From thomaswvincent at hotmail.com Wed Nov 27 15:59:29 2013 From: thomaswvincent at hotmail.com (Thomas Vincent) Date: Wed, 27 Nov 2013 20:59:29 +0000 Subject: [KineJapan] =?iso-2022-jp?b?IEEgVGFsZSBvZiBEdW5nIGFuZCBVcmluZS8=?= =?iso-2022-jp?b?GyRCPzlISyROSjVHImt9GyhC?= In-Reply-To: References: , <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com>, , , Message-ID: Hi A quick question - has anyone seen this 1957 film, directed for Shochiku by Yoshitaro Nomura? If so, please could you contact me, off-list? Thanks all Tom VincentFilm Programme ManagerNational Media MuseumBradford, UK -------------- 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 yuki.nakayama at gmail.com Mon Nov 25 12:25:46 2013 From: yuki.nakayama at gmail.com (Yuki Nakayama) Date: Mon, 25 Nov 2013 12:25:46 -0500 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: References: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> Message-ID: Dear Joseph, This is not for V-cinema specifically, but Film Preservation Society in tokyo has a program to help save films and video tapes effected by the tohoku earthquake and they made first aid guidelines text/video for water damaged vhs tapes that I helped to translate (unfortunately I am not at my home computer so I don't have the file with me, but if you are interested email me off list and I will send it to you). Film Preservation Society may know more about programs for vhs preservation so you should try contacting them. http://filmpres.org/ (email me offlist and I can get you in contact with them if you want). Video preservation has been brought up in conversations I've had with archivists and librarians in Japan for its absence and how its not on most people's radars. Sounds like an interesting research project. I am also interested in moving image preservation in Japan so I would love to know about what you find! Good luck! Yuki On Mon, Nov 25, 2013 at 8:53 AM, Markus Nornes wrote: > I would definitely check out the Ongaku-Eizo Shiryoshitsu of the National > Diet Library. They started collecting video late, but they have significant > holdings in VHS. Go with titles of individual works and series. Without > them, it will be hard to find things because of a strange cataloguing > system. Let us know what you find! > > Markus > > > On Mon, Nov 25, 2013 at 8:27 AM, Alex Zahlten wrote: > >> Hi Joseph, >> >> V-Cinema, despite the name, (what is left of the production/distribution >> infrastructure) is now issued on DVD. As for the majority of titles that >> were sold on VHS in the 1990s and early 2000s, they were never transferred >> to DVD or re-released on DVD. When I last checked (years ago), V-Cinema was >> practically absent from any institution that collects or preserves VHS >> formats. It is usually very low on the priority list- mostly it is seen as >> low-budget trash not worthy of preservation. Adult Video of course has the >> same issue. I'm not sure how well V-Cine companies like Museum or KSS >> themselves preserve copies, but I would not be optimistic. >> >> Best, >> Alex >> >> >> *Gesendet:* Samstag, 23. November 2013 um 04:18 Uhr >> *Von:* "Oliver Dew" >> *An:* "Japanese Cinema Discussion Forum" < >> kinejapan at lists.service.ohio-state.edu> >> *Betreff:* Re: [KineJapan] VHS Preservation in Japan >> Hello Joseph >> >> Thank you for your interesting question. Regarding the second part of >> your query, I suppose it depends on what you mean by VHS preservation. I'm >> not familiar with the Video at Risk program, but just from briefly looking >> at their website, they discuss ascertaining IP, scope, prioritisation, and >> reformatting. These are all archival functions, aren't they? You seem to >> discount archives, but why not include them in your research question? I >> don't know which archives you've been in touch with. I understand that the >> National Film Center has been acquiring works on various video formats. >> Also, not V-Cinema, but the Video Art Center Tokyo has a library of >> historically significant video works: >> http://www.vctokyo.org/jp/ >> >> I'd be really interested to hear what the V-Cinema experts on the list >> have to say about the first part of your question... >> >> Oliver Dew >> >> >> On 19 Nov 2013, at 04:41, Joseph Larsen wrote: >> >> > Hello, >> > >> > I am doing research on VHS preservation in the U.S. and Japan and was >> wondering if there are any known statistics regarding V-Cinema. I am mostly >> curious if there are V-Cinema titles in danger of disappearing once the VHS >> medium fades away, so are there a number of titles that were released on >> VHS that never made it to any other formats? >> > >> > Also, are there any groups or institutions in Japan currently doing VHS >> preservation work like the Video at Risk program at NYU? So far, I have >> only been able to locate archives for the medium but no active preservation >> programs. >> > >> > Thanks, >> > Joseph Larsen >> > _______________________________________________ >> > 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 >> ------------------------------ >> Diese E-Mail wurde aus dem Sicherheitsverbund E-Mail made in Germany >> versendet: http://www.gmx.net/e-mail-made-in-germany >> >> _______________________________________________ >> 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 Mon Nov 25 08:53:25 2013 From: amnornes at umich.edu (Markus Nornes) Date: Mon, 25 Nov 2013 08:53:25 -0500 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: References: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> Message-ID: I would definitely check out the Ongaku-Eizo Shiryoshitsu of the National Diet Library. They started collecting video late, but they have significant holdings in VHS. Go with titles of individual works and series. Without them, it will be hard to find things because of a strange cataloguing system. Let us know what you find! Markus On Mon, Nov 25, 2013 at 8:27 AM, Alex Zahlten wrote: > Hi Joseph, > > V-Cinema, despite the name, (what is left of the production/distribution > infrastructure) is now issued on DVD. As for the majority of titles that > were sold on VHS in the 1990s and early 2000s, they were never transferred > to DVD or re-released on DVD. When I last checked (years ago), V-Cinema was > practically absent from any institution that collects or preserves VHS > formats. It is usually very low on the priority list- mostly it is seen as > low-budget trash not worthy of preservation. Adult Video of course has the > same issue. I'm not sure how well V-Cine companies like Museum or KSS > themselves preserve copies, but I would not be optimistic. > > Best, > Alex > > > *Gesendet:* Samstag, 23. November 2013 um 04:18 Uhr > *Von:* "Oliver Dew" > *An:* "Japanese Cinema Discussion Forum" < > kinejapan at lists.service.ohio-state.edu> > *Betreff:* Re: [KineJapan] VHS Preservation in Japan > Hello Joseph > > Thank you for your interesting question. Regarding the second part of your > query, I suppose it depends on what you mean by VHS preservation. I'm not > familiar with the Video at Risk program, but just from briefly looking at > their website, they discuss ascertaining IP, scope, prioritisation, and > reformatting. These are all archival functions, aren't they? You seem to > discount archives, but why not include them in your research question? I > don't know which archives you've been in touch with. I understand that the > National Film Center has been acquiring works on various video formats. > Also, not V-Cinema, but the Video Art Center Tokyo has a library of > historically significant video works: > http://www.vctokyo.org/jp/ > > I'd be really interested to hear what the V-Cinema experts on the list > have to say about the first part of your question... > > Oliver Dew > > > On 19 Nov 2013, at 04:41, Joseph Larsen wrote: > > > Hello, > > > > I am doing research on VHS preservation in the U.S. and Japan and was > wondering if there are any known statistics regarding V-Cinema. I am mostly > curious if there are V-Cinema titles in danger of disappearing once the VHS > medium fades away, so are there a number of titles that were released on > VHS that never made it to any other formats? > > > > Also, are there any groups or institutions in Japan currently doing VHS > preservation work like the Video at Risk program at NYU? So far, I have > only been able to locate archives for the medium but no active preservation > programs. > > > > Thanks, > > Joseph Larsen > > _______________________________________________ > > 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 > ------------------------------ > Diese E-Mail wurde aus dem Sicherheitsverbund E-Mail made in Germany > versendet: http://www.gmx.net/e-mail-made-in-germany > > _______________________________________________ > 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 Alex.Zahlten at gmx.de Mon Nov 25 08:27:17 2013 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Mon, 25 Nov 2013 14:27:17 +0100 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> References: , <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.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 amnornes at umich.edu Sun Nov 24 23:22:38 2013 From: amnornes at umich.edu (Markus Nornes) Date: Sun, 24 Nov 2013 23:22:38 -0500 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: <9239DFE5-168F-4CB2-BDAD-AD242C5AB804@gmail.com> References: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> <9239DFE5-168F-4CB2-BDAD-AD242C5AB804@gmail.com> Message-ID: <656023F3-53CB-4788-8401-4B8D57055C3C@umich.edu> Oliver, please let me know what you find out. Off list. On list, I'm happy to announce that Yumani will be publishing a Japanese translation of our reference book. Aaron and I are revising it right now. If anyone has updates or corrections to suggest we'd love to hear them! Markus > On Nov 24, 2013, at 10:05 PM, Oliver Dew wrote: > > Hi Markus > > I have an appointment there next week, I'll let you know how it goes. Are you still gathering data for the Research Guide? > > Oliver > >> On 24 Nov 2013, at 00:47, Markus Nornes wrote: >> >> Oliver have you used this video collection? The website doesn't say much about it? Is it extensive? Easy to use? >> >> Markus >> >> Sent from my iPad > > _______________________________________________ > 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 olidew at gmail.com Sun Nov 24 22:05:43 2013 From: olidew at gmail.com (Oliver Dew) Date: Mon, 25 Nov 2013 12:05:43 +0900 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: References: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> Message-ID: <9239DFE5-168F-4CB2-BDAD-AD242C5AB804@gmail.com> Hi Markus I have an appointment there next week, I'll let you know how it goes. Are you still gathering data for the Research Guide? Oliver On 24 Nov 2013, at 00:47, Markus Nornes wrote: > Oliver have you used this video collection? The website doesn't say much about it? Is it extensive? Easy to use? > > Markus > > Sent from my iPad -------------- 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 Sat Nov 23 10:47:17 2013 From: amnornes at umich.edu (Markus Nornes) Date: Sat, 23 Nov 2013 10:47:17 -0500 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> References: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> Message-ID: Oliver have you used this video collection? The website doesn't say much about it? Is it extensive? Easy to use? Markus Sent from my iPad > On Nov 23, 2013, at 4:18 AM, Oliver Dew wrote: > > Hello Joseph > > Thank you for your interesting question. Regarding the second part of your query, I suppose it depends on what you mean by VHS preservation. I'm not familiar with the Video at Risk program, but just from briefly looking at their website, they discuss ascertaining IP, scope, prioritisation, and reformatting. These are all archival functions, aren't they? You seem to discount archives, but why not include them in your research question? I don't know which archives you've been in touch with. I understand that the National Film Center has been acquiring works on various video formats. Also, not V-Cinema, but the Video Art Center Tokyo has a library of historically significant video works: > http://www.vctokyo.org/jp/ > > I'd be really interested to hear what the V-Cinema experts on the list have to say about the first part of your question... > > Oliver Dew > > >> On 19 Nov 2013, at 04:41, Joseph Larsen wrote: >> >> Hello, >> >> I am doing research on VHS preservation in the U.S. and Japan and was wondering if there are any known statistics regarding V-Cinema. I am mostly curious if there are V-Cinema titles in danger of disappearing once the VHS medium fades away, so are there a number of titles that were released on VHS that never made it to any other formats? >> >> Also, are there any groups or institutions in Japan currently doing VHS preservation work like the Video at Risk program at NYU? So far, I have only been able to locate archives for the medium but no active preservation programs. >> >> Thanks, >> Joseph Larsen >> _______________________________________________ >> 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 From tom at midnighteye.com Sat Nov 23 05:40:45 2013 From: tom at midnighteye.com (Tom Mes) Date: Sat, 23 Nov 2013 19:40:45 +0900 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> References: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> Message-ID: This is an issue I still need to look into further as part of the research on V-cinema I'm currently doing. However, the possible disappearance of certain V-cinema titles is more an issue of rights than of preservation. VHS was only a release format, since most V-cinema productions were shot on film (16mm in most cases). So there are negatives and master tapes, and in the case of films that received a token big screen release (mostly from the mid-90s onward), there should be 35mm prints as well. Most of the major companies involved in V-cinema production seem to have their affairs relatively well in order, even in cases where films only received a VHS release and never came out on DVD. However, many of the smaller production outfits appear to have been fly-by-night operations that no longer exist, which makes the issue of who now owns the rights to the films (and where the masters and negatives are) unclear at best. Best, Tom Midnight Eye - Visions of Japanese cinema http://www.midnighteye.com Op 23 nov 2013, om 18:18 heeft Oliver Dew het volgende geschreven: > Hello Joseph > > Thank you for your interesting question. Regarding the second part of your query, I suppose it depends on what you mean by VHS preservation. I'm not familiar with the Video at Risk program, but just from briefly looking at their website, they discuss ascertaining IP, scope, prioritisation, and reformatting. These are all archival functions, aren't they? You seem to discount archives, but why not include them in your research question? I don't know which archives you've been in touch with. I understand that the National Film Center has been acquiring works on various video formats. Also, not V-Cinema, but the Video Art Center Tokyo has a library of historically significant video works: > http://www.vctokyo.org/jp/ > > I'd be really interested to hear what the V-Cinema experts on the list have to say about the first part of your question... > > Oliver Dew > > > On 19 Nov 2013, at 04:41, Joseph Larsen wrote: > >> Hello, >> >> I am doing research on VHS preservation in the U.S. and Japan and was wondering if there are any known statistics regarding V-Cinema. I am mostly curious if there are V-Cinema titles in danger of disappearing once the VHS medium fades away, so are there a number of titles that were released on VHS that never made it to any other formats? >> >> Also, are there any groups or institutions in Japan currently doing VHS preservation work like the Video at Risk program at NYU? So far, I have only been able to locate archives for the medium but no active preservation programs. >> >> Thanks, >> Joseph Larsen >> _______________________________________________ >> 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 From olidew at gmail.com Sat Nov 23 04:18:32 2013 From: olidew at gmail.com (Oliver Dew) Date: Sat, 23 Nov 2013 18:18:32 +0900 Subject: [KineJapan] VHS Preservation in Japan In-Reply-To: References: Message-ID: <7A4ADED5-4EA9-46C1-AD0A-B9DC57281AC6@gmail.com> Hello Joseph Thank you for your interesting question. Regarding the second part of your query, I suppose it depends on what you mean by VHS preservation. I'm not familiar with the Video at Risk program, but just from briefly looking at their website, they discuss ascertaining IP, scope, prioritisation, and reformatting. These are all archival functions, aren't they? You seem to discount archives, but why not include them in your research question? I don't know which archives you've been in touch with. I understand that the National Film Center has been acquiring works on various video formats. Also, not V-Cinema, but the Video Art Center Tokyo has a library of historically significant video works: http://www.vctokyo.org/jp/ I'd be really interested to hear what the V-Cinema experts on the list have to say about the first part of your question... Oliver Dew On 19 Nov 2013, at 04:41, Joseph Larsen wrote: > Hello, > > I am doing research on VHS preservation in the U.S. and Japan and was wondering if there are any known statistics regarding V-Cinema. I am mostly curious if there are V-Cinema titles in danger of disappearing once the VHS medium fades away, so are there a number of titles that were released on VHS that never made it to any other formats? > > Also, are there any groups or institutions in Japan currently doing VHS preservation work like the Video at Risk program at NYU? So far, I have only been able to locate archives for the medium but no active preservation programs. > > Thanks, > Joseph Larsen > _______________________________________________ > 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 From ljth2006 at gmail.com Fri Nov 22 13:14:13 2013 From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano) Date: Fri, 22 Nov 2013 19:14:13 +0100 Subject: [KineJapan] Kore-eda in Madrid (II) Message-ID: Last night he was introducing his last film here, in Madrid, *Like Father, Like Son. *He humbly insisted in watching the film without taking in mind the naughty subjects underlined by certain media, and focus in family matters. I really liked the film, and I guess it is his better produced film. Tomorrow we will have the masterclass. I would like to ask him about why he is not so successful in Japan: Do you have any ideas about this? I thing it is an interesting subject, since being in Tokyo last year, someone from Japan Foundation Headquarters asked me, surprised, how someone from Spain could like his cinema as he was not so known in Japan. Best, *Lorenzo J. Torres Hortelano* Editor / *Editor * Profesor Titular / *Professor * Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n Despacho 22, Edificio Departamental Camino del Molino s/n, 28943 Fuenlabrada (Madrid, Spain) lorenzojavier.torres.hortelano at urjc.es 34-657565507 -------------- 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 mekerpan at verizon.net Tue Nov 19 20:37:53 2013 From: mekerpan at verizon.net (Michael Kerpan) Date: Tue, 19 Nov 2013 17:37:53 -0800 Subject: [KineJapan] Kore-eda in Madrid In-Reply-To: References: Message-ID: <1384911473.24256.YahooMailNeo@web122304.mail.ne1.yahoo.com> Lessons from a Calf is wonderful too. ;~} ________________________________ From: Linda Ehrlich To: Japanese Cinema Discussion Forum Sent: Tuesday, November 19, 2013 8:28 PM Subject: Re: [KineJapan] Kore-eda in Madrid I wonder if Kore-eda ever made contact with the family in WITHOUT MEMORY? They were in the earthquake area. I've seen all the docs except for LESSONS FROM A CALF. ?All are great. http://sites.google.com/site/lceprofess On Nov 19, 2013, at 2:08 PM, Lorenzo Javier Torres Hortelano wrote: Dear all, > > >Just to tell you that Kore-eda will be giving a master class next Saturday 23 in Madrid (Cineteca, Matadero). Also, I'll be introducing his documentary work with English subtitles at Japan Foundation headquarters, screened for the first time in Spain: > > >Martes 10 - 19.00h: Kioku ga ushinawareta toki (Without Memory, 1996) 84 min. >? >Mi?rcoles 11 - 18.00h: Kare no inai hachigatsu ga (August without Him, 1994) 78 min. >???????????? 20.00h: Nihonjin ni naritakatta... (I Wanted to Be Japanese, 1992) 47 min. >? >Jueves 12 - 19.00h: M? hitotsu no ky?iku (Lessons from a Calf, 1991) 47 min. >??????? 20.30h: Shikashi? Fukushu kirisuke no jidai ni (However?, 1991) 47 min. > > >Does anyone know any good article focused in this documentary work? > > >Thanks in advance! > > > > > >Lorenzo J. Torres Hortelano >Editor /?Editor? >Profesor Titular /?Professor? >Universidad Rey Juan Carlos? >Facultad de Ciencias de la Comunicaci?n? >Despacho 22, Edificio Departamental >Camino del Molino s/n, 28943 Fuenlabrada (Madrid, Spain) >lorenzojavier.torres.hortelano at urjc.es >34-657565507? > > > > _______________________________________________ >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 linda.ehrlich at gmail.com Tue Nov 19 20:28:34 2013 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Tue, 19 Nov 2013 20:28:34 -0500 Subject: [KineJapan] Kore-eda in Madrid In-Reply-To: References: Message-ID: I wonder if Kore-eda ever made contact with the family in WITHOUT MEMORY? They were in the earthquake area. I've seen all the docs except for LESSONS FROM A CALF. All are great. http://sites.google.com/site/lceprofess On Nov 19, 2013, at 2:08 PM, Lorenzo Javier Torres Hortelano wrote: > Dear all, > > Just to tell you that Kore-eda will be giving a master class next Saturday 23 in Madrid (Cineteca, Matadero). Also, I'll be introducing his documentary work with English subtitles at Japan Foundation headquarters, screened for the first time in Spain: > > Martes 10 - 19.00h: Kioku ga ushinawareta toki (Without Memory, 1996) 84 min. > > Mi?rcoles 11 - 18.00h: Kare no inai hachigatsu ga (August without Him, 1994) 78 min. > 20.00h: Nihonjin ni naritakatta... (I Wanted to Be Japanese, 1992) 47 min. > > Jueves 12 - 19.00h: M? hitotsu no ky?iku (Lessons from a Calf, 1991) 47 min. > 20.30h: Shikashi? Fukushu kirisuke no jidai ni (However?, 1991) 47 min. > > Does anyone know any good article focused in this documentary work? > > Thanks in advance! > > > > Lorenzo J. Torres Hortelano > Editor / Editor > Profesor Titular / Professor > Universidad Rey Juan Carlos > Facultad de Ciencias de la Comunicaci?n > Despacho 22, Edificio Departamental > Camino del Molino s/n, 28943 Fuenlabrada (Madrid, Spain) > lorenzojavier.torres.hortelano at urjc.es > > 34-657565507 > > > _______________________________________________ > 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 mroberts37 at mail-central.com Mon Nov 18 19:04:24 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Tue, 19 Nov 2013 09:04:24 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <3758FC3A-75F1-421D-ABD6-BD20AEB7A877@mac.com> References: <1384775835.98893.YahooMailBasic@web173101.mail.ir2.yahoo.com> <3758FC3A-75F1-421D-ABD6-BD20AEB7A877@mac.com> Message-ID: On Nov 18, 2013, at 10:51 PM, John Gorman wrote: > In past discussions, I've read that the success of other asian cinema led to reawakening of Japanese interest in their own cinema. Could some of the same nationalist factors that have led to Abenomics also be partly responsible for the resurgence of the marketshare of Japanese films? > > It seems reasonable that the bump of Japanese box office market share from 54.9% in 2011 to 65.7% in 2012 could at least partially be explained, as Kim brought up, by a domestic/national/nationalist turn in the wake of the Tohoku disaster. > In 2006, when the reported number of Japanese films per year exceeded the number of foreign films, some observers pointed to the impact of neo-nationalism. Aaron wrote an interesting article about this for Japan Focus. Doubtless, the spread of neo-nationalist sentiment is a factor in the overall numbers. However, if you peruse the box office results for the past six years, with the exception of Ghibli productions, the top three box office draws have generally been foreign films. 2012 was something of a departure, because Umizaru and Thermae Romae were the top draws, while Evangelion 3.0 and Wolf Children both outsold The Avengers and Spider-Man. It will be interesting to see whether this becomes a stable trend. A more detailed analysis would be necessary here, as I scan the last six years of top draws, the resurgence of nationalist themes that Aaron analyzed in the 2005/2006 films doesn't appear to have been an overt current in more recent years. There was Isoroku Yamamoto in 2011, with Koji Yakusho, but that film felt somehow conflicted about its agenda. As for the impact of 3.11, it doesn't really seem legible at the box office, at least not in terms of content. E.g., neither Arekara nor Kib? no kuni made it into the top 40 last year. Anecdotally, I feel there is not a strong interest either in fictional or documentary accounts of the disaster or its aftermath. This is unfortunate, because there are some compelling films. It may be simply that following all of the TV coverage and general stress, the last thing many people want to do is park in a theater and be asked to reflect on the disaster for two hours. Going forward, I don't see that Abe's brand of nationalism will do anything except harm to the film industry. The 2% inflation policy and 8% sales tax increase will negatively impact production budgets. The state secrets protection bill currently under debate will have far-reaching consequences. The Federation of Cinema and Theatrical Workers Union (Eienroren) has publicly stated that the information-gathering activities of documentary filmmakers will be restricted by the new state secrets law. Basically, this bill and the new NSC seem to be about preparing Japan to join in the upcoming US war with China. Perversely, PM Abe has paid lip service to the Japanese content industry, stating that he hopes it will be at the center of an economic recovery. 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 larse635 at umn.edu Mon Nov 18 14:41:36 2013 From: larse635 at umn.edu (Joseph Larsen) Date: Mon, 18 Nov 2013 13:41:36 -0600 Subject: [KineJapan] VHS Preservation in Japan Message-ID: Hello, I am doing research on VHS preservation in the U.S. and Japan and was wondering if there are any known statistics regarding V-Cinema. I am mostly curious if there are V-Cinema titles in danger of disappearing once the VHS medium fades away, so are there a number of titles that were released on VHS that never made it to any other formats? Also, are there any groups or institutions in Japan currently doing VHS preservation work like the Video at Risk program at NYU? So far, I have only been able to locate archives for the medium but no active preservation programs. Thanks, Joseph Larsen -------------- 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 frako at well.com Mon Nov 18 12:51:50 2013 From: frako at well.com (Frances Loden) Date: Mon, 18 Nov 2013 09:51:50 -0800 Subject: [KineJapan] Morishige Hisaya's adopted daughter? Message-ID: Someone mentioned to me that performer Morishige Hisaya, who died 4 years ago, adopted a girl who was half-Japanese and half-African-American. Apparently when the young woman went to live in the US (to go to college?) and would visit Japan, Morishige spared no expense in hosting her like a very special guest. I'd love to see some factual evidence of this. Is a biography of Morishige (in Japanese OK) available that mentions this? Thanks, Frako Loden Berkeley -------------- 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 macfugu at mac.com Mon Nov 18 08:51:15 2013 From: macfugu at mac.com (John Gorman) Date: Mon, 18 Nov 2013 22:51:15 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <1384775835.98893.YahooMailBasic@web173101.mail.ir2.yahoo.com> References: <1384775835.98893.YahooMailBasic@web173101.mail.ir2.yahoo.com> Message-ID: <3758FC3A-75F1-421D-ABD6-BD20AEB7A877@mac.com> Thanks for all the insights. Many interesting departure points. What intrigues me the most, is that even though apparently Japanese films haven't been as rewarding of late, they are capturing an increasingly greater share of Japanese box office receipts. (Bringing in more not-inflation-adjusted money than ever.) Why is it that Japanese are again spending more of their cinema going money on Japanese films? Of course it's probably due to a combination of factors. Are audiences being force-fed because distributors find it easer and more profitable to offer domestic fare? Hasn't it always been this way for distributors? Are Japanese audiences for some cultural, political or economic reason developing a greater affinity for the work of their countrymen? Have foreign films gotten comparatively worse? (I think it's important to keep in mind that the Eiren figures do not break down Hollywood vs. other foreign cinema.) (My understanding was that Foreign cinema, specifically Hollywood, won Japanese audience share by utilizing its scale to produce a level of spectacle that Japanese studios couldn't compete with. One would think that Hollywood can still best deliver the spectacle likely sought at the high prices paid by Japanese cinema goers. This, even though Hollywood has increasingly taken the same safe path Jasper mentioned in his Screen Supplement that Japanese studios have, of increasingly relying on bringing proven characters and stories from other media to the screen again and again.) Even though the release of Western films is delayed, apparently, from what Mark and Alex mentioned, the diminished interest in foreign cinema is not because Japanese are getting their fill of it on the Internet. In past discussions, I've read that the success of other asian cinema led to reawakening of Japanese interest in their own cinema. Could some of the same nationalist factors that have led to Abenomics also be partly responsible for the resurgence of the marketshare of Japanese films? It seems reasonable that the bump of Japanese box office market share from 54.9% in 2011 to 65.7% in 2012 could at least partially be explained, as Kim brought up, by a domestic/national/nationalist turn in the wake of the Tohoku disaster. John On Nov 18, 2013, at 8:57 PM, Jim Harper wrote: > Your final point is something I've noticed myself, Stephen. Although it's relatively easy to find the films themselves (legally and otherwise), the interest in contemporary Japanese horror has dwindled considerably. Japanese film is no longer considered an essential part of the cult and horror 'scene', although films like '13 Assassins' have attracted interest from the cult crowd. I still 'monitor' the releases and have come to the conclusion that it's partly a result of a drop in quality. The brief interest in the 'cyber-splatter ' and gross humour of Yoshihiro Nishimura, Noboru Iguchi et al has passed, while once reliable directors like Takashi Shimizu are now turning out sub-standard, bloated mainstream projects like the 3D bores 'Shock Labyrinth' and 'Rabbit Horror' or Yukihiko Tsutsumi's '20th Century Boys' franchise. Koji Shiraishi's 'Grotesque' might have attracted plenty of controversy and become the first Japanese film to be banned in Britain > for some time, but the film itself is terrible. There are still some decent horror films being released, but on a much less regular basis. It seems that the wave of Japanese horror that began with 'Ring' has finally slowed to a halt. > > Apologies for the rant there! > > Jim Harper. > > -------------------------------------------- > On Mon, 18/11/13, Stephen Cremin wrote: > > Subject: Re: [KineJapan] The marketshare of Japanese films in Japan > To: "Japanese Cinema Discussion Forum" , "Mark Roberts" > Date: Monday, 18 November, 2013, 9:57 > > The other factor is that > of ageing audiences. > I'm in transit, and > away from numbers (assuming I have any), but isn't there > data that young people in Japan have lost interest in > Hollywood cinema. (I think it's telling that the highest > grossing foreign film in the first half of the year was LES > MISERABLES.) > This is worrying for > exhibitors and distributors because if local audiences lose > interest in Japanese cinema, then they may not switch to > watching non-Japanese cinema. And the interest in Hollywood > cinema hasn't been maintained by illegal downloads/discs > as in China. > The audience for other > Asian cinemas within Japan is also ageing. Despite the > quality of some of the Asian festival programming in Japan > in the past decade, new directors and stars haven't > become marketable. And the 40-something Asian film fans are > quite conservative. > Purely anecdotally, when a > ticket is ?1800, surely that limits the range of films > people are willing to pay for. When I was living in London, > and paying a similar amount, I didn't think I was > getting value for money when watching drama. I wanted > spectacle or a "sure thing". > At the moment, > that ?1800 is going to films that audiences are > confident will give them that "sure thing", > because they're based on manga/novels/television series > and/or are heavily marketed at them. I'd like to think > viewing habits would change at ?1000. > From talking to a handful > of distributors over the years, they're also concerned > by the ?1800 prices and say that the exhibitors are > the problem. And of course, exhibitors don't much care > what films are filling their cinemas, as long as there are > bums on seats. > I'm not sure that the > lateness is a factor. China is also slow at getting films, > but they often make huge box office. People do explain > commercial flops on the late release in China, but > that's usually an excuse to justify poor performance of > a film that would never have worked. > And in China, those late > films ARE available on DVD for US$1. Cinema tickets in China > are expensive, and again people want that "sure > thing", so having friends recommend films that > they've already seen on DVD can help the theatrical box > office rather than hinder it. > South Korea did have a > problem with illegal downloads, but from talking to buyers > that is far less of a concern now. The American Film Market > was full of South Koreans buying IPTV rights because > there's real money there now. When it's cheap, why > not just pay for it. > Fundamentally, the problem > may be that Japan doesn't give consumers many options > and gouges cinephiles. It would rather have a cinema 80% > empty than have it 80% full if revenue was equal, because > then your maximising the money you squeezing from each > customer. > Anecdotally again, but > didn't the Korean Wave partly come about because > Japanese drama series sellers wouldn't lower their > prices, opening up a space for the South Koreans. And > wasn't it actor agencies who had boxed sets withdrawn > from HK stores for being priced too low. > I also feel that Japanese > cinema is in crisis. At the American Film Market, the > JETRO/UniJapan section was like a graveyard. One major > seller said that she also had little business when she had a > proper exhibiting space the previous year, so it's not > just about location. > It's not just that > Japanese have lost interest in foreign cinema, but > foreigners have lost interest in Japanese cinema. And those > two things are connected. If you don't know what foreign > viewers want, how do you make films that appeal to them > also. > Stephen > Cremin > > > > _______________________________________________ > 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 From mroberts37 at mail-central.com Mon Nov 18 07:44:53 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Mon, 18 Nov 2013 21:44:53 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> <5289B3BC.8030400@uci.edu> <25603174-7B45-4ECB-A020-B7FA1E0B1127@mail-central.com> Message-ID: <78FAA118-37F7-4419-92A2-61FE11027FDB@mail-central.com> Hi Stephen, There may be another(?) data source, but my impression has been that the "young people in Japan have lost interest in Hollywood cinema" claim is based on the same Eiren numbers. I.e., that since 2006, the stats for the Japanese films released per year increased over the number of foreign films. From this trend, it has been extrapolated that interest is waning in Hollywood cinema. (If there is a different, more detailed audience analysis, I would like to hear about it.) However, as Jasper points out ? and I have heard this from other sources too ? the Eiren numbers for domestic films are "floated" by a lot of jishu eiga, ODS, etc. In effect, the numbers are skewed, and also by some number of films that have no commercial viability. Notice also that the Eiren numbers for domestic vs. foreign films released in a year don't correlate with the ratio of domestic vs. foreign gross receipts. This is why we really need a better breakdown to speak about the state of the industry. As for the cost of admission, I notice that a number of theaters in Tokyo now have a schedule of discounts. The discount for college students is standard, and I have seen 800? tickets for high school students. However, the problem you mention remains. Historically, as audiences declined, the exhibitors have increased ticket costs to maintain their revenue streams. Something similar has happened with DVDs. The market has collapsed but the official prices remain very high. Finally, the loss of foreign interest in Japanese cinema is another significant problem. After the last Tokyo Intl. Film Festival, I sat down and looked at the distribution of new Japanese films that have been screened at the festival. Of the 90 new Japanese films at TIFF between 2007 and 2012, I found only 15% (14 films) had theatrical distribution outside of Japan. The top destination was Taiwan, with six films, followed by H.K. with four, then Singapore and France with two each. Out of those 90 films, the only one I found that made it to theaters in the US was Wakamatsu's United Red Army. Many of these films go onto the intl. festival circuit, but basically that's it. M. On Nov 18, 2013, at 6:57 PM, Stephen Cremin wrote: > The other factor is that of ageing audiences. > > I'm in transit, and away from numbers (assuming I have any), but isn't there data that young people in Japan have lost interest in Hollywood cinema. (I think it's telling that the highest grossing foreign film in the first half of the year was LES MISERABLES.) > > This is worrying for exhibitors and distributors because if local audiences lose interest in Japanese cinema, then they may not switch to watching non-Japanese cinema. And the interest in Hollywood cinema hasn't been maintained by illegal downloads/discs as in China. > > The audience for other Asian cinemas within Japan is also ageing. Despite the quality of some of the Asian festival programming in Japan in the past decade, new directors and stars haven't become marketable. And the 40-something Asian film fans are quite conservative. > > Purely anecdotally, when a ticket is ?1800, surely that limits the range of films people are willing to pay for. When I was living in London, and paying a similar amount, I didn't think I was getting value for money when watching drama. I wanted spectacle or a "sure thing". > > At the moment, that ?1800 is going to films that audiences are confident will give them that "sure thing", because they're based on manga/novels/television series and/or are heavily marketed at them. I'd like to think viewing habits would change at ?1000. > > From talking to a handful of distributors over the years, they're also concerned by the ?1800 prices and say that the exhibitors are the problem. And of course, exhibitors don't much care what films are filling their cinemas, as long as there are bums on seats. > > I'm not sure that the lateness is a factor. China is also slow at getting films, but they often make huge box office. People do explain commercial flops on the late release in China, but that's usually an excuse to justify poor performance of a film that would never have worked. > > And in China, those late films ARE available on DVD for US$1. Cinema tickets in China are expensive, and again people want that "sure thing", so having friends recommend films that they've already seen on DVD can help the theatrical box office rather than hinder it. > > South Korea did have a problem with illegal downloads, but from talking to buyers that is far less of a concern now. The American Film Market was full of South Koreans buying IPTV rights because there's real money there now. When it's cheap, why not just pay for it. > > Fundamentally, the problem may be that Japan doesn't give consumers many options and gouges cinephiles. It would rather have a cinema 80% empty than have it 80% full if revenue was equal, because then your maximising the money you squeezing from each customer. > > Anecdotally again, but didn't the Korean Wave partly come about because Japanese drama series sellers wouldn't lower their prices, opening up a space for the South Koreans. And wasn't it actor agencies who had boxed sets withdrawn from HK stores for being priced too low. > > I also feel that Japanese cinema is in crisis. At the American Film Market, the JETRO/UniJapan section was like a graveyard. One major seller said that she also had little business when she had a proper exhibiting space the previous year, so it's not just about location. > > It's not just that Japanese have lost interest in foreign cinema, but foreigners have lost interest in Japanese cinema. And those two things are connected. If you don't know what foreign viewers want, how do you make films that appeal to them also. > > Stephen Cremin > > On 18 November 2013 at 17:04:46, Mark Roberts (mroberts37 at mail-central.com) wrote: > >> Hi Kim, >> >> Better data is called for, but based upon personal observation, the dividing line between cin?philes and the general public seems much sharper in Japan. In my experience, if I tell an acquaintance that I see several films a month in a theater, they might easily say: "oh... so you are an eiga otaku." According to UNESCO, the national average for Japan has been to view around 1.5 films per year in a theater (compare ~3.5/year for S. Korea and 5+ for the U.S.). So, even going once a month can already set you apart. >> >> I would agree with Alex and Eija that the demand for films to open sooner can also be tied to Internet access. Regarding relative rates of piracy, the numbers I've seen are from the BSA, and so they apply to computer software. That's not exactly the same as for films, but is likely a reasonable indicator. According to the BSA stats, the global rate in 2012 was around 42%, with 60% in the Asia Pacific region. In East Asia, the numbers are 77% for China, 43% for H.K., 40% for S. Korea, and 21% for Japan. As Alex indicated, Japan has the lowest rate in all of Asia. >> >> W.r.t. cin?philes wanting to see films on the big screen, I would say your point about the numbers being small is the most significant. Yes, there are committed cin?philes who insist on going to theaters, but are they numerous enough to keep the current ecosystem going? I don't see it. Since theater spectatorship in Japan is in decline compared to a number of other countries, there is at present a "cinema bubble". I.e., there are now probably too many theaters for the current patterns of consumption. As Jasper mentions in his review for Screen, the number of screens shrank between 2011 and 2012. The number was small, but 82% of the screens that closed were non-multiplex theaters. That translates directly into a loss of diversity (what cin?philes are looking for), and has an impact on forms of spectatorship. >> >> Following current trends ? and given that Abenomics will almost certainly fail to increase wages, ergo provide more disposable income for people to see films ? we should expect ongoing contraction in the exhibition market. >> >> One question here is how streaming services will offset the shrinking number of screens. Will VOD in part make up for the loss and/or deliver a more diverse ecosystem? That's supposed to be the promise of the Internet, but I wonder if its going to play out that way. In theory, VOD could give us access to lots of films that are now mouldering in vaults, but who's going to pay to digitize them? How will the rights issues be sorted? I think there is cause for concern because of how digital distribution has unfolded for the music industry. Instead of a rich landscape of independents, distribution is dominated by a small number of mega media companies. Their business model has stabilized, and as David Lowery nicely summarizes it: "Old Boss: pays the artist too little. New Boss: pays the artist nothing." >> >> Again, I would like to see more detailed data than what Eiren is serving up... >> >> M. >> >> >> On Nov 18, 2013, at 3:29 PM, Kim Icreverzi wrote: >> >>> I share Mark's first question and would be very interested to hear the response. >>> >>> To Mark's last point(s) about cinema not being important in Japan (and I have a sneaking suspicion we've had a conversation along these lines in person at some point, Mark), I guess I'd like to push back against the quantitative argument and ask more about forms of cinephilia in Japan. My sense is that Mark's right when he says that it doesn't seem like the "general public" is picking up and seeing foreign films online instead and, as a result, you don't have this same demand for speed that Alex is talking about in the case of South Korea (is there also something here with respect to copyright enforcement or concerns about piracy?). Anecdotally, I know a number of cinephiles in Japan who insist on seeing things only in theaters and who, though they might like to see films sooner, also are prepared to wait to see them on the big screen. Which is to say, that cinema for many of the cinephiles I know remains tied to the space of the theater. And while those numbers might not be very large (ie those who persist in seeing movies in the theater, still often seeing double or triple bills) this sort of spectatorship is alive in a way that I feel like I see much more rarely in the US, where that sort of commitment to viewing conditions seems increasingly (framed) like a relic of the past. >>> >>> Perhaps the other question that this might raise of foreign films, which relates again to Mark's question, is whether "foreign films" are going largely the way of the cinephile? [Also we should consider the way that cinema gets folded into the call to participate in domestic/national/nationalist forms of consumption in the wake of the disasters] >>> Kim >>> >>> On 11/17/13 7:40 PM, Alex Zahlten wrote: >>>> Good points, Mark. To the clogged distribution pipeline I would add another reason for the time lag for theatrical releases in Japan: Because they can. Japan has been probably the most successful country in the world in keeping online piracy (fairly) under control. This means there is much less pressure for a day-and-date release that is synchronized with the rest of the world. Compare this with South Korea, where US films have to come out very soon after the US release date simply because if they don't everyone will already have seen the film online / downloaded it. >>>> >>>> Best, >>>> Alex >>>> >>>> Gesendet: Sonntag, 17. November 2013 um 21:19 Uhr >>>> Von: "Mark Roberts" >>>> An: "Japanese Cinema Discussion Forum" >>>> Betreff: Re: [KineJapan] The marketshare of Japanese films in Japan >>>> So, a follow-up question would be: since Eiren is padding the numbers, which sources give a better breakdown of jishu eiga, pinku, anime, ODS, etc.? The Japanese Film Database has some of this information, but not all. >>>> >>>> As for foreign films coming to Japan late, I have seen this again and again. For international distribution, Japan is very often dead last in the entire world. >>>> >>>> My hypothesis is that there are at least two things going on here. >>>> >>>> First, I suspect that foreign films "arrive" late in Japan because the major distribution companies are giving priority to their stuff, and there are not enough independent companies to pick up the slack. I have heard people in distribution companies say that a major foreign film was bought at Cannes, almost two years before it opened in Tokyo. The second factor is simply that the general public are not very engaged in new films. I don't have the impression that large numbers of people are accessing films via the Internet. That kind of culture seems more marginal here. Rather, people are just not watching them at all. Frequentation statistics in theaters would seem to bear this out. >>>> >>>> Simply put, compared to the US, the UK, France, South Korea and Hong Kong, cinema just isn't very important in Japan today. >>>> >>>> M. >>>> >>>> On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: >>>> >>>> This is just a guess for which I have no proof, but I wonder if the extent to which Japanese are watching foreign films without going through the box office is rising. It takes a while for foreign films to get to theaters in Japan. Many times I've already seen something on an international flight before it appears here. And despite various barriers, people often can access them on the internet before they officially arrive. Are there any grounds for this idea? >>>> >>>> Greg Johnson >>>> _______________________________________________ >>>> 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 >> >> _______________________________________________ >> 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 jimharper666 at yahoo.co.uk Mon Nov 18 06:57:15 2013 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Mon, 18 Nov 2013 11:57:15 +0000 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: Message-ID: <1384775835.98893.YahooMailBasic@web173101.mail.ir2.yahoo.com> Your final point is something I've noticed myself, Stephen. Although it's relatively easy to find the films themselves (legally and otherwise), the interest in contemporary Japanese horror has dwindled considerably. Japanese film is no longer considered an essential part of the cult and horror 'scene', although films like '13 Assassins' have attracted interest from the cult crowd. I still 'monitor' the releases and have come to the conclusion that it's partly a result of a drop in quality. The brief interest in the 'cyber-splatter ' and gross humour of Yoshihiro Nishimura, Noboru Iguchi et al has passed, while once reliable directors like Takashi Shimizu are now turning out sub-standard, bloated mainstream projects like the 3D bores 'Shock Labyrinth' and 'Rabbit Horror' or Yukihiko Tsutsumi's '20th Century Boys' franchise. Koji Shiraishi's 'Grotesque' might have attracted plenty of controversy and become the first Japanese film to be banned in Britain for some time, but the film itself is terrible. There are still some decent horror films being released, but on a much less regular basis. It seems that the wave of Japanese horror that began with 'Ring' has finally slowed to a halt. Apologies for the rant there! Jim Harper. -------------------------------------------- On Mon, 18/11/13, Stephen Cremin wrote: Subject: Re: [KineJapan] The marketshare of Japanese films in Japan To: "Japanese Cinema Discussion Forum" , "Mark Roberts" Date: Monday, 18 November, 2013, 9:57 The other factor is that of ageing audiences. I'm in transit, and away from numbers (assuming I have any), but isn't there data that young people in Japan have lost interest in Hollywood cinema. (I think it's telling that the highest grossing foreign film in the first half of the year was LES MISERABLES.) This is worrying for exhibitors and distributors because if local audiences lose interest in Japanese cinema, then they may not switch to watching non-Japanese cinema. And the interest in Hollywood cinema hasn't been maintained by illegal downloads/discs as in China. The audience for other Asian cinemas within Japan is also ageing. Despite the quality of some of the Asian festival programming in Japan in the past decade, new directors and stars haven't become marketable. And the 40-something Asian film fans are quite conservative. Purely anecdotally, when a ticket is??1800, surely that limits the range of films people are willing to pay for. When I was living in London, and paying a similar amount, I didn't think I was getting value for money when watching drama. I wanted spectacle or a "sure thing". At the moment, that??1800 is going to films that audiences are confident will give them that "sure thing", because they're based on manga/novels/television series and/or are heavily marketed at them. I'd like to think viewing habits would change at??1000. From talking to a handful of distributors over the years, they're also concerned by the??1800 prices and say that the exhibitors are the problem. And of course, exhibitors don't much care what films are filling their cinemas, as long as there are bums on seats. I'm not sure that the lateness is a factor. China is also slow at getting films, but they often make huge box office. People do explain commercial flops on the late release in China, but that's usually an excuse to justify poor performance of a film that would never have worked. And in China, those late films ARE available on DVD for US$1. Cinema tickets in China are expensive, and again people want that "sure thing", so having friends recommend films that they've already seen on DVD can help the theatrical box office rather than hinder it. South Korea did have a problem with illegal downloads, but from talking to buyers that is far less of a concern now. The American Film Market was full of South Koreans buying IPTV rights because there's real money there now. When it's cheap, why not just pay for it. Fundamentally, the problem may be that Japan doesn't give consumers many options and gouges cinephiles. It would rather have a cinema 80% empty than have it 80% full if revenue was equal, because then your maximising the money you squeezing from each customer. Anecdotally again, but didn't the Korean Wave partly come about because Japanese drama series sellers wouldn't lower their prices, opening up a space for the South Koreans. And wasn't it actor agencies who had boxed sets withdrawn from HK stores for being priced too low. I also feel that Japanese cinema is in crisis. At the American Film Market, the JETRO/UniJapan section was like a graveyard. One major seller said that she also had little business when she had a proper exhibiting space the previous year, so it's not just about location. It's not just that Japanese have lost interest in foreign cinema, but foreigners have lost interest in Japanese cinema. And those two things are connected. If you don't know what foreign viewers want, how do you make films that appeal to them also. Stephen Cremin _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From stephen at asianfilm.info Mon Nov 18 04:57:51 2013 From: stephen at asianfilm.info (Stephen Cremin) Date: Mon, 18 Nov 2013 17:57:51 +0800 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <25603174-7B45-4ECB-A020-B7FA1E0B1127@mail-central.com> References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> <5289B3BC.8030400@uci.edu> <25603174-7B45-4ECB-A020-B7FA1E0B1127@mail-central.com> Message-ID: The other factor is that of ageing audiences. I'm in transit, and away from numbers (assuming I have any), but isn't there data that young people in Japan have lost interest in Hollywood cinema. (I think it's telling that the highest grossing foreign film in the first half of the year was LES MISERABLES.) This is worrying for exhibitors and distributors because if local audiences lose interest in Japanese cinema, then they may not switch to watching non-Japanese cinema. And the interest in Hollywood cinema hasn't been maintained by illegal downloads/discs as in China. The audience for other Asian cinemas within Japan is also ageing. Despite the quality of some of the Asian festival programming in Japan in the past decade, new directors and stars haven't become marketable. And the 40-something Asian film fans are quite conservative. Purely anecdotally, when a ticket is??1800, surely that limits the range of films people are willing to pay for. When I was living in London, and paying a similar amount, I didn't think I was getting value for money when watching drama. I wanted spectacle or a "sure thing". At the moment, that??1800 is going to films that audiences are confident will give them that "sure thing", because they're based on manga/novels/television series and/or are heavily marketed at them. I'd like to think viewing habits would change at??1000. From talking to a handful of distributors over the years, they're also concerned by the??1800 prices and say that the exhibitors are the problem. And of course, exhibitors don't much care what films are filling their cinemas, as long as there are bums on seats. I'm not sure that the lateness is a factor. China is also slow at getting films, but they often make huge box office. People do explain commercial flops on the late release in China, but that's usually an excuse to justify poor performance of a film that would never have worked. And in China, those late films ARE available on DVD for US$1. Cinema tickets in China are expensive, and again people want that "sure thing", so having friends recommend films that they've already seen on DVD can help the theatrical box office rather than hinder it. South Korea did have a problem with illegal downloads, but from talking to buyers that is far less of a concern now. The American Film Market was full of South Koreans buying IPTV rights because there's real money there now. When it's cheap, why not just pay for it. Fundamentally, the problem may be that Japan doesn't give consumers many options and gouges cinephiles. It would rather have a cinema 80% empty than have it 80% full if revenue was equal, because then your maximising the money you squeezing from each customer. Anecdotally again, but didn't the Korean Wave partly come about because Japanese drama series sellers wouldn't lower their prices, opening up a space for the South Koreans. And wasn't it actor agencies who had boxed sets withdrawn from HK stores for being priced too low. I also feel that Japanese cinema is in crisis. At the American Film Market, the JETRO/UniJapan section was like a graveyard. One major seller said that she also had little business when she had a proper exhibiting space the previous year, so it's not just about location. It's not just that Japanese have lost interest in foreign cinema, but foreigners have lost interest in Japanese cinema. And those two things are connected. If you don't know what foreign viewers want, how do you make films that appeal to them also. Stephen Cremin On 18 November 2013 at 17:04:46, Mark Roberts (mroberts37 at mail-central.com) wrote: Hi Kim, Better data is called for, but based upon personal observation, the dividing line between cin?philes and the general public seems much sharper in Japan. In my experience, if I tell an acquaintance that I see several films a month in a theater, they might easily say: "oh... so you are an eiga otaku." According to UNESCO, the national average for Japan has been to view around 1.5 films per year in a theater (compare ~3.5/year for S. Korea and 5+ for the U.S.). So, even going once a month can already set you apart. I would agree with Alex and Eija that the demand for films to open sooner can also be tied to Internet access. Regarding relative rates of piracy, the numbers I've seen are from the BSA, and so they apply to computer software. That's not exactly the same as for films, but is likely a reasonable indicator. According to the BSA stats, the global rate in 2012 was around 42%, with 60% in the Asia Pacific region. In East Asia, the numbers are 77% for China, 43% for H.K., 40% for S. Korea, and 21% for Japan. As Alex indicated, Japan has the lowest rate in all of Asia.? W.r.t. cin?philes wanting to see films on the big screen, I would say your point about the numbers being small is the most significant. Yes, there are committed cin?philes who insist on going to theaters, but are they numerous enough to keep the current ecosystem going? I don't see it. Since theater spectatorship in Japan is in decline compared to a number of other countries, there is at present a "cinema bubble". I.e., there are now probably too many theaters for the current patterns of consumption. As Jasper mentions in his review for Screen, the number of screens shrank between 2011 and 2012. The number was small, but 82% of the screens that closed were non-multiplex theaters. That translates directly into a loss of diversity (what cin?philes are looking for), and has an impact on forms of spectatorship. Following current trends ? and given that Abenomics will almost certainly fail to increase wages, ergo provide more disposable income for people to see films ? we should expect ongoing contraction in the exhibition market.? One question here is how streaming services will offset the shrinking number of screens. Will VOD in part make up for the loss and/or deliver a more diverse ecosystem? That's supposed to be the promise of the Internet, but I wonder if its going to play out that way. In theory, VOD could give us access to lots of films that are now mouldering in vaults, but who's going to pay to digitize them? How will the rights issues be sorted? I think there is cause for concern because of how digital distribution has unfolded for the music industry. Instead of a rich landscape of independents, distribution is dominated by a small number of mega media companies. Their business model has stabilized, and as?David Lowery nicely summarizes it: "Old Boss: pays the artist too little.?New Boss: pays the artist nothing." Again, I would like to see more detailed data than what Eiren is serving up... M. On Nov 18, 2013, at 3:29 PM, Kim Icreverzi wrote: I share Mark's first question and would be very interested to hear the response. To Mark's last point(s) about cinema not being important in Japan (and I have a sneaking suspicion we've had a conversation along these lines in person at some point, Mark), I guess I'd like to push back against the quantitative argument and ask more about forms of cinephilia in Japan.? My sense is that Mark's right when he says that it doesn't seem like the "general public" is picking up and seeing foreign films online instead and, as a result, you don't have this same demand for speed that Alex is talking about in the case of South Korea (is there also something here with respect to copyright enforcement or concerns about piracy?).? Anecdotally, I know a number of cinephiles in Japan who insist on seeing things only in theaters and who, though they might like to see films sooner, also are prepared to wait to see them on the big screen. ? Which is to say, that cinema for many of the cinephiles I know remains tied to the space of the theater.? And while those numbers might not be very large (ie those who persist in seeing movies in the theater, still often seeing double or triple bills) this sort of spectatorship is alive in a way that I feel like I see much more rarely in the US, where that sort of commitment to viewing conditions seems increasingly (framed) like a relic of the past. Perhaps the other question that this might raise of foreign films, which relates again to Mark's question, is whether "foreign films" are going largely the way of the cinephile? [Also we should consider the way that cinema gets folded into the call to participate in domestic/national/nationalist forms of consumption in the wake of the disasters] Kim? On 11/17/13 7:40 PM, Alex Zahlten wrote: Good points, Mark. To the clogged distribution pipeline I would add another reason for the time lag for theatrical releases in Japan: Because they can. Japan has been probably the most successful country in the world in keeping online piracy (fairly) under control. This means there is much less pressure for a day-and-date release that is synchronized with the rest of the world. Compare this with South Korea, where US films have to come out very soon after the US release date simply because if they don't everyone will already have seen the film online / downloaded it.? ? Best, Alex ? Gesendet:?Sonntag, 17. November 2013 um 21:19 Uhr Von:?"Mark Roberts" An:?"Japanese Cinema Discussion Forum" Betreff:?Re: [KineJapan] The marketshare of Japanese films in Japan So, a follow-up question would be: since Eiren is padding the numbers, which sources give a better breakdown of jishu eiga, pinku, anime, ODS, etc.? The Japanese Film Database has some of this information, but not all. ? As for foreign films coming to Japan late, I have seen this again and again. For international distribution, Japan is very often dead last in the entire world.? ? My hypothesis is that there are at least two things going on here.? ? First, I suspect that foreign films "arrive" late in Japan because the major distribution companies are giving priority to their stuff, and there are not enough independent companies to pick up the slack. I have heard people in distribution companies say that a major foreign film was bought at Cannes, almost two years before it opened in Tokyo.?The second factor is simply that the general public are not very engaged in new films.?I don't have the impression that large numbers of people are accessing films via the Internet. That kind of culture seems more marginal here. Rather, people are just not watching them at all. Frequentation statistics in theaters would seem to bear this out. ? Simply put, compared to the US, the UK, France, South Korea and Hong Kong, cinema just isn't very important in Japan today. ? M. ? On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: ? This is just a guess for which I have no proof, but I wonder if the extent to which Japanese are watching foreign films without going through the box office is rising. It takes a while for foreign films to get to theaters in Japan. Many times I've already seen something on an international flight before it appears here. And despite various barriers, people often can access them on the internet before they officially arrive. Are there any grounds for this idea? Greg Johnson _______________________________________________ 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 _______________________________________________ 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 mroberts37 at mail-central.com Mon Nov 18 04:02:47 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Mon, 18 Nov 2013 18:02:47 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <5289B3BC.8030400@uci.edu> References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp>, <5289B3BC.8030400@uci.edu> Message-ID: <25603174-7B45-4ECB-A020-B7FA1E0B1127@mail-central.com> Hi Kim, Better data is called for, but based upon personal observation, the dividing line between cin?philes and the general public seems much sharper in Japan. In my experience, if I tell an acquaintance that I see several films a month in a theater, they might easily say: "oh... so you are an eiga otaku." According to UNESCO, the national average for Japan has been to view around 1.5 films per year in a theater (compare ~3.5/year for S. Korea and 5+ for the U.S.). So, even going once a month can already set you apart. I would agree with Alex and Eija that the demand for films to open sooner can also be tied to Internet access. Regarding relative rates of piracy, the numbers I've seen are from the BSA, and so they apply to computer software. That's not exactly the same as for films, but is likely a reasonable indicator. According to the BSA stats, the global rate in 2012 was around 42%, with 60% in the Asia Pacific region. In East Asia, the numbers are 77% for China, 43% for H.K., 40% for S. Korea, and 21% for Japan. As Alex indicated, Japan has the lowest rate in all of Asia. W.r.t. cin?philes wanting to see films on the big screen, I would say your point about the numbers being small is the most significant. Yes, there are committed cin?philes who insist on going to theaters, but are they numerous enough to keep the current ecosystem going? I don't see it. Since theater spectatorship in Japan is in decline compared to a number of other countries, there is at present a "cinema bubble". I.e., there are now probably too many theaters for the current patterns of consumption. As Jasper mentions in his review for Screen, the number of screens shrank between 2011 and 2012. The number was small, but 82% of the screens that closed were non-multiplex theaters. That translates directly into a loss of diversity (what cin?philes are looking for), and has an impact on forms of spectatorship. Following current trends ? and given that Abenomics will almost certainly fail to increase wages, ergo provide more disposable income for people to see films ? we should expect ongoing contraction in the exhibition market. One question here is how streaming services will offset the shrinking number of screens. Will VOD in part make up for the loss and/or deliver a more diverse ecosystem? That's supposed to be the promise of the Internet, but I wonder if its going to play out that way. In theory, VOD could give us access to lots of films that are now mouldering in vaults, but who's going to pay to digitize them? How will the rights issues be sorted? I think there is cause for concern because of how digital distribution has unfolded for the music industry. Instead of a rich landscape of independents, distribution is dominated by a small number of mega media companies. Their business model has stabilized, and as David Lowery nicely summarizes it: "Old Boss: pays the artist too little. New Boss: pays the artist nothing." Again, I would like to see more detailed data than what Eiren is serving up... M. On Nov 18, 2013, at 3:29 PM, Kim Icreverzi wrote: > I share Mark's first question and would be very interested to hear the response. > > To Mark's last point(s) about cinema not being important in Japan (and I have a sneaking suspicion we've had a conversation along these lines in person at some point, Mark), I guess I'd like to push back against the quantitative argument and ask more about forms of cinephilia in Japan. My sense is that Mark's right when he says that it doesn't seem like the "general public" is picking up and seeing foreign films online instead and, as a result, you don't have this same demand for speed that Alex is talking about in the case of South Korea (is there also something here with respect to copyright enforcement or concerns about piracy?). Anecdotally, I know a number of cinephiles in Japan who insist on seeing things only in theaters and who, though they might like to see films sooner, also are prepared to wait to see them on the big screen. Which is to say, that cinema for many of the cinephiles I know remains tied to the space of the theater. And while those numbers might not be very large (ie those who persist in seeing movies in the theater, still often seeing double or triple bills) this sort of spectatorship is alive in a way that I feel like I see much more rarely in the US, where that sort of commitment to viewing conditions seems increasingly (framed) like a relic of the past. > > Perhaps the other question that this might raise of foreign films, which relates again to Mark's question, is whether "foreign films" are going largely the way of the cinephile? [Also we should consider the way that cinema gets folded into the call to participate in domestic/national/nationalist forms of consumption in the wake of the disasters] > Kim > > On 11/17/13 7:40 PM, Alex Zahlten wrote: >> Good points, Mark. To the clogged distribution pipeline I would add another reason for the time lag for theatrical releases in Japan: Because they can. Japan has been probably the most successful country in the world in keeping online piracy (fairly) under control. This means there is much less pressure for a day-and-date release that is synchronized with the rest of the world. Compare this with South Korea, where US films have to come out very soon after the US release date simply because if they don't everyone will already have seen the film online / downloaded it. >> >> Best, >> Alex >> >> Gesendet: Sonntag, 17. November 2013 um 21:19 Uhr >> Von: "Mark Roberts" >> An: "Japanese Cinema Discussion Forum" >> Betreff: Re: [KineJapan] The marketshare of Japanese films in Japan >> So, a follow-up question would be: since Eiren is padding the numbers, which sources give a better breakdown of jishu eiga, pinku, anime, ODS, etc.? The Japanese Film Database has some of this information, but not all. >> >> As for foreign films coming to Japan late, I have seen this again and again. For international distribution, Japan is very often dead last in the entire world. >> >> My hypothesis is that there are at least two things going on here. >> >> First, I suspect that foreign films "arrive" late in Japan because the major distribution companies are giving priority to their stuff, and there are not enough independent companies to pick up the slack. I have heard people in distribution companies say that a major foreign film was bought at Cannes, almost two years before it opened in Tokyo. The second factor is simply that the general public are not very engaged in new films. I don't have the impression that large numbers of people are accessing films via the Internet. That kind of culture seems more marginal here. Rather, people are just not watching them at all. Frequentation statistics in theaters would seem to bear this out. >> >> Simply put, compared to the US, the UK, France, South Korea and Hong Kong, cinema just isn't very important in Japan today. >> >> M. >> >> On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: >> >> This is just a guess for which I have no proof, but I wonder if the extent to which Japanese are watching foreign films without going through the box office is rising. It takes a while for foreign films to get to theaters in Japan. Many times I've already seen something on an international flight before it appears here. And despite various barriers, people often can access them on the internet before they officially arrive. Are there any grounds for this idea? >> >> Greg Johnson >> _______________________________________________ >> 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 kicrever at uci.edu Mon Nov 18 01:29:16 2013 From: kicrever at uci.edu (Kim Icreverzi) Date: Sun, 17 Nov 2013 22:29:16 -0800 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp>, Message-ID: <5289B3BC.8030400@uci.edu> I share Mark's first question and would be very interested to hear the response. To Mark's last point(s) about cinema not being important in Japan (and I have a sneaking suspicion we've had a conversation along these lines in person at some point, Mark), I guess I'd like to push back against the quantitative argument and ask more about forms of cinephilia in Japan. My sense is that Mark's right when he says that it doesn't seem like the "general public" is picking up and seeing foreign films online instead and, as a result, you don't have this same demand for speed that Alex is talking about in the case of South Korea (is there also something here with respect to copyright enforcement or concerns about piracy?). Anecdotally, I know a number of cinephiles in Japan who insist on seeing things only in theaters and who, though they might like to see films sooner, also are prepared to wait to see them on the big screen. Which is to say, that cinema for many of the cinephiles I know remains tied to the space of the theater. And while those numbers might not be very large (ie those who persist in seeing movies in the theater, still often seeing double or triple bills) this sort of spectatorship is alive in a way that I feel like I see much more rarely in the US, where that sort of commitment to viewing conditions seems increasingly (framed) like a relic of the past. Perhaps the other question that this might raise of foreign films, which relates again to Mark's question, is whether "foreign films" are going largely the way of the cinephile? [Also we should consider the way that cinema gets folded into the call to participate in domestic/national/nationalist forms of consumption in the wake of the disasters] Kim On 11/17/13 7:40 PM, Alex Zahlten wrote: > Good points, Mark. To the clogged distribution pipeline I would add > another reason for the time lag for theatrical releases in Japan: > Because they can. Japan has been probably the most successful country > in the world in keeping online piracy (fairly) under control. This > means there is much less pressure for a day-and-date release that is > synchronized with the rest of the world. Compare this with South > Korea, where US films have to come out very soon after the US release > date simply because if they don't everyone will already have seen the > film online / downloaded it. > Best, > Alex > *Gesendet:* Sonntag, 17. November 2013 um 21:19 Uhr > *Von:* "Mark Roberts" > *An:* "Japanese Cinema Discussion Forum" > > *Betreff:* Re: [KineJapan] The marketshare of Japanese films in Japan > So, a follow-up question would be: since Eiren is padding the numbers, > which sources give a better breakdown of /jishu eiga/, /pinku/, anime, > ODS, etc.? The Japanese Film Database has some of this information, > but not all. > As for foreign films coming to Japan late, I have seen this again and > again. For international distribution, Japan is very often dead last > in the entire world. > My hypothesis is that there are at least two things going on here. > First, I suspect that foreign films "arrive" late in Japan because the > major distribution companies are giving priority to their stuff, and > there are not enough independent companies to pick up the slack. I > have heard people in distribution companies say that a major foreign > film was bought at Cannes, almost two years before it opened in > Tokyo. The second factor is simply that the general public are not > very engaged in new films. I don't have the impression that large > numbers of people are accessing films via the Internet. That kind of > culture seems more marginal here. Rather, people are just not watching > them at all. Frequentation statistics in theaters would seem to bear > this out. > Simply put, compared to the US, the UK, France, South Korea and Hong > Kong, cinema just isn't very important in Japan today. > M. > On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: > > This is just a guess for which I have no proof, but I wonder if > the extent to which Japanese are watching foreign films without > going through the box office is rising. It takes a while for > foreign films to get to theaters in Japan. Many times I've already > seen something on an international flight before it appears here. > And despite various barriers, people often can access them on the > internet before they officially arrive. Are there any grounds for > this idea? > > Greg Johnson > _______________________________________________ > 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 eija at helsinkicineaasia.fi Mon Nov 18 01:01:52 2013 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 18 Nov 2013 08:01:52 +0200 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> Message-ID: In Finland the major Hollywood hits (Marvel comic based and similar) open the same weekend than in the U.S. - actually we see them earlier, because of the time difference :D. The distribution companies have to release them fast, as otherwise people would maybe download them, but also because, the audience and media (film journals, blogs, etc.) follow closely what is going on in the U.S. I just don't t get the feeling that Japanese are as keenly following news on the U.S. releases. Mid-range films (Academy Award nominees) open latest around the Awards time, meaning winter/spring, as that is when you can ride with the Oscars buzz to get the audience interested. Maybe the role of film festivals is also different. In Europe festivals are used as a premiere screening venue - meaning you get the film, perhaps someone involved in making it, media attention - meaning better put the film in the theaters within a few months if you want to use the festival attention. I think the case is same in all the Nordic countries. In Japan festivals do not have a similar role. Eija 2013/11/18 Alex Zahlten > Good points, Mark. To the clogged distribution pipeline I would add > another reason for the time lag for theatrical releases in Japan: Because > they can. Japan has been probably the most successful country in the world > in keeping online piracy (fairly) under control. This means there is much > less pressure for a day-and-date release that is synchronized with the rest > of the world. Compare this with South Korea, where US films have to come > out very soon after the US release date simply because if they don't > everyone will already have seen the film online / downloaded it. > > Best, > Alex > > *Gesendet:* Sonntag, 17. November 2013 um 21:19 Uhr > *Von:* "Mark Roberts" > *An:* "Japanese Cinema Discussion Forum" < > kinejapan at lists.service.ohio-state.edu> > *Betreff:* Re: [KineJapan] The marketshare of Japanese films in Japan > So, a follow-up question would be: since Eiren is padding the numbers, > which sources give a better breakdown of *jishu eiga*, *pinku*, anime, > ODS, etc.? The Japanese Film Database has some of this information, but not > all. > > As for foreign films coming to Japan late, I have seen this again and > again. For international distribution, Japan is very often dead last in the > entire world. > > My hypothesis is that there are at least two things going on here. > > First, I suspect that foreign films "arrive" late in Japan because the > major distribution companies are giving priority to their stuff, and there > are not enough independent companies to pick up the slack. I have heard > people in distribution companies say that a major foreign film was bought > at Cannes, almost two years before it opened in Tokyo. The second factor is > simply that the general public are not very engaged in new films. I don't > have the impression that large numbers of people are accessing films via > the Internet. That kind of culture seems more marginal here. Rather, people > are just not watching them at all. Frequentation statistics in theaters > would seem to bear this out. > > Simply put, compared to the US, the UK, France, South Korea and Hong Kong, > cinema just isn't very important in Japan today. > > M. > > On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: > > > This is just a guess for which I have no proof, but I wonder if the extent > to which Japanese are watching foreign films without going through the box > office is rising. It takes a while for foreign films to get to theaters in > Japan. Many times I've already seen something on an international flight > before it appears here. And despite various barriers, people often can > access them on the internet before they officially arrive. Are there any > grounds for this idea? > > Greg Johnson > _______________________________________________ > 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 Alex.Zahlten at gmx.de Sun Nov 17 22:40:57 2013 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Mon, 18 Nov 2013 04:40:57 +0100 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp>, 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 gsjohnson at otsuma.ac.jp Sun Nov 17 22:38:26 2013 From: gsjohnson at otsuma.ac.jp (Gregory Johnson) Date: Mon, 18 Nov 2013 12:38:26 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> Message-ID: <350C63BE-C2A9-4BE8-B84B-AA6E88601F1B@otsuma.ac.jp> Thanks for the insights! Greg Johnson On Nov 18, 2013, at 11:19 AM, Mark Roberts wrote: > So, a follow-up question would be: since Eiren is padding the > numbers, which sources give a better breakdown of jishu eiga, pinku, > anime, ODS, etc.? The Japanese Film Database has some of this > information, but not all. > > As for foreign films coming to Japan late, I have seen this again > and again. For international distribution, Japan is very often dead > last in the entire world. > > My hypothesis is that there are at least two things going on here. > > First, I suspect that foreign films "arrive" late in Japan because > the major distribution companies are giving priority to their stuff, > and there are not enough independent companies to pick up the slack. > I have heard people in distribution companies say that a major > foreign film was bought at Cannes, almost two years before it opened > in Tokyo. The second factor is simply that the general public are > not very engaged in new films. I don't have the impression that > large numbers of people are accessing films via the Internet. That > kind of culture seems more marginal here. Rather, people are just > not watching them at all. Frequentation statistics in theaters would > seem to bear this out. > > Simply put, compared to the US, the UK, France, South Korea and Hong > Kong, cinema just isn't very important in Japan today. > > M. > > On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: > >> This is just a guess for which I have no proof, but I wonder if the >> extent to which Japanese are watching foreign films without going >> through the box office is rising. It takes a while for foreign >> films to get to theaters in Japan. Many times I've already seen >> something on an international flight before it appears here. And >> despite various barriers, people often can access them on the >> internet before they officially arrive. Are there any grounds for >> this idea? >> >> Greg Johnson >> _______________________________________________ >> 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 mroberts37 at mail-central.com Sun Nov 17 21:19:27 2013 From: mroberts37 at mail-central.com (Mark Roberts) Date: Mon, 18 Nov 2013 11:19:27 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> Message-ID: So, a follow-up question would be: since Eiren is padding the numbers, which sources give a better breakdown of jishu eiga, pinku, anime, ODS, etc.? The Japanese Film Database has some of this information, but not all. As for foreign films coming to Japan late, I have seen this again and again. For international distribution, Japan is very often dead last in the entire world. My hypothesis is that there are at least two things going on here. First, I suspect that foreign films "arrive" late in Japan because the major distribution companies are giving priority to their stuff, and there are not enough independent companies to pick up the slack. I have heard people in distribution companies say that a major foreign film was bought at Cannes, almost two years before it opened in Tokyo. The second factor is simply that the general public are not very engaged in new films. I don't have the impression that large numbers of people are accessing films via the Internet. That kind of culture seems more marginal here. Rather, people are just not watching them at all. Frequentation statistics in theaters would seem to bear this out. Simply put, compared to the US, the UK, France, South Korea and Hong Kong, cinema just isn't very important in Japan today. M. On Nov 18, 2013, at 10:05 AM, Gregory Johnson wrote: > This is just a guess for which I have no proof, but I wonder if the extent to which Japanese are watching foreign films without going through the box office is rising. It takes a while for foreign films to get to theaters in Japan. Many times I've already seen something on an international flight before it appears here. And despite various barriers, people often can access them on the internet before they officially arrive. Are there any grounds for this idea? > > Greg Johnson > _______________________________________________ > 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 gsjohnson at otsuma.ac.jp Sun Nov 17 20:05:43 2013 From: gsjohnson at otsuma.ac.jp (Gregory Johnson) Date: Mon, 18 Nov 2013 10:05:43 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> Message-ID: <5405723B-C022-4666-95BA-8DB12C229CA8@otsuma.ac.jp> This is just a guess for which I have no proof, but I wonder if the extent to which Japanese are watching foreign films without going through the box office is rising. It takes a while for foreign films to get to theaters in Japan. Many times I've already seen something on an international flight before it appears here. And despite various barriers, people often can access them on the internet before they officially arrive. Are there any grounds for this idea? Greg Johnson _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jasper_sharp at hotmail.com Sun Nov 17 13:44:09 2013 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Sun, 17 Nov 2013 18:44:09 +0000 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> Message-ID: I write a lot about the general trends in box office growth since the turn of the millennium in the introductory essay of my Historical Dictionary of Japanese Cinema, but in a nutshell, the top earners of every year are usually either Studio Ghibli films, one of the regular theatrical films based on well-known anime characters like Detective Conan or Doraemon, or spinoffs of television series, like Bayside Shakedown, Ramblers, Umizaru, Boys Over Flowers etc - nothing that anyone in the West who hasnt seen them should feel they are missing out on.The growth in number of films is down to two things - there's a lot of the micro-budget indie "jishu eiga", which play for a very short time at select specialist indie cinemas (usually with the director paying to get his own film screened), and the growth in this sector is enough to compensate for the declining number of 'seijin eiga' pink films over the past five years. Secondly, the Eiren figures now include what the Japanese refer to as ODS ("other digital stuff"), i.e. live-streamed musical or sports events. My own feeling is Japanese film is in a pretty awful state at the moment, despite the stats.I wrote a summary too of the state of the industry for this year's Screen Japan Supplement Cannes daily: http://issuu.com/emap_/docs/screen_japan_2013?e=6122892/2453852 The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them. Currently in production, directed by Tim Grabham and Jasper Sharp. The Historical Dictionary of Japanese Cinema (2011) is out now from Scarecrow Press Midnight Eye - Visions of Japanese cinema http://www.midnighteye.com Jasper Sharp, writer & film curatorhttp://jaspersharp.com/ From: macfugu at mac.com Date: Sun, 17 Nov 2013 21:00:55 +0900 To: kinejapan at lists.acs.ohio-state.edu Subject: [KineJapan] The marketshare of Japanese films in Japan Hi, I ask a similar question every couple of years. According to the Motion Picture Producers Association of Japan, the share of Japanese films shown in Japanese cinemas has steadily risen from 27.1% in 2002 to 65.7% in 2012. 2012 also saw a record number of Japanese films released (554) and record box office receipts for Japanese films (?128,181). (From 1955-2012). Does anyone have any ideas on why this has happened? Best regards, John Gorman _______________________________________________ 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 macfugu at mac.com Sun Nov 17 09:53:01 2013 From: macfugu at mac.com (John Gorman) Date: Sun, 17 Nov 2013 23:53:01 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan In-Reply-To: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> References: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> Message-ID: <14CF8110-513E-4E1A-84E3-D148FE73C0AD@mac.com> Sorry, need to add six zeros to that box office figure: ?128,181,000,000. John On Nov 17, 2013, at 9:00 PM, John Gorman wrote: > Hi, > > I ask a similar question every couple of years. > > According to the Motion Picture Producers Association of Japan, the share of Japanese films shown in Japanese cinemas has steadily risen from 27.1% in 2002 to 65.7% in 2012. > > 2012 also saw a record number of Japanese films released (554) and record box office receipts for Japanese films (?128,181). (From 1955-2012). > > Does anyone have any ideas on why this has happened? > > Best regards, > > John Gorman > _______________________________________________ > 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 macfugu at mac.com Sun Nov 17 07:00:55 2013 From: macfugu at mac.com (John Gorman) Date: Sun, 17 Nov 2013 21:00:55 +0900 Subject: [KineJapan] The marketshare of Japanese films in Japan Message-ID: <9D4D9D9A-B11C-4CFE-ADCC-8FBB5CA3071B@mac.com> Hi, I ask a similar question every couple of years. According to the Motion Picture Producers Association of Japan, the share of Japanese films shown in Japanese cinemas has steadily risen from 27.1% in 2002 to 65.7% in 2012. 2012 also saw a record number of Japanese films released (554) and record box office receipts for Japanese films (?128,181). (From 1955-2012). Does anyone have any ideas on why this has happened? Best regards, John Gorman -------------- 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 jimharper666 at yahoo.co.uk Wed Nov 13 12:24:54 2013 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Wed, 13 Nov 2013 17:24:54 +0000 Subject: [KineJapan] Akira Inoue In-Reply-To: <142511b679a.cla.kaidan@virgilio.it> Message-ID: <1384363494.34271.YahooMailBasic@web173106.mail.ir2.yahoo.com> Evening all I think someone here might be able to help: I was wondering whether much had been written about the director Akira Inoue, and what the best English-language source of information might be. It's not for research purpose, more just curiosity. I've just watched the 7th Nemuri Kyoshiro film (Tajo-ken/Mask of the Princess, 1966), which Inoue directed. It's an exceptionally good-looking film- framing and shot composition are excellent, cinematography is some of the finest I've seen from a Japanese film of the period, atmospheric and effective use of fog, shadows and light sources; I'll stop there. I know Yasukazu Takemura is a capable cinematographer, but Mask of the Princess looks better than the preceding film, which was also shot by Takemura (Kimiyoshi Yasuda directed that one). Anyway, I was wondering whether Inoue's other films were this visually stunning, so what information is available? Thanks for your time! Jim Harper. NOW AVAILABLE: Flowers From Hell: The Modern Japanese Horror Film, by Jim Harper (Noir Publishing). "Fascinating overview of the Japanese horror boom... Comprehensive, in-depth and slickly presented."- DVD Monthly. Available from Noir Publishing, Amazon.co.uk, Waterstones and all good bookstores. _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From cla.kaidan at virgilio.it Wed Nov 13 05:56:59 2013 From: cla.kaidan at virgilio.it (cla.kaidan at virgilio.it) Date: Wed, 13 Nov 2013 11:56:59 +0100 Subject: [KineJapan] New publication Message-ID: <142511b679a.cla.kaidan@virgilio.it> Sorry, this is the link to the book... Thank you Best regards, Claudia http://sonatine2010.blogspot.it/#!/2013/11/un-importante-libro-su-koreeda_6.html ----Messaggio originale---- Da: cla.kaidan at virgilio.it Data: 13-nov-2013 11.35 A: Ogg: [KineJapan] New publication Dear Kinejapaners, I am very pleased to announce the publication of "Splendidi riflessi di ci? che ci manca. Il cinema di Koreeda Hirokazu" The book contains a general section and reviews of all Koreeda's films, documentaries and Like Father, Like Son included. Only in Italian, at the moment. With best regards Claudia Bertol? http://sonatine2010.blogspot.it/2013/11/i-film-di-koreeda-al-museo-del-cinema.html -------------- 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 cla.kaidan at virgilio.it Wed Nov 13 05:35:50 2013 From: cla.kaidan at virgilio.it (cla.kaidan at virgilio.it) Date: Wed, 13 Nov 2013 11:35:50 +0100 Subject: [KineJapan] New publication Message-ID: <14251080818.cla.kaidan@virgilio.it> Dear Kinejapaners, I am very pleased to announce the publication of "Splendidi riflessi di ci? che ci manca. Il cinema di Koreeda Hirokazu" The book contains a general section and reviews of all Koreeda's films, documentaries and Like Father, Like Son included. Only in Italian, at the moment. With best regards Claudia Bertol? http://sonatine2010.blogspot.it/2013/11/i-film-di-koreeda-al-museo-del-cinema.html -------------- 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 asakof at tkd.att.ne.jp Sun Nov 10 13:17:43 2013 From: asakof at tkd.att.ne.jp (fujioka asako) Date: Mon, 11 Nov 2013 03:17:43 +0900 Subject: [KineJapan] Sakai & Hamaguchi's Tohoku Trilogy In-Reply-To: References: Message-ID: <000001cede41$264ec4e0$72ec4ea0$@att.ne.jp> Showing with English subtitles on Nov. 15 in Shibuya Winner of Sky Perfect IDEHA prize at Yamagata IDFF 2013 _Storytellers_ (???????Utau Hito, 2013) Invited to Locarno 2011 _The Sound of Waves_ (???????Nami no Oto, 2011) 11:00 AM, 15 Nov: ?Storytellers? with English subtitles(RUNTIME:2:00) 2:20 PM, 15 Nov: ?The Sound of Waves? with English subtitles(RUNTIME:2:22) at AUDITORIUM shibuya Fee: Adult: 1500yen/ University & College student: 1300yen(weekdays: 1000yen)/Senior (over 60?): 1000yen / High School student: 800yen/Middle School Student and/or under: 500yen _Voices from the Waves_ is shown without English subtitles (Japanese dialogues). http://a-shibuya.jp/archives/7426 Trailer?https://www.youtube.com/watch?feature=player_embedded&v=X-VH9F_K-NA ????? ??????? http://silentvoice.jp/naminooto/ ?????? ?????????? ???? http://silentvoice.jp/naminokoe/ ??????? http://silentvoice.jp/utauhito/ _______________________________________________ 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 Sun Nov 10 07:31:34 2013 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 10 Nov 2013 12:31:34 +0000 (GMT) Subject: [Kinema Club] [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival Message-ID: <1384086694.61623.YahooMailNeo@web171403.mail.ir2.yahoo.com> New York in January?? That's also interesting. Given what they seem to have in the pipeline, already, I would take it that screenings are more likely to be after Kineclub on January 17-8, rather than before ??? I'm just thinking about my plane tickets, as must others, if you have any further guidance, Daisuke. best, Roger ----- Original Message ----- From: "Daisuke Miyao" To: "Japanese Cinema Discussion Forum" Sent: Friday, November 08, 2013 6:11 PM Subject: Re: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival > Dear all, > > Thank you very much for your interests in the retrospective.? Answering > Alex's question, here is the tentative list of films (not only > Japanese).? In addition to Berlin International Film Festival, I am > collaborating with MoMA of New York, and they will have its own "The > Aesthetics of Shadow" series in January.? More information to come.... > > Best, > Daisuke > > A) LIGHTING STYLES FOR GENRES: > 1) Street films: ?City as protagonist? > JUJIRO (Crossways/Im Schatten des Yoshiwara), Teinosuke Kinugasa, 1928 > (silent, engl. subt.) > SONO YO NO TSUMA (That Night?s Wife), Yasujiro Ozu, 1930 (silent, engl. > subt.) > NINJO KAMIFUSEN (Humanity and Paper Balloon), Yamanaka Sadao, 1937 > (engl. subt.) > SUNRISE, F.W. Murnau, 1927 (silent) > QUAI DES BRUMES, Marcel Carn?, F 1938 (Eugen Sch?fftan) > UNTER DER LATERNE, Gerhard Lamprecht, G 1926 (silent, digital > restoration, Deutsche Kinemathek) > DIRNENTRAG?DIE, Bruno Rahn, 1927 (Guido Seeber) or > MINATO NO NIHON MUSUME (Japanese Girls at the Harbor), Hiroshi Shimizu, > 1933 > > 2) jidaigeki: ?Flash of the sword? > YUKINOJO HENGE (An Actor?s Revenge), Teinosuke Kinugasa, 1935/1952 > (engl. subt.) > THE MARK OF ZORRO, Fred Niblo, 1920 (silent) > RASHOMON, Akira Kurosawa, 1950 > THE IRON MASK, Allan Dwan, 1929 (silent)or > SCARAMOUCHE, Rex Ingram, 1924 (silent) > > 3) ?War films? > GONIN NO SEKKOHEI (Five Scouts), Tomotaka Tasaka, 1938 (live subt. > engl.) > HAWAI MARE OKI KAISEN (The War at Sea from Hawaii to Malaya), Kajiro > Yamamoto, 1944 (live subt. engl.) > DAWN PATROL, Howard Hawks, 1930 > AIR FORCE, Howard Hawks, 1943 > > B) LIGHTING STYLES FOR STARS: > Marlene Dietrich, Greta Garbo, Kazuo Hasegawa/Hayashi Chojiro, Sessue > Hayakawa etc. > 4) Lighting styles for stars > TSURUHACHI TSURUJIRO (Tsuruhachi and Tsurujiro), Mikio Naruse, 1938 > (engl. subt.) > THE TYPHOON, Reginald Barker, (withHenry Kotani), 1914 (silent) > THE CHEAT, Cecil B. DeMille, 1915 (silent) > SHANGHAI EXPRESS, Josef von Sternberg, 1932 (Lee Garmes) and/or > FLESH AND THE DEVIL, Clarence Brown, 1926 (William Daniels) and/or > > C) THEMES: > 5) Light and Rhythm > KURUTTA IPPEJI (A Page of Madness), Teinosuke Kinugasa, 1926 (silent, > engl. subt.) > OSHIDORI UTAGASSEN (Singing Lovebirds), Makino Masahiro, 1939 (engl. > subt.) > BERLIN. DIE SINFONIE DER GRO?STADT (Berlin. Symphony of a Great City), > Walther Ruttmann, 1927 > 1 Short film program: > OPUS I-IV, Walther Ruttmann, 1921-25 > Lichtspiel Schwarz Weiss Grau, L?szl? Moholy-Nagy, 1930 > Grossstadtzigeuner, L?szl? Moholy-Nagy, 1932 > > 6) Painting with shadows > UGETSU (Tales of the Rain and Moon), Kenji Mizoguchi, 1953 (engl. > subt.) > FAUST, F.W. Murnau, 1926 (silent) > LA BELLE ET LA BETE, Jean Cocteau, F 1945 (Henri Alekan) > STAGECOACH, John Ford, 1939 (Bert Glennon) > and possibly F?HRMANN MARIA, Frank Wysbar, G 1936 > > 7) Towards Realism (6 films) > DOCKS OF NEW YORK, Josef von Sternberg, 1926 (engl. subt.) > NASAKE NO HIKARI (Light of Compassion), Henri Kotani, 1926 (silent, > engl. live subt.) > TOKYO NO EIYU (A Hero of Tokyo), Hiroshi Shimizu, 1935 (engl. subt.) > THE GRAPES OF WRATH, John Ford, 1940 > CITIZEN KANE, Orson Welles, 1941 > NAKED CITY Jules Dassin, 1948 (restoration LoC) or > BERLIN EXPRESS, Jacques Tourneur, 1948 (restoration LoC) > > Additional title: > Benjamin Christensen: H?VNENS NAT or HEMMELIGHEDSFULDE X (or less known > title ? Thomas Christensen) (silent) > > > > On 2013/11/08 06:52, Alex Zahlten wrote: >> This looks amazing, Daisuke. In the press release no specific films >> seem to be mentioned- are you allowed to give us an idea of which >> Japanese films will be playing there? >> >> Best >> >> Alex >> >> GESENDET: Donnerstag, 07. November 2013 um 22:50 Uhr >>? VON: "Daisuke Miyao" >>? AN: "Japanese Cinema Discussion Forum" >> >>? BETREFF: [KineJapan] "The Aesthetics of Shadow" Retrospective @ >> Berlin International Film Festival >> Dear All, >> >>? I would like to let you know that my book, The Aesthetics of Shadow: >>? Lighting and Japanese Cinema (Duke University Press, 2013), is >> invited >>? to the 64th Berlin International Film Festival. There will be a >>? retrospective based on the book and beyond. Here is the link to the >>? festival website. >> >> >> http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html >> [1] >> >>? I am going to introduce some films. If you are in Berlin in February, >>? see you there! >> >>? Best, >>? Daisuke >> >>? Daisuke Miyao >>? Associate Professor of Japanese Film and Cinema Studies >>? University of Oregon >> > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ Kinemaclub mailing list Kinemaclub at mailman.yale.edu http://mailman.yale.edu/mailman/listinfo/kinemaclub From amnornes at umich.edu Sat Nov 9 15:12:29 2013 From: amnornes at umich.edu (Markus Nornes) Date: Sat, 9 Nov 2013 15:12:29 -0500 Subject: [KineJapan] Camp in Japan In-Reply-To: <0E06529D-B20B-4FD3-962B-E41EA70822EE@bu.edu> References: <3FE17331-A533-4683-A714-BF6B16CF3B26@mail.ecc.u-tokyo.ac.jp> <0E06529D-B20B-4FD3-962B-E41EA70822EE@bu.edu> Message-ID: <461C3145-A8CC-42AC-A436-51F43A2EDF61@umich.edu> For the record, this question was inspired by Miike?Happiness of the Katakuris to be specific. And in conversation with a scholar working on Sound of Music! Markus > On Nov 7, 2013, at 10:39 AM, "Frederick, Sarah" wrote: > > Keith Vincent has lectured about camp and kitsch in Mishima's "Patriotism" and his persona - more about the story than the film but with reference to both. > > Sarah Frederick > Associate Professor > Dept. Modern Languages and Comparative Literature > Boston University > > sfred at bu.edu > > On Nov 7, 2013, at 10:28 AM, "Jason G. Karlin" > wrote: > >> Jonathan D. Mackintosh's chapter "The Homo Cultures of Iconic Personality in Japan: Mishima Yukio and Misora Hibari" in my co-edited volume Idols and Celebrity in Japanese Media Culture (Palgrave, 2012) briefly discusses camp in relation to Misora Hibari's star image. The chapter does not focus on camp per se, but rather gay icons in postwar Japan. Mackintosh argues that Hibari and Mishima were similarly appropriated as iconic personalities by gay men in the 1970s. >> >> Andrew Ross describes the "camp effect" as when cultural products (such as stars, fashions, genres, and stereotypes) of an earlier moment of production have lost their power to dominate cultural meanings and become available in the present for redefinition according to contemporary tastes. If there is an appropriation and ironic distancing of objects among gay men, I would say that film is one of its least common sources. More recently, I think Matsuda Seiko has become a kind of gay icon. However, the camp that she inspires through parody is more often rooted, like Misora, in terms of her stage performances. >> >> I'm not aware of any iconic "camp" Japanese films, like the Wizard of Oz (1939) or Gentlemen Prefer Blondes (1953) in the US. Since camp arises from audiences investing texts with new meanings, the Japanese camp film would depend upon cult audiences producing alternate readings of film texts that are not explicitly concerned with gay themes. Perhaps Misora's films are camp? >> >> Jason G. Karlin, Ph.D. >> Associate Professor >> University of Tokyo >> Interfaculty Initiative in Information Studies >> 7-3-1 Hongo, Bunkyo-ku >> Tokyo 113-0033 JAPAN >> >> URL: http://individuals.iii.u-tokyo.ac.jp/~karlin/ >> Email: ukarlin at mail.ecc.u-tokyo.ac.jp >> Twitter: http://twitter.com/jgkarlin >> >> >>> On Nov 7, 2013, at 11:19 PM, Markus Nornes wrote: >>> >>> Who has dealt with camp in Japan. Not Western camp appropriations of Japanese films, but camp in the local context? >>> >>> Markus >>> >>> >>> >>> -- >>> 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 dmiyao at uoregon.edu Fri Nov 8 13:11:35 2013 From: dmiyao at uoregon.edu (Daisuke Miyao) Date: Fri, 8 Nov 2013 10:11:35 -0800 Subject: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: References: Message-ID: Dear all, Thank you very much for your interests in the retrospective. Answering Alex's question, here is the tentative list of films (not only Japanese). In addition to Berlin International Film Festival, I am collaborating with MoMA of New York, and they will have its own "The Aesthetics of Shadow" series in January. More information to come.... Best, Daisuke A) LIGHTING STYLES FOR GENRES: 1) Street films: ?City as protagonist? JUJIRO (Crossways/Im Schatten des Yoshiwara), Teinosuke Kinugasa, 1928 (silent, engl. subt.) SONO YO NO TSUMA (That Night?s Wife), Yasujiro Ozu, 1930 (silent, engl. subt.) NINJO KAMIFUSEN (Humanity and Paper Balloon), Yamanaka Sadao, 1937 (engl. subt.) SUNRISE, F.W. Murnau, 1927 (silent) QUAI DES BRUMES, Marcel Carn?, F 1938 (Eugen Sch?fftan) UNTER DER LATERNE, Gerhard Lamprecht, G 1926 (silent, digital restoration, Deutsche Kinemathek) DIRNENTRAG?DIE, Bruno Rahn, 1927 (Guido Seeber) or MINATO NO NIHON MUSUME (Japanese Girls at the Harbor), Hiroshi Shimizu, 1933 2) jidaigeki: ?Flash of the sword? YUKINOJO HENGE (An Actor?s Revenge), Teinosuke Kinugasa, 1935/1952 (engl. subt.) THE MARK OF ZORRO, Fred Niblo, 1920 (silent) RASHOMON, Akira Kurosawa, 1950 THE IRON MASK, Allan Dwan, 1929 (silent)or SCARAMOUCHE, Rex Ingram, 1924 (silent) 3) ?War films? GONIN NO SEKKOHEI (Five Scouts), Tomotaka Tasaka, 1938 (live subt. engl.) HAWAI MARE OKI KAISEN (The War at Sea from Hawaii to Malaya), Kajiro Yamamoto, 1944 (live subt. engl.) DAWN PATROL, Howard Hawks, 1930 AIR FORCE, Howard Hawks, 1943 B) LIGHTING STYLES FOR STARS: Marlene Dietrich, Greta Garbo, Kazuo Hasegawa/Hayashi Chojiro, Sessue Hayakawa etc. 4) Lighting styles for stars TSURUHACHI TSURUJIRO (Tsuruhachi and Tsurujiro), Mikio Naruse, 1938 (engl. subt.) THE TYPHOON, Reginald Barker, (withHenry Kotani), 1914 (silent) THE CHEAT, Cecil B. DeMille, 1915 (silent) SHANGHAI EXPRESS, Josef von Sternberg, 1932 (Lee Garmes) and/or FLESH AND THE DEVIL, Clarence Brown, 1926 (William Daniels) and/or C) THEMES: 5) Light and Rhythm KURUTTA IPPEJI (A Page of Madness), Teinosuke Kinugasa, 1926 (silent, engl. subt.) OSHIDORI UTAGASSEN (Singing Lovebirds), Makino Masahiro, 1939 (engl. subt.) BERLIN. DIE SINFONIE DER GRO?STADT (Berlin. Symphony of a Great City), Walther Ruttmann, 1927 1 Short film program: OPUS I-IV, Walther Ruttmann, 1921-25 Lichtspiel Schwarz Weiss Grau, L?szl? Moholy-Nagy, 1930 Grossstadtzigeuner, L?szl? Moholy-Nagy, 1932 6) Painting with shadows UGETSU (Tales of the Rain and Moon), Kenji Mizoguchi, 1953 (engl. subt.) FAUST, F.W. Murnau, 1926 (silent) LA BELLE ET LA BETE, Jean Cocteau, F 1945 (Henri Alekan) STAGECOACH, John Ford, 1939 (Bert Glennon) and possibly F?HRMANN MARIA, Frank Wysbar, G 1936 7) Towards Realism (6 films) DOCKS OF NEW YORK, Josef von Sternberg, 1926 (engl. subt.) NASAKE NO HIKARI (Light of Compassion), Henri Kotani, 1926 (silent, engl. live subt.) TOKYO NO EIYU (A Hero of Tokyo), Hiroshi Shimizu, 1935 (engl. subt.) THE GRAPES OF WRATH, John Ford, 1940 CITIZEN KANE, Orson Welles, 1941 NAKED CITY Jules Dassin, 1948 (restoration LoC) or BERLIN EXPRESS, Jacques Tourneur, 1948 (restoration LoC) Additional title: Benjamin Christensen: H?VNENS NAT or HEMMELIGHEDSFULDE X (or less known title ? Thomas Christensen) (silent) On 2013/11/08 06:52, Alex Zahlten wrote: > This looks amazing, Daisuke. In the press release no specific films > seem to be mentioned- are you allowed to give us an idea of which > Japanese films will be playing there? > > Best > > Alex > > GESENDET: Donnerstag, 07. November 2013 um 22:50 Uhr > VON: "Daisuke Miyao" > AN: "Japanese Cinema Discussion Forum" > > BETREFF: [KineJapan] "The Aesthetics of Shadow" Retrospective @ > Berlin International Film Festival > Dear All, > > I would like to let you know that my book, The Aesthetics of Shadow: > Lighting and Japanese Cinema (Duke University Press, 2013), is > invited > to the 64th Berlin International Film Festival. There will be a > retrospective based on the book and beyond. Here is the link to the > festival website. > > > http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html > [1] > > I am going to introduce some films. If you are in Berlin in February, > see you there! > > Best, > Daisuke > > Daisuke Miyao > Associate Professor of Japanese Film and Cinema Studies > University of Oregon > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan [2] > > Links: > ------ > [1] > http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html > [2] 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 From frako at well.com Fri Nov 8 12:14:47 2013 From: frako at well.com (Frances Loden) Date: Fri, 8 Nov 2013 09:14:47 -0800 Subject: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: References: Message-ID: I'm very much looking forward to reading your book! Frako Loden California State University East Bay On Fri, Nov 8, 2013 at 6:52 AM, Alex Zahlten wrote: > This looks amazing, Daisuke. In the press release no specific films seem > to be mentioned- are you allowed to give us an idea of which Japanese films > will be playing there? > > Best > Alex > > > *Gesendet:* Donnerstag, 07. November 2013 um 22:50 Uhr > *Von:* "Daisuke Miyao" > *An:* "Japanese Cinema Discussion Forum" < > kinejapan at lists.service.ohio-state.edu> > *Betreff:* [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin > International Film Festival > Dear All, > > I would like to let you know that my book, The Aesthetics of Shadow: > Lighting and Japanese Cinema (Duke University Press, 2013), is invited > to the 64th Berlin International Film Festival. There will be a > retrospective based on the book and beyond. Here is the link to the > festival website. > > > http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html > > I am going to introduce some films. If you are in Berlin in February, > see you there! > > Best, > Daisuke > > Daisuke Miyao > Associate Professor of Japanese Film and Cinema Studies > University of Oregon > > > > _______________________________________________ > 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 Alex.Zahlten at gmx.de Fri Nov 8 09:52:48 2013 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Fri, 8 Nov 2013 15:52:48 +0100 Subject: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: References: 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 Thu Nov 7 23:56:43 2013 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 8 Nov 2013 04:56:43 +0000 Subject: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: References: Message-ID: <1383886603.82817.YahooMailNeo@web171402.mail.ir2.yahoo.com> Daisuke, this is excellent news, and the advance notice is appreciated. Roger >________________________________ > From: Daisuke Miyao >To: Japanese Cinema Discussion Forum >Sent: Friday, 8 November 2013, 3:50 >Subject: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival > > >Dear All, > >I would like to let you know that my book, The Aesthetics of Shadow: >Lighting and Japanese Cinema (Duke University Press, 2013), is invited >to the 64th Berlin International Film Festival.? There will be a >retrospective based on the book and beyond.? Here is the link to the >festival website. > >http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html > >I am going to introduce some films.? If you are in Berlin in February, >see you there! > >Best, >Daisuke > >Daisuke Miyao >Associate Professor of Japanese Film and Cinema Studies >University of Oregon > > > >_______________________________________________ >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 dmiyao at uoregon.edu Thu Nov 7 22:50:50 2013 From: dmiyao at uoregon.edu (Daisuke Miyao) Date: Thu, 7 Nov 2013 19:50:50 -0800 Subject: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival Message-ID: Dear All, I would like to let you know that my book, The Aesthetics of Shadow: Lighting and Japanese Cinema (Duke University Press, 2013), is invited to the 64th Berlin International Film Festival. There will be a retrospective based on the book and beyond. Here is the link to the festival website. http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html I am going to introduce some films. If you are in Berlin in February, see you there! Best, Daisuke Daisuke Miyao Associate Professor of Japanese Film and Cinema Studies University of Oregon _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From sfred at bu.edu Thu Nov 7 10:39:24 2013 From: sfred at bu.edu (Frederick, Sarah) Date: Thu, 7 Nov 2013 15:39:24 +0000 Subject: [KineJapan] Camp in Japan In-Reply-To: <3FE17331-A533-4683-A714-BF6B16CF3B26@mail.ecc.u-tokyo.ac.jp> References: <3FE17331-A533-4683-A714-BF6B16CF3B26@mail.ecc.u-tokyo.ac.jp> Message-ID: <0E06529D-B20B-4FD3-962B-E41EA70822EE@bu.edu> Keith Vincent has lectured about camp and kitsch in Mishima's "Patriotism" and his persona - more about the story than the film but with reference to both. Sarah Frederick Associate Professor Dept. Modern Languages and Comparative Literature Boston University sfred at bu.edu On Nov 7, 2013, at 10:28 AM, "Jason G. Karlin" > wrote: Jonathan D. Mackintosh's chapter "The Homo Cultures of Iconic Personality in Japan: Mishima Yukio and Misora Hibari" in my co-edited volume Idols and Celebrity in Japanese Media Culture (Palgrave, 2012) briefly discusses camp in relation to Misora Hibari's star image. The chapter does not focus on camp per se, but rather gay icons in postwar Japan. Mackintosh argues that Hibari and Mishima were similarly appropriated as iconic personalities by gay men in the 1970s. Andrew Ross describes the "camp effect" as when cultural products (such as stars, fashions, genres, and stereotypes) of an earlier moment of production have lost their power to dominate cultural meanings and become available in the present for redefinition according to contemporary tastes. If there is an appropriation and ironic distancing of objects among gay men, I would say that film is one of its least common sources. More recently, I think Matsuda Seiko has become a kind of gay icon. However, the camp that she inspires through parody is more often rooted, like Misora, in terms of her stage performances. I'm not aware of any iconic "camp" Japanese films, like the Wizard of Oz (1939) or Gentlemen Prefer Blondes (1953) in the US. Since camp arises from audiences investing texts with new meanings, the Japanese camp film would depend upon cult audiences producing alternate readings of film texts that are not explicitly concerned with gay themes. Perhaps Misora's films are camp? Jason G. Karlin, Ph.D. Associate Professor University of Tokyo Interfaculty Initiative in Information Studies 7-3-1 Hongo, Bunkyo-ku Tokyo 113-0033 JAPAN URL: http://individuals.iii.u-tokyo.ac.jp/~karlin/ Email: ukarlin at mail.ecc.u-tokyo.ac.jp Twitter: http://twitter.com/jgkarlin On Nov 7, 2013, at 11:19 PM, Markus Nornes > wrote: Who has dealt with camp in Japan. Not Western camp appropriations of Japanese films, but camp in the local context? Markus -- 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 -------------- 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 ukarlin at mail.ecc.u-tokyo.ac.jp Thu Nov 7 10:28:20 2013 From: ukarlin at mail.ecc.u-tokyo.ac.jp (Jason G. Karlin) Date: Fri, 8 Nov 2013 00:28:20 +0900 Subject: [KineJapan] Camp in Japan In-Reply-To: References: Message-ID: <3FE17331-A533-4683-A714-BF6B16CF3B26@mail.ecc.u-tokyo.ac.jp> Jonathan D. Mackintosh's chapter "The Homo Cultures of Iconic Personality in Japan: Mishima Yukio and Misora Hibari" in my co-edited volume Idols and Celebrity in Japanese Media Culture (Palgrave, 2012) briefly discusses camp in relation to Misora Hibari's star image. The chapter does not focus on camp per se, but rather gay icons in postwar Japan. Mackintosh argues that Hibari and Mishima were similarly appropriated as iconic personalities by gay men in the 1970s. Andrew Ross describes the "camp effect" as when cultural products (such as stars, fashions, genres, and stereotypes) of an earlier moment of production have lost their power to dominate cultural meanings and become available in the present for redefinition according to contemporary tastes. If there is an appropriation and ironic distancing of objects among gay men, I would say that film is one of its least common sources. More recently, I think Matsuda Seiko has become a kind of gay icon. However, the camp that she inspires through parody is more often rooted, like Misora, in terms of her stage performances. I'm not aware of any iconic "camp" Japanese films, like the Wizard of Oz (1939) or Gentlemen Prefer Blondes (1953) in the US. Since camp arises from audiences investing texts with new meanings, the Japanese camp film would depend upon cult audiences producing alternate readings of film texts that are not explicitly concerned with gay themes. Perhaps Misora's films are camp? Jason G. Karlin, Ph.D. Associate Professor University of Tokyo Interfaculty Initiative in Information Studies 7-3-1 Hongo, Bunkyo-ku Tokyo 113-0033 JAPAN URL: http://individuals.iii.u-tokyo.ac.jp/~karlin/ Email: ukarlin at mail.ecc.u-tokyo.ac.jp Twitter: http://twitter.com/jgkarlin On Nov 7, 2013, at 11:19 PM, Markus Nornes wrote: > Who has dealt with camp in Japan. Not Western camp appropriations of Japanese films, but camp in the local context? > > Markus > > > > -- > 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 Thu Nov 7 09:19:45 2013 From: amnornes at umich.edu (Markus Nornes) Date: Thu, 7 Nov 2013 09:19:45 -0500 Subject: [KineJapan] Camp in Japan Message-ID: Who has dealt with camp in Japan. Not Western camp appropriations of Japanese films, but camp in the local context? Markus -- *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 Alex.Zahlten at gmx.de Wed Nov 6 15:57:01 2013 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Wed, 6 Nov 2013 21:57:01 +0100 Subject: [KineJapan] Zeze Takahisa at Harvard In-Reply-To: <9ADD18D0-C428-48DE-94FB-B7320B4B188A@yale.edu> References: <9ADD18D0-C428-48DE-94FB-B7320B4B188A@yale.edu> 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