risk > > > > > > > > > > Excerpt: > > > > > > > > > > [T]here are three things in the TPP that threaten to change Japanese copyright law for the worse: > > > > > > > > > > First, the TPP calls for lengthened copyright term protection that would run roughshod over previous Japanese rejection of such extensions. Just as the U.S. attempted to do previously, the agreement would extend copyright terms from 50 years after the life of the author to 70 years after the life of the author. For copyright terms based on the creation date, TPP would also extend it another 25 years to 95 years, or up to 120 for corporate owned works. > > > > > > > > > > Second, it bans parallel importation, meaning it would require authorization from the copyright owner to import goods even if those goods were purchased legally in another country. This would greatly impact the sale and availability of content, such as DVDs or software, if the copyright owner decides they?d like monopoly control of distribution across national borders. > > > > > > > > > > Finally and most crucially, TPP threatens to upend a principle in Japanese law called shinkokuzai, whereby crimes are not prosecuted without a formal complaint from the victim. In addition, TPP would impose statutory penalties for infringement even if there?s no proof of actual harm. This could lead to an even greater crackdown on file sharing and online, fan-generated comics that are core to the anime community. > > > > > > > > > > The combination of all of these new restrictions has lead Ken Akamatsu to describe the TPP as ?destroy[ing]? the market of self-published transformative anime works, and diminishing the manga industry as a whole. The long fight such communities faced in battled local copyright proposals would be undermined by changes being enforced undemocratically through the secret trade agreement. > > > > > > > > > > Opinions? > > > > > > > > > > ---- > > > > > > > > > > Mark Roberts > > > > > Research Fellow, UTCP > > > > > http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php > > > > > > > > > > > > > > > > > > > > > > > > > _______________________________________________ > > > > > KineJapan mailing list > > > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > > > > > > > > > > > > > > > > > -- > > > > Markus Nornes > > > > Chair, Department of Screen Arts and Cultures > > > > Professor of Asian Cinema, Department of Asian Languages and Cultures > > > > Professor, School of Art & Design > > > > > > > > Department of Screen Arts and Cultures > > > > 6348 North Quad > > > > 105 S. State Street > > > > Ann Arbor, MI 48109-1285 > > > > > > > > _______________________________________________ > > > > KineJapan mailing list > > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > > _______________________________________________ > > > KineJapan mailing list > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > > > > > > > > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Tue Jul 23 21:46:23 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Wed, 24 Jul 2013 10:46:23 +0900 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: <722EDC49EDBD4E3BBB15EFD6FA3101D6@asianfilm.info> References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> <90B502AD-69EF-453D-BD5C-9EA32739F22B@mail-central.com> <722EDC49EDBD4E3BBB15EFD6FA3101D6@asianfilm.info> Message-ID: <43538E8D-8F27-4033-AFFE-1D5D156EC9B1@mail-central.com> Hi Stephen, There is now increasing pressure to include Taiwan in the TPP as well, and I would expect more discussion to appear in the Taiwanese media. The impact on the National Health Insurance system alone should be enough to provoke a response. I have not yet seen an analysis of how the TPP would affect circuits of international film distribution, but the ISDS clause means that the industries with the deepest pockets will be able to lawyer up and go after any domestic protections that stand in their way. Obviously, Hollywood has vast resources and can litigate until all opponents have collapsed. TPP provides a framework for them to pursue this. I would be very interested to see an article about this in Film Business Asia. Best, M On Jul 24, 2013, at 9:14 AM, Stephen Cremin wrote: > I'm familiar with ACTA and thoughtI had been following the negotiations as best I could despite the secrecy, but I've never heard of TPP. I see EFF have been on top of it, so I guess the US and European technical news sites that I follow haven't given particular attention to TPP. > > The MPAA will absolutely find Japanese copyright law too permissive, even if the government does start jailing downloaders: > https://torrentfreak.com/anti-downloading-law-hits-japan-up-to-2-years-in-prison-from-today-121001/ > > I lived in Taipei from 2003-2010 and I witnessed how the US studios - who were encouraged to come to Taiwan in the 1970s under preferential tax conditions - used all their bullying powers to stop Taiwan cinema from getting a foothold in the market. (As they tried in South Korea in the 1990s.) > > If the true history of the resurgence in Taiwan cinema in the last decade is ever published, the book will have to dedicate a chapter to the exhibitor who started to take "red packets" from Taiwan producers to give their titles a level playing field against Hollywood films. > > Without this person, despite the shift to more commercial films ten years ago, the market share of Taiwan films would have been stuck at 3%. Years later the government stepped in and started offering subsidies to cinemas, effectively paying the "bribes" on behalf of producers. > > Anyway, as publisher of Film Business Asia, I do want to track the TPP story and thanks for bringing it my attention. Like Screen International, FBA is not a US trade publication and we aren't beholden to the Hollywood studios. Although I can't speak for Screen International. > > Stephen Cremin > > On Wednesday, 24 July 2013 at 05:09, Mark Roberts wrote: > >> Another thing to consider here is the "Investor-State Dispute Settlement clause" (ISDS) in the TPP. What this means, in effect, is that if foreign corporations claim that Japanese law are negatively impacting their business, they can sue the Japanese government. The decision, however, will be decided by a special court in the WTO. >> >> So, if the MPAA found Japanese copyright law to be too permissive, they could sue for damages and under the terms of the TPP, the Japanese government could be found on the losing end by the WTO. >> >> The idea is to provide foreign corporations with a means to compel member states to change laws they find disagreeable, through a system of "offshore private investment tribunals". A large body of legal experts have warned that this will lead to "a massive increase in corporate claims against attempts by governments to create environmental and natural resource policies". I would suspect the same for copyright claims. >> >> Interestingly, while people debate whether or not Abe Shinzo is an ethnic nationalist, his party is pushing for this trade agreement that will have the effect of stripping the nation of its economic sovereignty in the sphere of international trade. >> >> M >> >> On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: >> >>> A whole bunch of questions arose in my mind. Here are a couple. >>> >>> What would the ban on parallel importation mean for Asia libraries? They couldn't purchase books for their collections without permission from the copyright holder? >>> >>> It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? >>> >>> I ask partly because at Yamagata, Asako Fujioka and I are inviting Gordon Quinn (of Kartemquin Films) to talk about the incredible success of the American fair use movement. (This is in a big program on documentary ethics.) >>> >>> Markus >>> >>> >>> On Tue, Jul 23, 2013 at 9:32 AM, Mark Roberts wrote: >>>> With the LDP victory in the election this past Sunday, Japan is now closer to entering the Trans-Pacific Partnership (TPP). >>>> >>>> As many of you are aware, the TPP will have very significant effects on different sectors of the Japanese economy, including cinema. >>>> >>>> The TPP negotiations are taking place in secret, though representatives of over 600 corporations have private access. Chapters of the text on IP and copyright have been leaked, and groups like the Electronic Frontier Foundation (EFF) have published materials to clarify the impact. EFF believes that revisions to copyright law will also impact fair use. >>>> >>>> What Will Japan's Entry Into TPP Mean for Internet Users? >>>> https://www.eff.org/deeplinks/2013/07/what-will-japans-entry-tpp-mean-internet-users >>>> >>>> New Leaked TPP Text Puts Fair Use at Risk >>>> https://www.eff.org/deeplinks/2012/08/new-leaked-tpp-puts-fair-use-risk >>>> >>>> Excerpt: >>>> >>>> [T]here are three things in the TPP that threaten to change Japanese copyright law for the worse: >>>> >>>> First, the TPP calls for lengthened copyright term protection that would run roughshod over previous Japanese rejection of such extensions. Just as the U.S. attempted to do previously, the agreement would extend copyright terms from 50 years after the life of the author to 70 years after the life of the author. For copyright terms based on the creation date, TPP would also extend it another 25 years to 95 years, or up to 120 for corporate owned works. >>>> >>>> Second, it bans parallel importation, meaning it would require authorization from the copyright owner to import goods even if those goods were purchased legally in another country. This would greatly impact the sale and availability of content, such as DVDs or software, if the copyright owner decides they?d like monopoly control of distribution across national borders. >>>> >>>> Finally and most crucially, TPP threatens to upend a principle in Japanese law called shinkokuzai, whereby crimes are not prosecuted without a formal complaint from the victim. In addition, TPP would impose statutory penalties for infringement even if there?s no proof of actual harm. This could lead to an even greater crackdown on file sharing and online, fan-generated comics that are core to the anime community. >>>> >>>> The combination of all of these new restrictions has lead Ken Akamatsu to describe the TPP as ?destroy[ing]? the market of self-published transformative anime works, and diminishing the manga industry as a whole. The long fight such communities faced in battled local copyright proposals would be undermined by changes being enforced undemocratically through the secret trade agreement. >>>> >>>> Opinions? >>>> >>>> ---- >>>> >>>> Mark Roberts >>>> Research Fellow, UTCP >>>> http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php >>>> >>>> >>>> _______________________________________________ >>>> KineJapan mailing list >>>> KineJapan at lists.service.ohio-state.edu >>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >>>> >>> >>> >>> >>> -- >>> Markus Nornes >>> Chair, Department of Screen Arts and Cultures >>> Professor of Asian Cinema, Department of Asian Languages and Cultures >>> Professor, School of Art & Design >>> >>> Department of Screen Arts and Cultures >>> 6348 North Quad >>> 105 S. State Street >>> Ann Arbor, MI 48109-1285 >>> >>> _______________________________________________ >>> KineJapan mailing list >>> KineJapan at lists.service.ohio-state.edu >>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From stephen at asianfilm.info Tue Jul 23 20:14:50 2013 From: stephen at asianfilm.info (Stephen Cremin) Date: Wed, 24 Jul 2013 09:14:50 +0900 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: <90B502AD-69EF-453D-BD5C-9EA32739F22B@mail-central.com> References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> <90B502AD-69EF-453D-BD5C-9EA32739F22B@mail-central.com> Message-ID: <722EDC49EDBD4E3BBB15EFD6FA3101D6@asianfilm.info> I'm familiar with ACTA and thoughtI had been following the negotiations as best I could despite the secrecy, but I've never heard of TPP. I see EFF have been on top of it, so I guess the US and European technical news sites that I follow haven't given particular attention to TPP. The MPAA will absolutely find Japanese copyright law too permissive, even if the government does start jailing downloaders: https://torrentfreak.com/anti-downloading-law-hits-japan-up-to-2-years-in-prison-from-today-121001/ I lived in Taipei from 2003-2010 and I witnessed how the US studios - who were encouraged to come to Taiwan in the 1970s under preferential tax conditions - used all their bullying powers to stop Taiwan cinema from getting a foothold in the market. (As they tried in South Korea in the 1990s.) If the true history of the resurgence in Taiwan cinema in the last decade is ever published, the book will have to dedicate a chapter to the exhibitor who started to take "red packets" from Taiwan producers to give their titles a level playing field against Hollywood films. Without this person, despite the shift to more commercial films ten years ago, the market share of Taiwan films would have been stuck at 3%. Years later the government stepped in and started offering subsidies to cinemas, effectively paying the "bribes" on behalf of producers. Anyway, as publisher of Film Business Asia, I do want to track the TPP story and thanks for bringing it my attention. Like Screen International, FBA is not a US trade publication and we aren't beholden to the Hollywood studios. Although I can't speak for Screen International. Stephen Cremin On Wednesday, 24 July 2013 at 05:09, Mark Roberts wrote: > Another thing to consider here is the "Investor-State Dispute Settlement clause" (ISDS) in the TPP. What this means, in effect, is that if foreign corporations claim that Japanese law are negatively impacting their business, they can sue the Japanese government. The decision, however, will be decided by a special court in the WTO. > > So, if the MPAA found Japanese copyright law to be too permissive, they could sue for damages and under the terms of the TPP, the Japanese government could be found on the losing end by the WTO. > > The idea is to provide foreign corporations with a means to compel member states to change laws they find disagreeable, through a system of "offshore private investment tribunals". A large body of legal experts have warned that this will lead to "a massive increase in corporate claims against attempts by governments to create environmental and natural resource policies". I would suspect the same for copyright claims. > > Interestingly, while people debate whether or not Abe Shinzo is an ethnic nationalist, his party is pushing for this trade agreement that will have the effect of stripping the nation of its economic sovereignty in the sphere of international trade. > > M > > On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: > > A whole bunch of questions arose in my mind. Here are a couple. > > > > What would the ban on parallel importation mean for Asia libraries? They couldn't purchase books for their collections without permission from the copyright holder? > > > > It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? > > > > I ask partly because at Yamagata, Asako Fujioka and I are inviting Gordon Quinn (of Kartemquin Films) to talk about the incredible success of the American fair use movement. (This is in a big program on documentary ethics.) > > > > Markus > > > > > > On Tue, Jul 23, 2013 at 9:32 AM, Mark Roberts wrote: > > > With the LDP victory in the election this past Sunday, Japan is now closer to entering the Trans-Pacific Partnership (TPP). > > > > > > As many of you are aware, the TPP will have very significant effects on different sectors of the Japanese economy, including cinema. > > > > > > The TPP negotiations are taking place in secret, though representatives of over 600 corporations have private access. Chapters of the text on IP and copyright have been leaked, and groups like the Electronic Frontier Foundation (EFF) have published materials to clarify the impact. EFF believes that revisions to copyright law will also impact fair use. > > > > > > What Will Japan's Entry Into TPP Mean for Internet Users? > > > https://www.eff.org/deeplinks/2013/07/what-will-japans-entry-tpp-mean-internet-users > > > > > > New Leaked TPP Text Puts Fair Use at Risk > > > https://www.eff.org/deeplinks/2012/08/new-leaked-tpp-puts-fair-use-risk > > > > > > Excerpt: > > > > > > [T]here are three things in the TPP that threaten to change Japanese copyright law for the worse: > > > > > > First, the TPP calls for lengthened copyright term protection that would run roughshod over previous Japanese rejection of such extensions. Just as the U.S. attempted to do previously, the agreement would extend copyright terms from 50 years after the life of the author to 70 years after the life of the author. For copyright terms based on the creation date, TPP would also extend it another 25 years to 95 years, or up to 120 for corporate owned works. > > > > > > Second, it bans parallel importation, meaning it would require authorization from the copyright owner to import goods even if those goods were purchased legally in another country. This would greatly impact the sale and availability of content, such as DVDs or software, if the copyright owner decides they?d like monopoly control of distribution across national borders. > > > > > > Finally and most crucially, TPP threatens to upend a principle in Japanese law called shinkokuzai, whereby crimes are not prosecuted without a formal complaint from the victim. In addition, TPP would impose statutory penalties for infringement even if there?s no proof of actual harm. This could lead to an even greater crackdown on file sharing and online, fan-generated comics that are core to the anime community. > > > > > > The combination of all of these new restrictions has lead Ken Akamatsu to describe the TPP as ?destroy[ing]? the market of self-published transformative anime works, and diminishing the manga industry as a whole. The long fight such communities faced in battled local copyright proposals would be undermined by changes being enforced undemocratically through the secret trade agreement. > > > > > > Opinions? > > > > > > ---- > > > > > > Mark Roberts > > > Research Fellow, UTCP > > > http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php > > > > > > > > > > > > > > > _______________________________________________ > > > KineJapan mailing list > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > > > > > > > -- > > Markus Nornes > > Chair, Department of Screen Arts and Cultures > > Professor of Asian Cinema, Department of Asian Languages and Cultures > > Professor, School of Art & Design > > > > Department of Screen Arts and Cultures > > 6348 North Quad > > 105 S. State Street > > Ann Arbor, MI 48109-1285 > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Tue Jul 23 16:09:22 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Wed, 24 Jul 2013 05:09:22 +0900 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> Message-ID: <90B502AD-69EF-453D-BD5C-9EA32739F22B@mail-central.com> Another thing to consider here is the "Investor-State Dispute Settlement clause" (ISDS) in the TPP. What this means, in effect, is that if foreign corporations claim that Japanese law are negatively impacting their business, they can sue the Japanese government. The decision, however, will be decided by a special court in the WTO. So, if the MPAA found Japanese copyright law to be too permissive, they could sue for damages and under the terms of the TPP, the Japanese government could be found on the losing end by the WTO. The idea is to provide foreign corporations with a means to compel member states to change laws they find disagreeable, through a system of "offshore private investment tribunals". A large body of legal experts have warned that this will lead to "a massive increase in corporate claims against attempts by governments to create environmental and natural resource policies". I would suspect the same for copyright claims. Interestingly, while people debate whether or not Abe Shinzo is an ethnic nationalist, his party is pushing for this trade agreement that will have the effect of stripping the nation of its economic sovereignty in the sphere of international trade. M On Jul 24, 2013, at 1:22 AM, Markus Nornes wrote: > A whole bunch of questions arose in my mind. Here are a couple. > > What would the ban on parallel importation mean for Asia libraries? They couldn't purchase books for their collections without permission from the copyright holder? > > It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? > > I ask partly because at Yamagata, Asako Fujioka and I are inviting Gordon Quinn (of Kartemquin Films) to talk about the incredible success of the American fair use movement. (This is in a big program on documentary ethics.) > > Markus > > > On Tue, Jul 23, 2013 at 9:32 AM, Mark Roberts wrote: > With the LDP victory in the election this past Sunday, Japan is now closer to entering the Trans-Pacific Partnership (TPP). > > As many of you are aware, the TPP will have very significant effects on different sectors of the Japanese economy, including cinema. > > The TPP negotiations are taking place in secret, though representatives of over 600 corporations have private access. Chapters of the text on IP and copyright have been leaked, and groups like the Electronic Frontier Foundation (EFF) have published materials to clarify the impact. EFF believes that revisions to copyright law will also impact fair use. > > What Will Japan's Entry Into TPP Mean for Internet Users? > https://www.eff.org/deeplinks/2013/07/what-will-japans-entry-tpp-mean-internet-users > > New Leaked TPP Text Puts Fair Use at Risk > https://www.eff.org/deeplinks/2012/08/new-leaked-tpp-puts-fair-use-risk > > Excerpt: > > [T]here are three things in the TPP that threaten to change Japanese copyright law for the worse: > > First, the TPP calls for lengthened copyright term protection that would run roughshod over previous Japanese rejection of such extensions. Just as the U.S. attempted to do previously, the agreement would extend copyright terms from 50 years after the life of the author to 70 years after the life of the author. For copyright terms based on the creation date, TPP would also extend it another 25 years to 95 years, or up to 120 for corporate owned works. > > Second, it bans parallel importation, meaning it would require authorization from the copyright owner to import goods even if those goods were purchased legally in another country. This would greatly impact the sale and availability of content, such as DVDs or software, if the copyright owner decides they?d like monopoly control of distribution across national borders. > > Finally and most crucially, TPP threatens to upend a principle in Japanese law called shinkokuzai, whereby crimes are not prosecuted without a formal complaint from the victim. In addition, TPP would impose statutory penalties for infringement even if there?s no proof of actual harm. This could lead to an even greater crackdown on file sharing and online, fan-generated comics that are core to the anime community. > > The combination of all of these new restrictions has lead Ken Akamatsu to describe the TPP as ?destroy[ing]? the market of self-published transformative anime works, and diminishing the manga industry as a whole. The long fight such communities faced in battled local copyright proposals would be undermined by changes being enforced undemocratically through the secret trade agreement. > > Opinions? > > ---- > > Mark Roberts > Research Fellow, UTCP > http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > -- > Markus Nornes > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > Department of Screen Arts and Cultures > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Tue Jul 23 12:22:46 2013 From: amnornes at umich.edu (Markus Nornes) Date: Tue, 23 Jul 2013 12:22:46 -0400 Subject: [KineJapan] Copyright in Japan, Again In-Reply-To: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> References: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> Message-ID: A whole bunch of questions arose in my mind. Here are a couple. What would the ban on parallel importation mean for Asia libraries? They couldn't purchase books for their collections without permission from the copyright holder? It sounds like "transformation" and fair use are built into Japanese copyright law. Anyone have a handle on that? Does Japanese law have anything like the "four factors" guiding fair use in the US? Is there a decent gloss on this? I ask partly because at Yamagata, Asako Fujioka and I are inviting Gordon Quinn (of Kartemquin Films) to talk about the incredible success of the American fair use movement. (This is in a big program on documentary ethics.) Markus On Tue, Jul 23, 2013 at 9:32 AM, Mark Roberts wrote: > With the LDP victory in the election this past Sunday, Japan is now closer > to entering the Trans-Pacific Partnership (TPP). > > As many of you are aware, the TPP will have very significant effects on > different sectors of the Japanese economy, including cinema. > > The TPP negotiations are taking place in secret, though representatives of > over 600 corporations have private access. Chapters of the text on IP and > copyright have been leaked, and groups like the Electronic Frontier > Foundation (EFF) have published materials to clarify the impact. EFF > believes that revisions to copyright law will also impact fair use. > > *What Will Japan's Entry Into TPP Mean for Internet Users?* > > https://www.eff.org/deeplinks/2013/07/what-will-japans-entry-tpp-mean-internet-users > > *New Leaked TPP Text Puts Fair Use at Risk* > https://www.eff.org/deeplinks/2012/08/new-leaked-tpp-puts-fair-use-risk > > Excerpt: > > *[T]here are three things in the TPP that threaten to change Japanese > copyright law for the worse: > > First, the TPP calls for lengthened copyright term protection that would > run roughshod over previous Japanese rejection of such extensions. Just as > the U.S. attempted to do previously, the agreement would extend copyright > terms from 50 years after the life of the author to 70 years after the life > of the author. For copyright terms based on the creation date, TPP would > also extend it another 25 years to 95 years, or up to 120 for corporate > owned works. > > Second, it bans parallel importation, meaning it would require > authorization from the copyright owner to import goods even if those goods > were purchased legally in another country. This would greatly impact the > sale and availability of content, such as DVDs or software, if the > copyright owner decides they?d like monopoly control of distribution across > national borders. > > Finally and most crucially, TPP threatens to upend a principle in Japanese > law called shinkokuzai, whereby crimes are not prosecuted without a formal > complaint from the victim. In addition, TPP would impose statutory > penalties for infringement even if there?s no proof of actual harm. This > could lead to an even greater crackdown on file sharing and online, > fan-generated comics that are core to the anime community. > > The combination of all of these new restrictions has lead Ken Akamatsu to > describe the TPP as ?destroy[ing]? the market of self-published > transformative anime works, and diminishing the manga industry as a whole. > The long fight such communities faced in battled local copyright proposals > would be undermined by changes being enforced undemocratically through the > secret trade agreement. > * > Opinions? > > ---- > > Mark Roberts > Research Fellow, UTCP > http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -- *Markus Nornes* Chair, Department of Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and Cultures Professor, School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Tue Jul 23 09:32:58 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Tue, 23 Jul 2013 22:32:58 +0900 Subject: [KineJapan] Copyright in Japan, Again Message-ID: <5C843055-EEAF-445A-93E8-FC979E9F0D61@mail-central.com> With the LDP victory in the election this past Sunday, Japan is now closer to entering the Trans-Pacific Partnership (TPP). As many of you are aware, the TPP will have very significant effects on different sectors of the Japanese economy, including cinema. The TPP negotiations are taking place in secret, though representatives of over 600 corporations have private access. Chapters of the text on IP and copyright have been leaked, and groups like the Electronic Frontier Foundation (EFF) have published materials to clarify the impact. EFF believes that revisions to copyright law will also impact fair use. What Will Japan's Entry Into TPP Mean for Internet Users? https://www.eff.org/deeplinks/2013/07/what-will-japans-entry-tpp-mean-internet-users New Leaked TPP Text Puts Fair Use at Risk https://www.eff.org/deeplinks/2012/08/new-leaked-tpp-puts-fair-use-risk Excerpt: [T]here are three things in the TPP that threaten to change Japanese copyright law for the worse: First, the TPP calls for lengthened copyright term protection that would run roughshod over previous Japanese rejection of such extensions. Just as the U.S. attempted to do previously, the agreement would extend copyright terms from 50 years after the life of the author to 70 years after the life of the author. For copyright terms based on the creation date, TPP would also extend it another 25 years to 95 years, or up to 120 for corporate owned works. Second, it bans parallel importation, meaning it would require authorization from the copyright owner to import goods even if those goods were purchased legally in another country. This would greatly impact the sale and availability of content, such as DVDs or software, if the copyright owner decides they?d like monopoly control of distribution across national borders. Finally and most crucially, TPP threatens to upend a principle in Japanese law called shinkokuzai, whereby crimes are not prosecuted without a formal complaint from the victim. In addition, TPP would impose statutory penalties for infringement even if there?s no proof of actual harm. This could lead to an even greater crackdown on file sharing and online, fan-generated comics that are core to the anime community. The combination of all of these new restrictions has lead Ken Akamatsu to describe the TPP as ?destroy[ing]? the market of self-published transformative anime works, and diminishing the manga industry as a whole. The long fight such communities faced in battled local copyright proposals would be undermined by changes being enforced undemocratically through the secret trade agreement. Opinions? ---- Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From olidew at gmail.com Wed Jul 17 01:40:11 2013 From: olidew at gmail.com (Oliver Dew) Date: Wed, 17 Jul 2013 14:40:11 +0900 Subject: [KineJapan] Talk this Friday, "the vernacular archive" References: Message-ID: <83F99E10-C532-434C-9124-12586613035A@gmail.com> Dear KineJapaners For those of you in Tokyo, I'm giving a presentation this Friday at the Meiji Gakuin film workshop. The talk will be in English. All are welcome! Friday 19th July, 6:30pm Meiji Gakuin University, Shirokane campus, Hepburn/Hebon building, 4th floor room 7402 "The vernacular archive: mapping the spaces of amateur and non-theatrical film" regards Oliver Begin forwarded message: > ????7?19?????18???? > ??? ???????????????????7402?? > ????????????????????????????????? > ??????????????????:????????????????????????? > > ???????????????????? > The vernacular archive: mapping the spaces of amateur and non-theatrical film > There is growing scholarly attention to the vast landscape of film culture that lies beyond the theatrically distributed feature. The terms that have a near synonymic association with non-theatrical film?sponsored, amateur, orphaned, hidden, found (notwithstanding that a great many feature films become orphaned and lost too)?indicate that the ownership of non-theatrical film is particularly fluid, and that a given body of films can be incorporated into and excluded from a variety of archival practices over time, slipping in and out of official oversight and public awareness. As crucial as FIAF member archives are as official repositories, if we are to trace the career of non-theatrical film, it is also necessary to consider the vernacular archiving practices being carried out in university collections, local government offices, ethnic associations, private film laboratories, amateur film circles, and so on. As media archaeologists suggest, vernacular film archiving is as much about what has been abandoned and thrown away, as it is about what has been saved. > As a case study in this approach to the non-theatrical, I look at one corpus of film, the 16mm footage shot by cameraman Kim Sonha between 1958-66, which depicts his mother?s work as a black-market trader near Shinjuku station in Tokyo. I trace the films? movement from the domicile to archival festivals, via the intercession of documentaries that incorporate Kim?s footage, Sengo zainichi goj?nenshi (Oh 1998) and Haruko (Nozawa 2004). The very different contexts that this corpus moves through and activates say much about the precarious situation of nontheatrical film, its reliance on shifting political economies to ?sponsor? its continued existence and visibility, but also points to the deconstructive potential of the archive, to the startling new configurations of film culture that sifting through the vernacular archive can uncover. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From matteo.boscarol at gmail.com Sun Jul 14 18:11:34 2013 From: matteo.boscarol at gmail.com (matteo.boscarol at gmail.com) Date: Mon, 15 Jul 2013 07:11:34 +0900 Subject: [KineJapan] The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images Message-ID: <45A5D182-885E-44D8-9FC5-42B24352DF56@gmail.com> Dear all, Eric Baudelaire's ?The Anabasis of May and Fusako Shigenobu, Masao Adachi and 27 Years Without Images? is now available in streaming here (until July 20th): http://www.vdrome.org/ enjoy Boscarol Matteo ??????????? - Torino Film Festival Asia consultant (Onde, Doc) http://www.torinofilmfest.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From nliscutin at gmail.com Mon Jul 8 22:53:13 2013 From: nliscutin at gmail.com (Nicola Liscutin) Date: Tue, 9 Jul 2013 11:53:13 +0900 Subject: [KineJapan] Cinema Typhoon @ Tokyo Keizai Daigaku 14 July Message-ID: Dear Kine-Japaners, As part of the Cultural Typhoon 2013 Conference on 13-14 July at Tokyo Keizai Daigaku, we are holding again a 'Cinema Typhoon'. A good part of the Cinema Typhoon will focus on 'Fukushima' related documentaries and the ethics and aesthetics of film-making in Fukushima. The free preview screenings on Sunday, 14 July, include 'Nuclear Nation/Futaba kara toku hanarete', dir. Funahashi Atsushi 'No Man's Zone/Mujin chitai', dir. Fujiwara Toshi 'A2', Ian Thomas Ash These screenings will be followed by a roundtable discussion with the three directors. Details of the program can be found here: http://cultural-typhoon.com/2013/en/cinema-typhoon/ All welcome! No prior registration necessary! Screenings are free! Place: Room B201 in Bldg. 2 at Tokyo Keizai Daigaku Access Map: http://www.tku.ac.jp/access/kokubunji/ Campus Map: http://www.tku.ac.jp/campus/institution/kokubunji/ Best regards, Nicola Liscutin -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From Alex.Zahlten at gmx.de Sun Jul 7 16:32:57 2013 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Sun, 7 Jul 2013 22:32:57 +0200 Subject: [KineJapan] Link to Manga Conference Papers In-Reply-To: <9238E52BF1C243D29B6E1F20951648B7@SamsungNetbook> References: <9238E52BF1C243D29B6E1F20951648B7@SamsungNetbook> Message-ID: An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From macyroger at yahoo.co.uk Fri Jul 5 08:53:07 2013 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 5 Jul 2013 13:53:07 +0100 Subject: [KineJapan] Fw: Call for Papers: Kinema Club XIII - the long 1939 Message-ID: <9238E52BF1C243D29B6E1F20951648B7@SamsungNetbook> Dear KineJapaners, I wonder whether anyone else would like to focus on the period before the outbreak of the Pacific War, under some umbrella such as 'Japan's exceptionally long 1939 - the transition from peace to war, reflected in film'. Of course, our convenor may dismiss such a stretch-umbrella out of hand, but I would be interested in hearing from anyone working on this period off list. Roger macyroger at yahoo.co.uk ----- Original Message ----- From: Alex Zahlten To: Japanese Cinema Discussion Forum Sent: Monday, June 10, 2013 7:48 PM Subject: [KineJapan] Call for Papers: Kinema Club XIII Call for Papers for?. Kinema Club XIII at Harvard University Three Times +X. Transitional Moments in Film and Media History in Japan. Dates: January 17, 2014 Reischauer Institute, Harvard University Deadine for submissions: August 20, 2013 We welcome submissions for the 13th Kinema Club Conference on Film and Moving Images from Japan! This Kinema Club will focus on three transitional moments in the history of film and media in Japan, centered around the years 1927, 1962, and 1995. Additionally, to celebrate the 40th anniversary of the Reischauer Institute, we will include the year 1973. Panel proposals on additional years are also possible (though not individual papers), as are panels on questions of historiography in relation to research on film and moving images from Japan. The concept is therefore somewhat different from previous Kinema Clubs. By focusing respective sessions on specific years, we will be able to recognize heterogeneous constellations. These can be what Harry Harootunian has (in reference to Ernst Bloch) called ?noncontemporaneous contemporaneity?, or due to other factors of industry or audience segmentation. These constellations can include relations across different genres, distribution networks, or media platforms at a given historical moment. It will allow recognizing what we might call contradictory coherences of aesthetic, social, and political history. For this we have selected three years that are often regarded, for different reasons, as transitional: a.. 1927 is the year that Komatsu Hiroshi sees as foundational for modernism in the cinema of Japan, strongly influenced by the 1923 earthquake in Kant?. a.. 1962/3 is the time of the appearance of Pink Film and Ninky? Yakuza film, and the production of the first anime, Tetsuwan Atomu / Astro Boy (even if the first broadcast took place on January 1, 1963). It the year after a large part of Shin Toho?s archives were sold to television, making Japanese films produced for the cinema available on TV for the first time. a.. 1995 is often discussed as a year of crisis and rupture, deeply leaving its mark on moving image culture. After the burst of the bubble and the re-organization of the film industry, it is the year in which Neon Genesis Evangelion is broadcast. It is the time when Japanese film is re-?discovered? at international film festivals. and as a bonus option and due to the 40th anniversary, we include the year 1973, the year of the founding of the Reischauer Institute. Panel submissions of at least three presenters that focus on additional years are also welcome! Dates: The conference will be held on January 16 at the Reischauer Institute at Harvard University. Submissions: Please send abstracts of up to 200 words or any questions to: kinemaclub13 at gmail.com Deadline for submissions is August 20, 2013. ****************************************************************** What is Kinema Club? Kinema Club is an informal community of scholars, artists, and fans interested in Japanese moving image media established in the early 1990s. A group that Initially formed for informally swapping Xeroxes of tables of content from Japanese film journals eventually established a newsgroup called KineJapan, which instantly grew to 50 names. KineJapan now has over 600 participants from every part of the world. >>From this description you might gather than Kinema Club is more an idea than a group. The idea is that Kinema Club provides a rubric within which anything is possible. No one owns it. Anyone can take it and do something creative with it. We have no dues (and no budget or bank account). No system of introductions. No office. It is amorphous, even anarchic, but it has definitely played an important role in networking all the scholars, programmers and fans interested in Japanese cinema. One of the most important activities has been our workshops and conferences. At the end of the 1990s, the study of Japanese cinema was undergoing some interesting transformations. Most notably, it was becoming increasingly interdisciplinary. To confront these changes head-on, an intimate workshop was held at the University of Michigan in 1999. One thing became immediately evident: although there were many students and professors studying Japanese film and television, no one really knew each other. KineJapan already had over 200 members at that point, but few people had met face to face. So subsequent workshops and conferences were held in Hawai'i (2003), NYU (2004), McGill (2004), Tokyo (2005), NYU (2005), Yale (2006), Frankfurt (2007), Harvard (2009), Hawai'i (2010), Vienna (2011) and Yale (2012). The programs for many of these conferences are on the archives section of the Kinema Club website. -------------------------------------------------------------------------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From takuya.tsunoda at yale.edu Thu Jul 4 11:00:49 2013 From: takuya.tsunoda at yale.edu (Takuya Tsunoda) Date: Fri, 5 Jul 2013 00:00:49 +0900 Subject: [KineJapan] The 10th Documentary Archive Project Workshop in Tokyo In-Reply-To: References:

Message-ID: <437C7396-A5F5-4ED5-877B-9F43C799D448@yale.edu> Dear KineJapanners, The Documentary Archive Project (Kiroku Eiga Archive Project) is holding an interesting symposium/workshop this Sunday (July 7) from 1:30PM to 5:30PM at the University of Tokyo. http://www.kirokueiga-archive.com/event/index.html The event will be open to the public. The screenings and talks will be in Japanese, but this is a great opportunity to see some rarely shown postwar documentaries! Takuya ------------------------------------------ Takuya TSUNODA Ph.D. Candiate Film Studies/East Asian Languages and Literatures Yale University ------------------------------------------ ?????????????????????????? ??????????????????10???????? ????????????????????????? ?????????????????????????? ???2013?7?7?????13:30-17:30????13:00? ????????????????????????? ???????????????B2F? ???http://fukutake.iii.u-tokyo.ac.jp/access.html ???180? ?????????????????????? ??????URL???????????? ???http://www.kirokueiga-archive.com ??????????????????? ???Tel: 03-3222-4249 ???Email: center_otoiawase at kirokueiga-hozon.jp ???????????????????????????????? ??? ???????????????????????????? ?????????????????????????10??? ???????????????????????????? ?????? 1950-70???????????????????????? ???????????????????????????? ????????????????????????????? ?????????????????????????? ???????????????????????????? ???????????????????????????? ???????????????????????????? ???????????????????????????? ??????????????????????3????? ??? ???????????????????????????? ???????????????????????????? ???????????????????????????? ???????????????????????????? ?????????????? ?????? 13:00- ?? 13:30- ?? ??????????????????? 13:35- ??????90?? ????????????? ?????1958??30????????????????????? ???????????????? ?????1965??25??????????????????? ??????????? ?????1977??27??????????? ????????????????????????? 15:05- ?? 15:20- ?????? ?????????????? 15:50- ??????? ????????????????? ??????????????????? 16:30- ???? ??????????????????????? 17:30- ?? ???????????????????????????????? -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Thu Jul 4 03:32:40 2013 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Thu, 4 Jul 2013 16:32:40 +0900 Subject: [KineJapan] Emperor screening at FCCJ Message-ID: Dear KineJapanners, The Foreign Correspondents' Club in Yurakucho is screening the US-Japan coproduction EMPEROR on July 25th, starring Tommy Lee Jones and a host of great Japanese actors. Since FCCJ is a private club, you must reserve a seat through Karen Severns: kjs30 at gol.com. THURSDAY, JULY 25, 7:00 pm SNEAK PREVIEW SCREENING Followed by a Q&A session with producers Yoko Narahashi and Eugene Nomura EMPEROR (Shusen no Empera) US/Japan, 2013 107 minutes In Japanese and English with subtitles Set in Tokyo during the first few weeks of the Allied Occupation of Japan, the film is based on the real-life investigation into whether Emperor Hirohito should be tried for war crimes. MacArthur (Jones) has his eye on the US presidency, and he knows there are many who want to see the ?son of heaven? hanged whether he approved the Pearl Harbor order or not. MacArthur charges his aide, Gen. Bonner Fellers (Matthew Fox), with finding clear-cut evidence, and gives him a daunting time limit for doing so. Having spent time in Japan before the war, Fellers knows the importance of loyalty and obedience, and he is sensitive to the elaborate protocols protecting the Emperor from all but his inner circle. For more info, see: http://www.fccj.ne.jp/index.php?option=com_jevents&task=icalrepeat.detail&evid=438&Itemid=119&year=2013&month=07&day=25&title=sneak-preview-screening-emperor-shusen-no-empera&uid=368d7c849f1b180b269582fe475962e4 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan