From naokiya at gmail.com  Sat Apr 26 20:19:50 2014
From: naokiya at gmail.com (Naoki Yamamoto)
Date: Sat, 26 Apr 2014 17:19:50 -0700
Subject: [KineJapan] Ashes to Honey at UCSB This Tuesday
Message-ID: <A0B6A478-55EB-47AA-A37C-8BC0A7CF40A8@gmail.com>

Dear KineJapaners,

If you happen to be in the LA/Santa Barbara area, please join me for the screening on this Tuesday (April 29. 7:00PM) of Ashes to Honey (2010, dir. Kamanaka Hitomi), the third and last installment of the Pollock Theater film series, "Nuclear Japan: Japanese Cinema Before and After Fukushima." This highly acclaimed documentary focuses on longterm struggles of the local residents in the Inland Sea of Japan to prevent the construction of a nuclear power plant. With its global eco-feminist perspective, the film will be instructive to anyone who wishes to make a critical shift from destructive nuclear power to renewable energy sources.

I am very excited to announce that the director Kamanaka will join us via Skype for the Q & A session after the screening. This session will be moderated by Prof. ann-elise lewallen (UCSB, East Asian Languages and Cultural Studies).

More info can be found here:
http://www.carseywolf.ucsb.edu/pollock/events/ashes-honey


Best,
Naoki

Naoki Yamamoto
Assistant Professor
Film and Media Studies
University of California, Santa Barbara 
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From eija at helsinkicineaasia.fi  Sat Apr 26 06:44:10 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Sat, 26 Apr 2014 13:44:10 +0300
Subject: [KineJapan] Ishii Yuya's new film sneak preview at FCCJ
Message-ID: <CA+FavwOvTBHMZ5eKsKj5rNSKFtRWe25jj2iW7CSuFh9YViDCiA@mail.gmail.com>

Dear KineJapanners,


The Foreign Correspondents' Club in Yurakucho is screening Ishii Yuya's new
film, "Our Family" (Bokutachi no Kazoku) on Tues., May 13. Ishii will be
there along with his two stars, Satoshi Tsumabuki and Sosuke Ikematsu. You
may have seen the Variety review, which compares it favorably to "Tokyo
Sonata" and praises the director's "new compassion and gravitas."


Since FCCJ is a private club, you must reserve your seats through Karen
Severns: kjs30 at gol.com.


*FCCJ SNEAK PREVIEW SCREENING *

*Tuesday, May 13, 7 pm*


*OUR FAMILY (Bokutachi no Kazoku)*

Followed by a Q&A with director Yuya Ishii, stars Satoshi Tsumabuki and

Sosuke Ikematsu

Japan, 2014  117 minutes  In Japanese with English subtitles


For more on the film: http://bokutachi-kazoku.com/
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From macyroger at yahoo.co.uk  Thu Apr 24 16:31:03 2014
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Thu, 24 Apr 2014 21:31:03 +0100
Subject: [KineJapan] Oldest Surviving Anime Short by Kon Ichikawa Found
In-Reply-To: <6DAD7DA0-531B-450E-9C7D-D18C602071F9@gmail.com>
References: <6DAD7DA0-531B-450E-9C7D-D18C602071F9@gmail.com>
Message-ID: <1398371463.99367.YahooMailNeo@web171401.mail.ir2.yahoo.com>

Fascinating.
I'm sure Tochigi-san's speculation (in the Asahi article) is right that it was brought to California to be shown to the Japanese-American community but I'm itching to hear more - such as how and when it came to the Academy at Beverly Hills.
Roger




>________________________________
> From: "matteo.boscarol at gmail.com" <matteo.boscarol at gmail.com>
>To: Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu> 
>Sent: Thursday, 24 April 2014, 12:39
>Subject: [KineJapan] Oldest Surviving Anime Short by Kon Ichikawa Found
> 
>
>
>Dear all,?
>
>
>Just in case you've missed the news, "Yowamushi Chinsengumi"(1935), the oldest surviving anime short by Kon Ichikawa, was found in the US:
>http://www.animenewsnetwork.com/news/2014-04-23/oldest-surviving-anime-short-by-phoenix-film-kon-ichikawa-found
>
>
>Regards
>
>mb
>????? ????
>???????????
>_______________________________________________
>KineJapan mailing list
>KineJapan at lists.service.ohio-state.edu
>https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
>
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From matteo.boscarol at gmail.com  Thu Apr 24 07:39:43 2014
From: matteo.boscarol at gmail.com (matteo.boscarol at gmail.com)
Date: Thu, 24 Apr 2014 20:39:43 +0900
Subject: [KineJapan] Oldest Surviving Anime Short by Kon Ichikawa Found
Message-ID: <6DAD7DA0-531B-450E-9C7D-D18C602071F9@gmail.com>

Dear all, 

Just in case you've missed the news, "Yowamushi Chinsengumi"(1935), the oldest surviving anime short by Kon Ichikawa, was found in the US:
http://www.animenewsnetwork.com/news/2014-04-23/oldest-surviving-anime-short-by-phoenix-film-kon-ichikawa-found

Regards

mb
????? ????
???????????
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From kthouny at gmail.com  Wed Apr 23 00:35:52 2014
From: kthouny at gmail.com (Christophe Thouny)
Date: Wed, 23 Apr 2014 13:35:52 +0900
Subject: [KineJapan] Association for Studies of Culture and Representation
	CFP July 2014
Message-ID: <2D5CA8EE-59CA-4879-A649-34B490A9BF67@gmail.com>

Dear KineJapaners,

I am organizing the international panel for the coming Association for Studies of Culture and Representation conference in July, with the topic of Melancholy Ethics - The Planetary and the (moving) image. 

Please feel free to circulate the CFP to anyone interested.

Best,

Christophe

CFP: Melancholy Ethics ? Ecocriticism and the Moving Image in a Planetary Age

The Program Committee of the Association for Studies of Culture and Representation invites proposal submissions for an interdisciplinary panel titled ?Melancholy Ethics ? Ecocriticism and the Moving Image in a Planetary Age.? The panel will be held at the 9th Annual Meeting on July 5-6, 2014 at the Komaba campus of the University of Tokyo, Japan. We are looking for 20 minutes presentations in either English or Japanese language that address theoretical and historical issues of moving image in general and images of the city in particular raised by the present planetary situation. The deadline for proposal submissions is May 15, 2014. 

In Ecology Without Nature: Rethinking Environmental Aesthetics (2007), Timothy Morton has led the ground for a radical engagement with contemporary debates in ecology in general and ecocriticism in particular. As other thinkers such as Ursula K. Heise, he stresses the necessity to fully engage with the aporia of a Romantic understanding of place in ecocriticism to make sense of a planetary situation characterized by an increasing interconnectedness and a continuous state of crisis.

Avoiding any simple claim to leave the boat of planet earth for another world, Timothy Morton rather argues for a queer ethical position, a dark ecology, where we make the radical choice to remain in a dying world, and in the time that remains after the end, to learn to live with the other.

More specifically, Morton argues for the potential of the concept of ambiance or atmosphere in works of art to engage with this particular ethics. Melancholy ethics is an ethics of the future in the space opened by a suspension and a delay, in the screeching of an emergency break. This approach is particularly interesting for rethinking the relation between visual culture, place and the environment in terms of queer studies, urban studies and media studies, while avoiding the aporia of discussions on the global and globalization. 

We are thus interested in discussions of works in any media form that explore visual movements, narrative forms, gendered subjectivities and ethical positions that allow for a productive engagement with this planetary situation. Although our interest lies mostly in moving images in the present time, we welcome a wide range of topics across media, genres, historical periods and geographical locations that intersect in the question of the planetary.

Possible topics include but are not limited to: 

Moving image and ecocritical representations of place

Genealogies of images of the environment, place and the planet

Moving image and ambient narratives of healing 

Moving image and ambient sound

Visual Representations of ecological disasters and urban landscapes

                                Science Fiction and images of the planetary

                               Asian regionalism and ecological crisis in film and animation

                               The Cold War order and the visual imagination of disasters

                               The figure of the political and media ecologies in visual culture

                               Cyborgs, Animals and Insects in ecocritical works

                               The cinematic automaton and natural ecologies                  

  

Please submit your proposal by email to

conference at repre.org

Your submission email should include the following:

1) Your name

2) The title of your paper

3) A 200?250 word (English) or 600 character (Japanese) abstract

4) Your institutional affiliation and position

5) A brief Bio (limited to 50 words in English, 150 characters in Japanese)

6) Your contact information (email address, phone number and physical address)

 

About the Conference:

As part of the 9th Annual Meeting, we will hold a symposium on tactility and sound. For more details, please check our website:

http://www.repre.org/conventions/

 

About the Association 

Founded in 2006, the Association for Studies of Culture and Representation is an organization dedicated to interdisciplinary research and teaching of humanities. Our main interest lies in the critical analysis of culture through the multi-faceted concept of ?representation.? Through the mechanism of ?representation,? ideas and objects are produced, circulated, and received in society. We examine various modalities of cultural production and their functions in social, political, and economic contexts, while going beyond traditional disciplinary boundaries and exploring areas that connect diverse fields of research and practice.

For further information on the Association, please visit the below site:

(English) http://www.repre.org/association/english/

(Japanese) http://www.repre.org/association/about/

For information on past symposiums, events, and panels, please see

(Japanese) http://www.repre.org/conventions/

 

Membership:

The presenter must be a member of the Association for Studies of Culture and Representation. There is no conference registration fee for Association members. For more information about the general membership procedure for those based in Japan, please see

(English) http://www.repre.org/association/english/

If you do not have a Japanese bank account, you may become a member directly at the conference by filling out a form* and paying the admission and membership fees in cash (Japanese yen, cash only).

*The ?Referee? section in the form asks you to provide an Association member?s name and signature. If you do not have a referee or have difficulty in finding one, you may leave it blank.



Access to the University of Tokyo?s Komaba campus:

http://www.c.u-tokyo.ac.jp/eng_site/contact-access/map.html

If you have any further questions, please email us at

conference at repre.org

 

??????

?????????????????????????????????????????

??????????2014?7?5?????6???????????????????????????9??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????20?????????????????????????2014?5?15???????

???????????????????????????????2007???????????????????????????????????????????????????????????????. ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? 

?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

 

?????????????????????????????????????????????????????

??????????????????? 

????????????????? 

??????????? 

?????? 

??????????????????

??????????????? 

???????????????????????????

 ??????????????????

 ??????????????????????????

 ???????????????????????????

??????????????????

 

conference at repre.org

????????????????????

???????????????????????????????MS Word????PDF??????????????

????

????????

????200-250????????600??????

???????

??????????50?????150????????

??????????????????????

 

?????????????

???????????????

http://www.repre.org/association/about/

 

??????

??????????2014?7?6???????????????????????

????

???????????????????????????????????????????????????????????????

??????

???????????????????????????????????????????????????????

?????http://www.repre.org/association/admission/

???? http://www.repre.org/association/english/

???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????*????????????????????????????????????????????????????????????????

 

?????????????????

http://www.u-tokyo.ac.jp/campusmap/map02_02_j.html

???????????

conference at repre.org

????????????????

 


**********************************************************
	Christophe Thouny, PhD
	University of Tokyo 
        Global Communication Research Center
        
	tel : 080-3366-9018
	email : ct843 at nyu.edu
**********************************************************










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From naokiya at gmail.com  Sat Apr 19 19:19:19 2014
From: naokiya at gmail.com (Naoki Yamamoto)
Date: Sat, 19 Apr 2014 16:19:19 -0700
Subject: [KineJapan] ODAYAKA Screening This Tuesday (April 22)
Message-ID: <7C7B7D19-E8E2-498C-B2B9-EA178330341C@gmail.com>

Dear KineJapaners,

This is a friendly reminder of the West-Coast premier screening on this Tuesday (April 22, 7PM) of Odayaka, the second installment of the Pollock Theater Film Series, "Nuclear Japan: Japanese Cinema before and after Fukushima." Focusing on two young Japanese women residing in one Tokyo neighborhood and their growing fear about nuclear radiation, the film powerfully articulates psychological impacts of the disaster through the lens of gender dynamics. The screening will be followed by a guest lecture by Prof. Margherita Long (UCR, CompLit), who is currently working the book project, Post-Fukushima Public Intellectuals and the Problem of Eco-Feminism.

More information about the event will be found here:

http://www.carseywolf.ucsb.edu/pollock/events/odayaka

Best,
Naoki

Naoki Yamamoto
Assistant Professor
Film and Media Studies
University of California, Santa Barbara
yamamoto at filmandmedia.ucsb.edu
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From Alex.Zahlten at gmx.de  Mon Apr 14 18:13:02 2014
From: Alex.Zahlten at gmx.de (Alex Zahlten)
Date: Tue, 15 Apr 2014 00:13:02 +0200
Subject: [KineJapan] Corporate Film - archives?
In-Reply-To: <CAFQaeyWpOXHgaP-PW85MKmzEO7AJJmDdd8i4pTqFHzKq9A3Zsg@mail.gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
	<D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>
	<BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>
	<trinity-351931a8-77ba-4999-b74e-abc37aea7f9a-1397385068384@3capp-gmx-bs07>
	<E8C6D17C40534483A22C2A2F6204D6A2@AmandaHP>
	<C8DDEE9A-2FFE-4561-91E0-64D2C605265D@gmail.com>,
	<CAFQaeyWpOXHgaP-PW85MKmzEO7AJJmDdd8i4pTqFHzKq9A3Zsg@mail.gmail.com>
Message-ID: <trinity-8ac7efa9-9add-467f-b575-ecb42e36f3df-1397513582801@3capp-gmx-bs01>

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From aaron.moore at gmail.com  Sun Apr 13 12:27:33 2014
From: aaron.moore at gmail.com (Aaron Moore)
Date: Sun, 13 Apr 2014 09:27:33 -0700
Subject: [KineJapan] Corporate Film - archives?
In-Reply-To: <C8DDEE9A-2FFE-4561-91E0-64D2C605265D@gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
	<D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>
	<BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>
	<trinity-351931a8-77ba-4999-b74e-abc37aea7f9a-1397385068384@3capp-gmx-bs07>
	<E8C6D17C40534483A22C2A2F6204D6A2@AmandaHP>
	<C8DDEE9A-2FFE-4561-91E0-64D2C605265D@gmail.com>
Message-ID: <CAFQaeyWpOXHgaP-PW85MKmzEO7AJJmDdd8i4pTqFHzKq9A3Zsg@mail.gmail.com>

Hi,

I have found the Kiroku Eiga Archive Project in Ichigaya to be very useful:

http://www.kirokueiga-archive.com/

They have lots of Iwanami materials sponsored by various big companies...

Aaron
asmoore3 at asu.edu


On Sun, Apr 13, 2014 at 5:01 AM, <matteo.boscarol at gmail.com> wrote:

> Alex,
>
> you can also find some promotional works here:
>
> http://www.kagakueizo.org
>
> best
>
> Matteo Boscarol
> ????? ????
> ???????????
>
> On 2014/04/13, at 20:55, Amanda Huntley <amanda at huntleyarchives.com>
> wrote:
>
>   Hello Alex
>
>
>
> We have a great many documentary films concerning Japan, maybe 250 or so,
> we specialise in all footage pre- 980 but we are very good at 1900 to 1950
>
> I don?t know we have any of the companies you mention however, these may
> have been mostly shot by companies outside Japan
>
>
>
> For example we have
>
> www.huntleyarchives.com/film/6636
>
>
>
> www.huntleyarchives.com/film/6590
>
>
>
> www.huntleyarchives.com/film/369
>
>
>
> www.huntleyarchives.com/film/4098
>
>
>
> www.huntleyarchives.com/film/4966
>
>
>
> www.huntleyarchives.com/film/1418
>
>
>
> www.huntleyarchives.com/film/6629
>
>
>
> www.huntleyarchives.com/film/33643
>
>
>
> www.huntleyarchives.com/film/3770
>
>
>
> www.huntleyarchives.com/film/285
>
>
>
> www.huntleyarchives.com/film/920
>
>
>
> www.huntleyarchives.com/film/18902
>
>
>
> but search our database for more options
>
> best wishes
>
>
>
>
>
> Amanda Huntley
>
> +44 1981 241 580
>
> www.huntleyarchives.com
>
>
>
> "over 50,000 films as text and a growing catalogue to view online.."
>
>
>   ------------------------------
>
> *From:*
> kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-state.edu[
> mailto:kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-state.edu<kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-state.edu>]
> *On Behalf Of *Alex Zahlten
> *Sent:* 13 April 2014 11:31
> *To:* Japanese Cinema Discussion Forum
> *Subject:* [KineJapan] Corporate Film - archives?
>
>
>
> Hello everyone,
>
>
>
> a colleague of mine is searching for an archive in Japan that has a
> strong collection of corporate films (both those made for internal and
> external, i.e. promotional, purposes). Since many corporate-funded films
> will be cataloged under documentary, such as many of the Iwanami films, the
> usual suspects for documentary film will be a good place to start, but does
> anyone know of an archive with an especially strong collection of films
> produced/funded by Keidanren companies? Or, if not film archives, any other
> possible resources to see such films?
>
>
>
> All the best,
>
> Alex
>
> _______________________________________________
> 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
>
>
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From matteo.boscarol at gmail.com  Sun Apr 13 08:01:52 2014
From: matteo.boscarol at gmail.com (matteo.boscarol at gmail.com)
Date: Sun, 13 Apr 2014 21:01:52 +0900
Subject: [KineJapan] Corporate Film - archives?
In-Reply-To: <E8C6D17C40534483A22C2A2F6204D6A2@AmandaHP>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
	<D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>
	<BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>
	<trinity-351931a8-77ba-4999-b74e-abc37aea7f9a-1397385068384@3capp-gmx-bs07>
	<E8C6D17C40534483A22C2A2F6204D6A2@AmandaHP>
Message-ID: <C8DDEE9A-2FFE-4561-91E0-64D2C605265D@gmail.com>

Alex, 

you can also find some promotional works here:

http://www.kagakueizo.org

best

Matteo Boscarol
????? ????
???????????

> On 2014/04/13, at 20:55, Amanda Huntley <amanda at huntleyarchives.com> wrote:
> 
> Hello Alex
>  
> We have a great many documentary films concerning Japan, maybe 250 or so, we specialise in all footage pre- 980 but we are very good at 1900 to 1950
> I don?t know we have any of the companies you mention however, these may have been mostly shot by companies outside Japan
>  
> For example we have
> www.huntleyarchives.com/film/6636
>  
> www.huntleyarchives.com/film/6590
>  
> www.huntleyarchives.com/film/369
>  
> www.huntleyarchives.com/film/4098
>  
> www.huntleyarchives.com/film/4966
>  
> www.huntleyarchives.com/film/1418
>  
> www.huntleyarchives.com/film/6629
>  
> www.huntleyarchives.com/film/33643
>  
> www.huntleyarchives.com/film/3770
>  
> www.huntleyarchives.com/film/285
>  
> www.huntleyarchives.com/film/920
>  
> www.huntleyarchives.com/film/18902
>  
> but search our database for more options
> best wishes
>  
>  
> Amanda Huntley
> +44 1981 241 580
> www.huntleyarchives.com
>  
> "over 50,000 films as text and a growing catalogue to view online.."
>  
> From: kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-state.edu [mailto:kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-state.edu] On Behalf Of Alex Zahlten
> Sent: 13 April 2014 11:31
> To: Japanese Cinema Discussion Forum
> Subject: [KineJapan] Corporate Film - archives?
>  
> Hello everyone,
>  
> a colleague of mine is searching for an archive in Japan that has a strong collection of corporate films (both those made for internal and external, i.e. promotional, purposes). Since many corporate-funded films will be cataloged under documentary, such as many of the Iwanami films, the usual suspects for documentary film will be a good place to start, but does anyone know of an archive with an especially strong collection of films produced/funded by Keidanren companies? Or, if not film archives, any other possible resources to see such films?
>  
> All the best,
> Alex 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
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From amanda at huntleyarchives.com  Sun Apr 13 07:55:30 2014
From: amanda at huntleyarchives.com (Amanda Huntley)
Date: Sun, 13 Apr 2014 12:55:30 +0100
Subject: [KineJapan] Corporate Film - archives?
In-Reply-To: <trinity-351931a8-77ba-4999-b74e-abc37aea7f9a-1397385068384@3capp-gmx-bs07>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com><1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com><B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv><68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com><CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com><CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com><BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl><CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com><7273427B8E0044FBB26120631076F03B@asianfilm.info><CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com><1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com><D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>,
	<BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>
	<trinity-351931a8-77ba-4999-b74e-abc37aea7f9a-1397385068384@3capp-gmx-bs07>
Message-ID: <E8C6D17C40534483A22C2A2F6204D6A2@AmandaHP>

Hello Alex

 

We have a great many documentary films concerning Japan, maybe 250 or so, we
specialise in all footage pre- 980 but we are very good at 1900 to 1950

I don't know we have any of the companies you mention however, these may
have been mostly shot by companies outside Japan

 

For example we have

www.huntleyarchives.com/film/6636

 

www.huntleyarchives.com/film/6590

 

www.huntleyarchives.com/film/369

 

www.huntleyarchives.com/film/4098

 

www.huntleyarchives.com/film/4966

 

www.huntleyarchives.com/film/1418

 

www.huntleyarchives.com/film/6629

 

www.huntleyarchives.com/film/33643

 

www.huntleyarchives.com/film/3770

 

www.huntleyarchives.com/film/285

 

www.huntleyarchives.com/film/920

 

www.huntleyarchives.com/film/18902

 

but search our database for more options

best wishes

 

 

Amanda Huntley

+44 1981 241 580

 <http://www.huntleyarchives.com> www.huntleyarchives.com

 

"over 50,000 films as text and a growing catalogue to view online.."

 

  _____  

From:
kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-state.edu
[mailto:kinejapan-bounces+amanda=huntleyarchives.com at lists.service.ohio-stat
e.edu] On Behalf Of Alex Zahlten
Sent: 13 April 2014 11:31
To: Japanese Cinema Discussion Forum
Subject: [KineJapan] Corporate Film - archives?

 

Hello everyone,

 

a colleague of mine is searching for an archive in Japan that has a strong
collection of corporate films (both those made for internal and external,
i.e. promotional, purposes). Since many corporate-funded films will be
cataloged under documentary, such as many of the Iwanami films, the usual
suspects for documentary film will be a good place to start, but does anyone
know of an archive with an especially strong collection of films
produced/funded by Keidanren companies? Or, if not film archives, any other
possible resources to see such films?

 

All the best,

Alex 

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From Alex.Zahlten at gmx.de  Sun Apr 13 06:31:08 2014
From: Alex.Zahlten at gmx.de (Alex Zahlten)
Date: Sun, 13 Apr 2014 12:31:08 +0200
Subject: [KineJapan]  Corporate Film - archives?
In-Reply-To: <BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
	<D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>,
	<BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>
Message-ID: <trinity-351931a8-77ba-4999-b74e-abc37aea7f9a-1397385068384@3capp-gmx-bs07>

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From robbuscher at hotmail.com  Tue Apr  8 22:56:45 2014
From: robbuscher at hotmail.com (Rob Buscher)
Date: Tue, 8 Apr 2014 22:56:45 -0400
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
	<D599074D-5892-4A15-9EB1-B2461886DA1F@mail-central.com>
Message-ID: <BLU406-EAS93B792796561EBE9BF5B57C86A0@phx.gbl>

Maybe I missed it in an earlier post, but I'm surprised that Sono's Himizu hasn't come up in this discussion. I recently saw it for the first time at a retrospective of films on representations of disaster in Japanese cinema that a few of my colleagues programmed at Bryn Mawr Film Institute. 

Not having seen Sono's documentary on the subject I can't comment on whether that was a premature response, but I can certainly say that Himizu was. I understand that this film received a lot of criticism from Japanese reviewers who thought Sono's use of real footage of the disaster area interspersed with his fictional narrative was insensitive to the families who were affected by this tragedy. I can see what Sono was going for in terms of showing the audience that trauma is a persistent condition, but he used it as a symbolic device to portray the trauma inflicted on the lead character by his absentee parents and uncaring society. Had the footage been appropriated in a different way, I wonder if the critics would have objected so. 

Either way it was apparent that this was a fully fleshed out story that Sono attempted to integrate aspects of the disaster into, and in that respect I think that even he realized his error. 

Rob

Rob Buscher
Programming Director
Philadelphia Asian American Film Festival
www.paaff.org

Sent from my iPad

> On Apr 8, 2014, at 10:03 AM, "Mark Roberts" <mroberts37 at mail-central.com> wrote:
> 
> Dear KineJapaners,
> 
> I've been enjoying this discussion quite a bit, as it has broadened the scope of "disaster films" to bring many different moments in Japanese film history into contact with one another, and in some highly suggestive ways. If I can speak more subjectively about this, in the immediate aftermath of 3.11, I began to wonder how filmmakers, distributors, and audiences would respond to the disaster, especially as fatigue and skepticism about the official discourse (NHK, et al) really set in.
> 
> As Roger and others have mentioned, the first response was from distributors, who deferred release dates of potentially "controversial" films to avoid losing revenue due to "unfavorable market conditions". Needless to say, there was something quite unsatisfying about this, for it wasn't a real statement about 3.11 as much as an evasive maneuver to minimize box office losses (though, given the current balance sheet, we might say "fair enough"). While this had the effect of delaying an engagement with 3.11 in the cinema, I have to say that I felt virtually none of my non-film studies contacts in Japan took any real interest in "alternative" film accounts of the disaster. For example, none of my university colleagues were going to see these films. or were even aware of them. The only people who seemed to be watching them were those who are already tuned into contemporary J-cinema. In effect, it didn't seem to matter much whether 3.11 was or wasn't being addressed by the cinema.
> 
> Be that as it may, what struck me in the fall and winter of 2011 was that documentarists clearly had greater agility in their response to the disaster than fiction filmmakers. The first fiction films to address 3.11 typically did so by "integrating" it into their non-disaster themed projects during the production process. Naturally, the results were mixed, though their intentions were likely salutary. It was for this reason that I became more curious about the documentary films, which seemed to resonate with a greater interest in "actuality" or, if I can borrow Lorenzo's phrase, "an increasing love for reality".
> 
> By the time "Odayaka" and "Kib? no Kuni" were produced, 3.11 had become part of the original conception of the film, with a much greater sense of focus and purpose. As Jasper and Roger have suggested in different ways, perhaps these films are still premature responses, but I cannot help but wonder about this. I agree with Roger's sense that if literature is any guide, we may need to temper our expectations. At the same time, I don't find the case for a literary "misery index" in Connor's article to be very illuminating. And while I have also felt the prematurity that Jasper describes, hasn't it always been part of the mission of cinema to reflect on "the now", even when the language for doing so doesn't yet exist?
> 
> Mark
> 
>> On Apr 8, 2014, at 9:13 PM, Roger Macy wrote:
>> 
>> Dear KineJapaners,
>> Prompted by Lola?s post, about a film whose distribution was affected by the disasters, I did write a very unscholarly account of The Floating Castle / Nob? no shiro at the end of this piece :-
>> http://www.midnighteye.com/features/udine-far-east-film-festival-2013/
>> I think we might have mentioned in another thread about the Chinese film ?Aftershock? / ?????, which was pulled from Tokyo cinemas immediately after March ?11.  Allcinema site has a rather indeterminate release date of ?2012/?.
>> 
>> I have appreciated the many contributions to this thread, learning of the different legitimate interests that scholars and teachers can have.  But, in a way, I?m surprised there?s so much.  Somebody with a lot of patience recently did a study that suggested a median time-delay of eleven years between historical events and literature
>> http://www.independent.co.uk/news/science/if-the-slump-wasnt-bad-enough-stand-by-for-the-literary-misery-thats-bound-to-follow-9047240.html
>> Given that films more often follow literature than precede it, one might expect the delay in fiction films to be greater rather than smaller.  So, I was hardly shocked to read Jasper, in a DVD review in Sight and Sound, to judge ?Land of Hope?, 2011, by Sono Shion as ?premature?.  Even more premature was to be asked in Frankfurt in May, 2011 what the effect on Japanese films was.  Almost any discussion in London that has any connection to Japanese film gets thrown the question of the effect of the triple disaster, or, more often, just the effect of the Fukushima melt-down, in a way that I do not see it put about other countries? disasters.  So I do wonder whether there isn?t an element of Japanese exceptionalism, at least from non-specialists, in what I?ll call the doubly premature reception of Japanese disaster films ?
>> Roger
>> 
>> From: Dolores Martinez <dm6 at soas.ac.uk>
>> To: Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu> 
>> Sent: Tuesday, 8 April 2014, 12:14
>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>> 
>> 
>> Dear Stephen, 
>> thank you for that! I see the DVD release in 2011 produced some crossed wires for Nakamura's film, which is entirely my fault.  But yes, it is that film I'm writing about, as I find its fictional depiction of Japanese responses to the end of the world somewhat prophetic (I know that in the West, it was all about how calm and well mannered the Japanese were, but if you talk to Japanese who were there and are aware of the actual statistics for the looting and increased reportage of rape in the earthquake hit zone, as Ueno Chizuko has argued, you get a rather different picture of things...).
>> I was also wondering, however, about general writing on Japanese disaster films that are not necessarily Godzilla films. Any thoughts?
>> Yours, Lola 
>> 
>> On Tuesday, 8 April 2014, Stephen Cremin <stephen at asianfilm.info> wrote:
>> Lola, you mean Hayashiya Shinpei's RAKUGO MONOGATARI, which I didn't know had an English title, that opened on 12 March 2011 or Nakamura Yoshihiro's end-of-the-world disaster comedy FISH STORY that opened on 20 Mar 2009 in Japan and on 28 May 2010 in the UK?
>> 
>> The latter played several festivals - HKIFF, Udine, Japan Cuts, Puchon, Vienna, Kaohsiung, G?teborg, Brussels, Terracotta and Fantasia - so there should be some writing in English about it. It was also distributed in South Korea and Taiwan.
>> 
>> For the former, I'd be very surprised if there's anything in English.
>> 
>> Stephen
>> 
>>> On Tuesday, 8 April 2014 at 17:13, Dolores Martinez wrote:
>>> 
>>> Dear all, again somewhat off topic, but I've been following this discussion with interest as I'm writing a paper on Fish Story, the disaster 'comedy' that came out on March 12, 2011 and obviously did not do well at the box office.  Has anyone written on this film specifically or on the genre generally (and yes, I know the Godzilla literature!). I was interested to see Paul Berry mention Megalopolis, as an alternative reality anime. I have always wondered if it had attracted scholarly attention -- but anything on this topic would be useful for me. Thanks,
>>> Lola 
>>>  
>>>> On Tuesday, 8 April 2014, Christian Morimoto Hermansen <christian_hermansen at hotmail.com> wrote:
>>>> Another two dealing with the Hanshin Awaji Daishinsai are 
>>>> 1. The 2010 drama-docu Kobe shinbun no nananichikan 
>>>> ?????7?? ?????????????????? ??
>>>> on how the News must be published no matter what; starring Sakurai Sho as a Kobe Shinbun photographer covering the disaster.  Quite well done.   
>>>> 2. Sakamoto Junji's "Kao" from 2000, where the main character escapes Kobe, for other reasons, on the morning of the Earthquake.
>>>> 
>>>> Christian
>>>> 
>>>> Date: Tue, 8 Apr 2014 08:08:18 +0300
>>>> From: eija at helsinkicineaasia.fi
>>>> To: kinejapan at lists.service.ohio-state.edu
>>>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>>>> 
>>>> In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in post-quake Kobe, helping the victims. That is the only one I can remember about the Hanshin earthquake. 
>>>> Eija
>>>> 
>>>> 
>>>> 2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
>>>> Yes, I would think there are certain times when you have to approach the topic from the opposite direction, as in not "are there quake films?" but "where is the quake in these films?" And I would also think it important to look beyond the films themselves.
>>>> 
>>>> I remember when The Day After Tomorrow came out in 2004, as a New Yorker who also happened to be in the city on 9/11, I found the scenes of the city being destroyed to be quite personally upsetting.
>>>> 
>>>> A crime that led to disaster and tragedy for a city had been appropriated as war against the Nation, and New Yorkers were against the Iraq War and (it had seemed at the time) the orgy of crimes the Nation was cooking up in "retaliation". In that context it felt like a big middle finger to New York and to the whole Northeast, which becomes unlivable by the end of the film. 
>>>> 
>>>> I don't want to say that that was necessarily anyone's intention, I'm speaking purely of my own very personal (and possibly excessive) reaction, but I want to say that I would imagine such reactions should be integral to this kind of discussion.
>>>> 
>>>> 
>>>> 
>>>> 
>>>> 
>>>> On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
>>>> Jim,
>>>> Yumeno?s reflection actually cuts both ways because he talks about the fact that there were very few films that dealt with the earthquake directly, then he talks about the rise of decadence (actually pre-empts or influences Sakaguchi Ango?s postwar daraku discourse) and makes the point that maybe those decadent films in the wake of the quake are actually quake films.
>>>> Jon
>>>> 
>>>> On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
>>>> 
>>>> >
>>>> > Jim,
>>>> >
>>>> > This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable mak
>>> 
>>> _______________________________________________
>>> 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
> 
> _______________________________________________
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From amnornes at umich.edu  Tue Apr  8 13:43:51 2014
From: amnornes at umich.edu (Markus Nornes)
Date: Tue, 8 Apr 2014 13:43:51 -0400
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <B476F3DD-D93B-4F81-ADA4-27A8F0E50FDF@yale.edu>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
	<CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
	<BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>
	<CAH_CNbdiZnWqOvJBBb27yqROZzDLA9KMujOBqksHu75Scx7Pig@mail.gmail.com>
	<CAGdu56PdcOgPVKi70=G7APSu9OMuxv6-D7rLjoO0fi2yrk3fCQ@mail.gmail.com>
	<BLU406-EAS2307D700E3AEB68EAC864BAC8690@phx.gbl>
	<CAERTjLaL-JXG5zBHgDvkNTQgZyprhpW2doCGorEkyLxFmHOEHA@mail.gmail.com>
	<B476F3DD-D93B-4F81-ADA4-27A8F0E50FDF@yale.edu>
Message-ID: <CANoSnpCO+mS7rBeBj7b_+_3JyR1-iTPJafqGMucYQ-Qhyn8c6w@mail.gmail.com>

In Ann Arbor, I did not sense that panelists were "reconstructing Cool
Japan" through the back door and explicitly or implicitly argue that Japan
cooler than thou. Patrick did put Miyazaki at the heart of his history of
lolicon, which is about as mainstream as you get, but I think most
panelists were fairly careful about generalizing or making broad claims
about subcultures vis a vis the mainstream.

That said, I still remain puzzled by the curious title* and because its
terms were never adequately unpacked the important issue of the government
program and its relationship to academia remained obscure.

The conference was most interesting when the stakes felt highest. Papers on
the American pedagogical context (Alisa Freedman and Laura Miller, for
example) revealed the importance of the North American tenure system--in
other words, while there are real and potential problems faced by Americans
teaching pop cultures, tenure buffers them from the most serious of
consequences. On the other end of the spectrum, Mark McClelland must
actually be careful about what films he watches, possesses or even
downloads in Australia; a film like Urotsukidoji is against the law there,
so he finally managed to watch it here in Michigan.

And then there was Patrick Galbraith's paper, which was one of the most
interesting. A history of lolicon, framed by problems he had with a book
publisher for refusing to take a stand on this material. In fact, his
presentation itself carefully avoided the issue of value, and was mainly
descriptive. When questions from the audience tried to pin him down, he
managed to sidestep them (two questions on the reception context, where
there are real shojo, got deflected--one to shonen, the other to a kind of
auteurism where the value of authorial intent was acknowledged). This
inspired some interesting discussion around the issue of value and of
politics, historical fights for various brands of sexualities and their
image cultures, scholarship and safety, and the like.

Unfortunately, we only left 45 minutes for open discussion; we clearly
could have talked all day and night.

Markus

* This conference was sponsored by the Center for Japanese Studies, which
supports the return of its former Toyota Visiting Professors to hold
academic events. Mark McClelland organized the content. I supplied the
drinks!


On Tue, Apr 8, 2014 at 11:48 AM, Gerow Aaron <aaron.gerow at yale.edu> wrote:

> I also attended the panel and AAS and found it interesting but
> problematic. All the presentations were interesting, more or less, but for
> a panel entitled the "End of Cool Japan," I found it largely engaged in
> reconstructing Cool Japan through the back door. While many of the problems
> cited about teaching problematic materials were important, too often this
> was framed in a discourse that effectively asserted non-Japanese nations
> are less cool about these sexually explicit materials--and thus that
> Japanese are cooler about it. It's a different Cool Japan than the one the
> Japanese government is currently trying to sell, but it has its structural
> similarities. This discourse was also often accompanied by problematic
> claims about "representation," in which both the problematic texts and
> their readers were claimed to represent a significant aspect of popular
> cultural practices or "Japanese" attitudes. Thankfully, a number of the
> presenters were more self-critical about this than others, but I was hoping
> for a discussion that was more critical of the concepts "cool" and "Japan,"
> especially in terms of how academics help construct them--even if they are
> in different forms than those offered by Ishihara Shintaro or Aso Taro.
>
> Occasionally, I would hope that Japanese popular culture studies also look
> at what is "uncool" in Japan, at the bland pop culture that doesn't so
> easily seem to transgress what we perceive as the dominant or which helps
> us make some point. Perhaps it is those bland phenomena which are more
> "other" than we think.
>
> I too wonder if the Ann Arbor edition addressed some of these concerns.
>
>
> Aaron Gerow
> Professor
> Film Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208236
> New Haven, CT 06520-8236
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
> _______________________________________________
> 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*
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From dm6 at soas.ac.uk  Tue Apr  8 08:27:53 2014
From: dm6 at soas.ac.uk (Dolores Martinez)
Date: Tue, 8 Apr 2014 13:27:53 +0100
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
Message-ID: <CAGdu56P6WtyTi4PuNVo3Csfwj-Z_Z1OCQmDErzc-S5Wp5WDG3A@mail.gmail.com>

Dear all,
Roger's post prompts another thought: is 11 years the usual span between a
disaster and any comedy related to it? Wearing another hat, I've written a
paper on how Men in Black 3 was delayed by 11 years and was then set in a
pre twin towers New York, speculating that aliens destroying the city was
not something to be laughed at in the immediate post 9/11 era.
That might explain my misreading of Fish Story's reception: was it its 2011
stage verson that was such a failure and I crossed my wires there? Lola

On Tuesday, 8 April 2014, Roger Macy <macyroger at yahoo.co.uk> wrote:

> Dear KineJapaners,
> Prompted by Lola?s post, about a film whose distribution was affected by
> the disasters, I did write a very unscholarly account of *The Floating
> Castle* / *Nob? no shiro* at the end of this piece :-
> http://www.midnighteye.com/features/udine-far-east-film-festival-2013/
> I think we might have mentioned in another thread about the Chinese film
> ?Aftershock? / ?????, which was pulled from Tokyo cinemas immediately
> after March ?11.  Allcinema site has a rather indeterminate release date
> of ?2012/?.
>
> I have appreciated the many contributions to this thread, learning of the
> different legitimate interests that scholars and teachers can have.  But,
> in a way, I?m surprised there?s so much.  Somebody with a lot of patience
> recently did a study that suggested a median time-delay of eleven years
> between historical events and literature
>
> http://www.independent.co.uk/news/science/if-the-slump-wasnt-bad-enough-stand-by-for-the-literary-misery-thats-bound-to-follow-9047240.html
> Given that films more often follow literature than precede it, one might
> expect the delay in fiction films to be greater rather than smaller.  So,
> I was hardly shocked to read Jasper, in a DVD review in Sight and Sound, to
> judge ?Land of Hope?, 2011, by Sono Shion as ?premature?.  Even more
> premature was to be asked in Frankfurt in *May, 2011* what the effect on
> Japanese films was.  Almost any discussion in London that has any
> connection to Japanese film gets thrown the question of the effect of the
> triple disaster, or, more often, just the effect of the Fukushima
> melt-down, in a way that I do not see it put about other countries?
> disasters.  So I do wonder whether there isn?t an element of Japanese
> exceptionalism, at least from non-specialists, in what I?ll call the doubly
> premature reception of Japanese disaster films ?
> Roger
>
>   ------------------------------
>  *From:* Dolores Martinez <dm6 at soas.ac.uk<javascript:_e(%7B%7D,'cvml','dm6 at soas.ac.uk');>
> >
> *To:* Japanese Cinema Discussion Forum <
> kinejapan at lists.service.ohio-state.edu<javascript:_e(%7B%7D,'cvml','kinejapan at lists.service.ohio-state.edu');>>
>
> *Sent:* Tuesday, 8 April 2014, 12:14
> *Subject:* Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
>
> Dear Stephen,
> thank you for that! I see the DVD release in 2011 produced some crossed
> wires for Nakamura's film, which is entirely my fault.  But yes, it is that
> film I'm writing about, as I find its fictional depiction of Japanese
> responses to the end of the world somewhat prophetic (I know that in the
> West, it was all about how calm and well mannered the Japanese were, but if
> you talk to Japanese who were there and are aware of the actual statistics
> for the looting and increased reportage of rape in the earthquake hit zone,
> as Ueno Chizuko has argued, you get a rather different picture of
> things...).
> I was also wondering, however, about general writing on Japanese disaster
> films that are not necessarily Godzilla films. Any thoughts?
> Yours, Lola
>
> On Tuesday, 8 April 2014, Stephen Cremin <stephen at asianfilm.info> wrote:
>
>  Lola, you mean Hayashiya Shinpei's RAKUGO MONOGATARI, which I didn't
> know had an English title, that opened on 12 March 2011 or Nakamura
> Yoshihiro's end-of-the-world disaster comedy FISH STORY that opened on 20
> Mar 2009 in Japan and on 28 May 2010 in the UK?
>
> The latter played several festivals - HKIFF, Udine, Japan Cuts, Puchon,
> Vienna, Kaohsiung, G?teborg, Brussels, Terracotta and Fantasia - so there
> should be some writing in English about it. It was also distributed in
> South Korea and Taiwan.
>
> For the former, I'd be very surprised if there's anything in English.
>
> Stephen
>
> On Tuesday, 8 April 2014 at 17:13, Dolores Martinez wrote:
>
>
> Dear all, again somewhat off topic, but I've been following this
> discussion with interest as I'm writing a paper on Fish Story, the disaster
> 'comedy' that came out on March 12, 2011 and obviously did not do well at
> the box office.  Has anyone written on this film specifically or on the
> genre generally (and yes, I know the Godzilla literature!). I was
> interested to see Paul Berry mention Megalopolis, as an alternative reality
> anime. I have always wondered if it had attracted scholarly attention
> -- but anything on this topic would be useful for me. Thanks,
> Lola
>
> On Tuesday, 8 April 2014, Christian Morimoto Hermansen <
> christian_hermansen at hotmail.com> wrote:
>
> Another two dealing with the Hanshin Awaji Daishinsai are
> 1. The 2010 drama-docu Kobe shinbun no nananichikan  ?????7??
> ?????????????????? ??
> on how the News must be published no matter what; starring Sakurai Sho as
> a Kobe Shinbun photographer covering the disaster.  Quite well done.
> 2. Sakamoto Junji's "Kao" from 2000, where the main character escapes
> Kobe, for other reasons, on the morning of the Earthquake.
>
> Christian
>
> ------------------------------
> Date: Tue, 8 Apr 2014 08:08:18 +0300
> From: eija at helsinkicineaasia.fi
> To: kinejapan at lists.service.ohio-state.edu
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
> In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in
> post-quake Kobe, helping the victims. That is the only one I can remember
> about the Hanshin earthquake.
> Eija
>
>
> 2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
>
> Yes, I would think there are certain times when you have to approach the
> topic from the opposite direction, as in not "are there quake films?" but
> "where is the quake in these films?" And I would also think it important to
> look beyond the films themselves.
>
>
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From stephen at asianfilm.info  Tue Apr  8 08:24:36 2014
From: stephen at asianfilm.info (Stephen Cremin)
Date: Tue, 8 Apr 2014 19:24:36 +0700
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
	<1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>
Message-ID: <F6120EA9B910407BB3C1D1E77B794F7C@asianfilm.info>

Just to clarify that Shochiku delayed the yet-to-be-released AFTERSHOCK, which was set for a 26 Mar 2011 release.  

Warner did pull HEREAFTER, which had opened on 19 Feb 2011.  

Stephen


On Tuesday, 8 April 2014 at 19:13, Roger Macy wrote:

> Dear KineJapaners,
> Prompted by Lola?s post, about a film whose distribution was affected by the disasters, I did write a very unscholarly account of The Floating Castle / Nob? no shiro at the end of this piece :-  
> http://www.midnighteye.com/features/udine-far-east-film-festival-2013/
> I think we might have mentioned in another thread about the Chinese film ?Aftershock? / ?????, which was pulled from Tokyo cinemas immediately after March ?11.  Allcinema site has a rather indeterminate release date of ?2012/?.
>  
> I have appreciated the many contributions to this thread, learning of the different legitimate interests that scholars and teachers can have.  But, in a way, I?m surprised there?s so much.  Somebody with a lot of patience recently did a study that suggested a median time-delay of eleven years between historical events and literature  
> http://www.independent.co.uk/news/science/if-the-slump-wasnt-bad-enough-stand-by-for-the-literary-misery-thats-bound-to-follow-9047240.html
> Given that films more often follow literature than precede it, one might expect the delay in fiction films to be greater rather than smaller.  So, I was hardly shocked to read Jasper, in a DVD review in Sight and Sound, to judge ?Land of Hope?, 2011, by Sono Shion as ?premature?.  Even more premature was to be asked in Frankfurt in May, 2011 what the effect on Japanese films was.  Almost any discussion in London that has any connection to Japanese film gets thrown the question of the effect of the triple disaster, or, more often, just the effect of the Fukushima melt-down, in a way that I do not see it put about other countries? disasters.  So I do wonder whether there isn?t an element of Japanese exceptionalism, at least from non-specialists, in what I?ll call the doubly premature reception of Japanese disaster films ?
> Roger
>  
> > From: Dolores Martinez <dm6 at soas.ac.uk (mailto:dm6 at soas.ac.uk)>
> > To: Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu (mailto:kinejapan at lists.service.ohio-state.edu)>  
> > Sent: Tuesday, 8 April 2014, 12:14
> > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> >  
> >  
> > Dear Stephen,  
> > thank you for that! I see the DVD release in 2011 produced some crossed wires for Nakamura's film, which is entirely my fault.  But yes, it is that film I'm writing about, as I find its fictional depiction of Japanese responses to the end of the world somewhat prophetic (I know that in the West, it was all about how calm and well mannered the Japanese were, but if you talk to Japanese who were there and are aware of the actual statistics for the looting and increased reportage of rape in the earthquake hit zone, as Ueno Chizuko has argued, you get a rather different picture of things...).
> > I was also wondering, however, about general writing on Japanese disaster films that are not necessarily Godzilla films. Any thoughts?
> > Yours, Lola  
> >  
> > On Tuesday, 8 April 2014, Stephen Cremin <stephen at asianfilm.info (mailto:stephen at asianfilm.info)> wrote:
> > > Lola, you mean Hayashiya Shinpei's RAKUGO MONOGATARI, which I didn't know had an English title, that opened on 12 March 2011 or Nakamura Yoshihiro's end-of-the-world disaster comedy FISH STORY that opened on 20 Mar 2009 in Japan and on 28 May 2010 in the UK?  
> > >  
> > > The latter played several festivals - HKIFF, Udine, Japan Cuts, Puchon, Vienna, Kaohsiung, G?teborg, Brussels, Terracotta and Fantasia - so there should be some writing in English about it. It was also distributed in South Korea and Taiwan.  
> > >  
> > > For the former, I'd be very surprised if there's anything in English.
> > >  
> > > Stephen
> > >  
> > > On Tuesday, 8 April 2014 at 17:13, Dolores Martinez wrote:
> > > >  
> > > > Dear all, again somewhat off topic, but I've been following this discussion with interest as I'm writing a paper on Fish Story, the disaster 'comedy' that came out on March 12, 2011 and obviously did not do well at the box office.  Has anyone written on this film specifically or on the genre generally (and yes, I know the Godzilla literature!). I was interested to see Paul Berry mention Megalopolis, as an alternative reality anime. I have always wondered if it had attracted scholarly attention -- but anything on this topic would be useful for me. Thanks,
> > > > Lola  
> > > >   
> > > > On Tuesday, 8 April 2014, Christian Morimoto Hermansen <christian_hermansen at hotmail.com> wrote:
> > > > > Another two dealing with the Hanshin Awaji Daishinsai are  
> > > > > 1. The 2010 drama-docu Kobe shinbun no nananichikan  
> > > > > ?????7?? ?????????????????? ??
> > > > > on how the News must be published no matter what; starring Sakurai Sho as a Kobe Shinbun photographer covering the disaster.  Quite well done.    
> > > > > 2. Sakamoto Junji's "Kao" from 2000, where the main character escapes Kobe, for other reasons, on the morning of the Earthquake.
> > > > >  
> > > > > Christian
> > > > > Date: Tue, 8 Apr 2014 08:08:18 +0300
> > > > > From: eija at helsinkicineaasia.fi
> > > > > To: kinejapan at lists.service.ohio-state.edu
> > > > > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> > > > >  
> > > > > In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in post-quake Kobe, helping the victims. That is the only one I can remember about the Hanshin earthquake.  
> > > > > Eija
> > > > >  
> > > > >  
> > > > >  
> > > > > 2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
> > > > > > Yes, I would think there are certain times when you have to approach the topic from the opposite direction, as in not "are there quake films?" but "where is the quake in these films?" And I would also think it important to look beyond the films themselves.  
> > > > > >  
> > > > > > I remember when The Day After Tomorrow came out in 2004, as a New Yorker who also happened to be in the city on 9/11, I found the scenes of the city being destroyed to be quite personally upsetting.  
> > > > > >  
> > > > > > A crime that led to disaster and tragedy for a city had been appropriated as war against the Nation, and New Yorkers were against the Iraq War and (it had seemed at the time) the orgy of crimes the Nation was cooking up in "retaliation". In that context it felt like a big middle finger to New York and to the whole Northeast, which becomes unlivable by the end of the film.   
> > > > > >  
> > > > > > I don't want to say that that was necessarily anyone's intention, I'm speaking purely of my own very personal (and possibly excessive) reaction, but I want to say that I would imagine such reactions should be integral to this kind of discussion.
> > > > > >  
> > > > > >  
> > > > > >  
> > > > > >  
> > > > > >  
> > > > > > On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
> > > > > > > Jim,
> > > > > > > Yumeno?s reflection actually cuts both ways because he talks about the fact that there were very few films that dealt with the earthquake directly, then he talks about the rise of decadence (actually pre-empts or influences Sakaguchi Ango?s postwar daraku discourse) and makes the point that maybe those decadent films in the wake of the quake are actually quake films.
> > > > > > > Jon
> > > > > > >  
> > > > > > > On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
> > > > > > >  
> > > > > > > >
> > > > > > > > Jim,
> > > > > > > >
> > > > > > > > This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable mak  
> > > > _______________________________________________
> > > > 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 (mailto:KineJapan at lists.service.ohio-state.edu)
> > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
> >  
> >  
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu)
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>  
>  


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From macyroger at yahoo.co.uk  Tue Apr  8 08:13:38 2014
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Tue, 8 Apr 2014 13:13:38 +0100
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
	<CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>
Message-ID: <1396959218.63801.YahooMailNeo@web171404.mail.ir2.yahoo.com>

Dear KineJapaners,

Prompted by
Lola?s post, about a film whose distribution was affected by the disasters, I
did write a very unscholarly account of The
Floating Castle / Nob? no shiro at the end of this piece :-
http://www.midnighteye.com/features/udine-far-east-film-festival-2013/
I think we
might have mentioned in another thread about the Chinese film ?Aftershock? / ?????, which was pulled from Tokyo cinemas
immediately after March ?11.? Allcinema
site has a rather indeterminate release date of ?2012/?.

I have
appreciated the many contributions to this thread, learning of the different
legitimate interests that scholars and teachers can have.? But, in a way, I?m surprised there?s so
much.? Somebody with a lot of patience
recently did a study that suggested a median time-delay of eleven years between
historical events and literature
http://www.independent.co.uk/news/science/if-the-slump-wasnt-bad-enough-stand-by-for-the-literary-misery-thats-bound-to-follow-9047240.html
Given that
films more often follow literature than precede it, one might expect the delay in
fiction films to be greater rather than smaller.? So, I was hardly shocked to read Jasper, in a
DVD review in Sight and Sound, to judge ?Land of Hope?, 2011, by Sono Shion as ?premature?.? Even more premature was to be asked in
Frankfurt in May, 2011 what the effect on Japanese films was.? Almost any discussion in London that has any
connection to Japanese film gets thrown the question of the effect of the triple
disaster, or, more often, just the effect of the Fukushima melt-down, in a way
that I do not see it put about other countries? disasters.? So I do wonder whether there isn?t an element
of Japanese exceptionalism, at least from non-specialists, in what I?ll call
the doubly premature reception of Japanese disaster films ?
Roger




>________________________________
> From: Dolores Martinez <dm6 at soas.ac.uk>
>To: Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu> 
>Sent: Tuesday, 8 April 2014, 12:14
>Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> 
>
>
>
>Dear Stephen,?
>thank you for that! I see the DVD release in 2011 produced some crossed wires for Nakamura's film, which is entirely my fault. ?But yes, it is that film I'm writing about, as I find its fictional depiction of Japanese responses to the end of the world somewhat prophetic (I know that?in the West, it was all about how calm?and well mannered the Japanese were, but if you talk to?Japanese who were there and are aware of the actual statistics for the looting and increased reportage of rape in the earthquake hit zone, as Ueno Chizuko has argued, you get a rather different picture of things...).
>I was also?wondering, however, about general writing?on Japanese disaster films that are not necessarily Godzilla films. Any thoughts?
>Yours, Lola?
>
>On Tuesday, 8 April 2014, Stephen Cremin <stephen at asianfilm.info> wrote:
>
>Lola, you mean Hayashiya Shinpei's RAKUGO MONOGATARI, which I didn't know had an English title,?that opened on 12 March 2011 or Nakamura Yoshihiro's end-of-the-world disaster comedy FISH STORY that opened on 20 Mar 2009 in Japan and on 28 May 2010 in the UK? 
>>
>>
>>The latter played several festivals - HKIFF, Udine, Japan Cuts, Puchon, Vienna, Kaohsiung, G?teborg, Brussels, Terracotta and Fantasia - so there should be some writing in English about it. It was also distributed in South Korea and Taiwan.
>>
>>
>>For the former, I'd be very surprised if there's anything in English.
>>
>>
>>Stephen
>>
>>
>>On Tuesday, 8 April 2014 at 17:13, Dolores Martinez wrote:
>>
>>>Dear all, again somewhat off topic, but I've been following this discussion with interest as I'm writing a paper on Fish Story, the disaster 'comedy' that came out on March 12, 2011 and obviously did not do well at the box office. ?Has anyone written on this film specifically or on the genre generally (and yes, I know the Godzilla literature!). I was interested to see Paul Berry mention Megalopolis, as an alternative reality anime. I have always wondered if it had attracted scholarly attention --?but anything on this topic would be useful for me. Thanks,
>>>Lola?
>>>?
>>>On Tuesday, 8 April 2014, Christian Morimoto Hermansen <christian_hermansen at hotmail.com> wrote:
>>>
>>>Another two dealing with the Hanshin Awaji Daishinsai are?
>>>>1. The 2010 drama-docu Kobe shinbun no nananichikan?
>>>>?????7?? ?????????????????? ??
>>>>on how the News must be published no matter what; starring Sakurai Sho as a Kobe Shinbun photographer covering the disaster. ?Quite well done. ??
>>>>2. Sakamoto Junji's "Kao" from 2000, where the main character escapes Kobe, for other reasons, on the morning of the Earthquake.
>>>>
>>>>
>>>>Christian
>>>>
>>>>
>>>>________________________________
>>>>Date: Tue, 8 Apr 2014 08:08:18 +0300
>>>>From: eija at helsinkicineaasia.fi
>>>>To: kinejapan at lists.service.ohio-state.edu
>>>>Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>>>>
>>>>
>>>>In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in post-quake Kobe, helping the victims. That is the only one I can remember about the Hanshin earthquake.?
>>>>Eija
>>>>
>>>>
>>>>
>>>>2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
>>>>
>>>>Yes, I would think?there are certain times when you have to approach the topic from the opposite direction, as in not "are there quake films?" but "where is the quake in these films?" And I would also think it important to look beyond the films themselves.
>>>>>
>>>>>
>>>>>I remember when The Day After Tomorrow came out in 2004,?as a New Yorker who also happened to be in the city?on 9/11, I found the?scenes of the city being destroyed to be?quite personally?upsetting.
>>>>>
>>>>>A crime that?led to disaster and?tragedy for a city had been appropriated as war against the Nation, and New Yorkers were against the Iraq War and (it had seemed at the time) the?orgy of?crimes the Nation was cooking up in "retaliation". In that context it felt like a big middle finger to New York and to the whole Northeast, which becomes unlivable by the end of the film.?
>>>>>
>>>>>
>>>>>I don't want to say that that was necessarily anyone's intention, I'm speaking purely of my own very personal (and possibly excessive) reaction, but I want to say that I would imagine such reactions should be integral to this kind of discussion.
>>>>> 
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>
>>>>>On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
>>>>>
>>>>>Jim,
>>>>>>Yumeno?s reflection actually cuts both ways because he talks about the fact that there were very few films that dealt with the earthquake directly, then he talks about the rise of decadence (actually pre-empts or influences Sakaguchi Ango?s postwar daraku discourse) and makes the point that maybe those decadent films in the wake of the quake are actually quake films.
>>>>>>Jon
>>>>>>
>>>>>>
>>>>>>On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
>>>>>>
>>>>>>>
>>>>>>> Jim,
>>>>>>>
>>>>>>> This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films. ?I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers. ?I'm not quite comfortable mak
>>>_______________________________________________
>>>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
>
>
>
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From dm6 at soas.ac.uk  Tue Apr  8 07:14:12 2014
From: dm6 at soas.ac.uk (Dolores Martinez)
Date: Tue, 8 Apr 2014 12:14:12 +0100
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <7273427B8E0044FBB26120631076F03B@asianfilm.info>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
	<7273427B8E0044FBB26120631076F03B@asianfilm.info>
Message-ID: <CAGdu56N7Gi9HM0+1UabOcM-U=nYfrHzZC9mDhsvRPtrCg9WaYg@mail.gmail.com>

Dear Stephen,
thank you for that! I see the DVD release in 2011 produced some crossed
wires for Nakamura's film, which is entirely my fault.  But yes, it is that
film I'm writing about, as I find its fictional depiction of Japanese
responses to the end of the world somewhat prophetic (I know that in the
West, it was all about how calm and well mannered the Japanese were, but if
you talk to Japanese who were there and are aware of the actual statistics
for the looting and increased reportage of rape in the earthquake hit zone,
as Ueno Chizuko has argued, you get a rather different picture of
things...).
I was also wondering, however, about general writing on Japanese disaster
films that are not necessarily Godzilla films. Any thoughts?
Yours, Lola

On Tuesday, 8 April 2014, Stephen Cremin <stephen at asianfilm.info> wrote:

>  Lola, you mean Hayashiya Shinpei's RAKUGO MONOGATARI, which I didn't
> know had an English title, that opened on 12 March 2011 or Nakamura
> Yoshihiro's end-of-the-world disaster comedy FISH STORY that opened on 20
> Mar 2009 in Japan and on 28 May 2010 in the UK?
>
> The latter played several festivals - HKIFF, Udine, Japan Cuts, Puchon,
> Vienna, Kaohsiung, G?teborg, Brussels, Terracotta and Fantasia - so there
> should be some writing in English about it. It was also distributed in
> South Korea and Taiwan.
>
> For the former, I'd be very surprised if there's anything in English.
>
> Stephen
>
> On Tuesday, 8 April 2014 at 17:13, Dolores Martinez wrote:
>
>
> Dear all, again somewhat off topic, but I've been following this
> discussion with interest as I'm writing a paper on Fish Story, the disaster
> 'comedy' that came out on March 12, 2011 and obviously did not do well at
> the box office.  Has anyone written on this film specifically or on the
> genre generally (and yes, I know the Godzilla literature!). I was
> interested to see Paul Berry mention Megalopolis, as an alternative reality
> anime. I have always wondered if it had attracted scholarly attention
> -- but anything on this topic would be useful for me. Thanks,
> Lola
>
> On Tuesday, 8 April 2014, Christian Morimoto Hermansen <
> christian_hermansen at hotmail.com> wrote:
>
> Another two dealing with the Hanshin Awaji Daishinsai are
> 1. The 2010 drama-docu Kobe shinbun no nananichikan  ?????7??
> ?????????????????? ??
> on how the News must be published no matter what; starring Sakurai Sho as
> a Kobe Shinbun photographer covering the disaster.  Quite well done.
> 2. Sakamoto Junji's "Kao" from 2000, where the main character escapes
> Kobe, for other reasons, on the morning of the Earthquake.
>
> Christian
>
> ------------------------------
> Date: Tue, 8 Apr 2014 08:08:18 +0300
> From: eija at helsinkicineaasia.fi
> To: kinejapan at lists.service.ohio-state.edu
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
> In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in
> post-quake Kobe, helping the victims. That is the only one I can remember
> about the Hanshin earthquake.
> Eija
>
>
> 2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
>
> Yes, I would think there are certain times when you have to approach the
> topic from the opposite direction, as in not "are there quake films?" but
> "where is the quake in these films?" And I would also think it important to
> look beyond the films themselves.
>
> I remember when The Day After Tomorrow came out in 2004, as a New Yorker
> who also happened to be in the city on 9/11, I found the scenes of the city
> being destroyed to be quite personally upsetting.
>
> A crime that led to disaster and tragedy for a city had been appropriated
> as war against the Nation, and New Yorkers were against the Iraq War and
> (it had seemed at the time) the orgy of crimes the Nation was cooking up in
> "retaliation". In that context it felt like a big middle finger to New York
> and to the whole Northeast, which becomes unlivable by the end of the film.
>
> I don't want to say that that was necessarily anyone's intention, I'm
> speaking purely of my own very personal (and possibly excessive) reaction,
> but I want to say that I would imagine such reactions should be integral to
> this kind of discussion.
>
>
>
>
>
> On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
>
> Jim,
> Yumeno?s reflection actually cuts both ways because he talks about the
> fact that there were very few films that dealt with the earthquake
> directly, then he talks about the rise of decadence (actually pre-empts or
> influences Sakaguchi Ango?s postwar daraku discourse) and makes the point
> that maybe those decadent films in the wake of the quake are actually quake
> films.
> Jon
>
> On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
>
> >
> > Jim,
> >
> > This was an issue that came up at times at the Berkeley symposium and
> was a theme in my own paper which situated 3/11 fiction films in relation
> to atomic bomb and hibakusha films.  I personally came across an
> observation that the Kanto and Hanshin earthquakes had received
> surprisingly little attention from fiction/narrative filmmakers.  I'm not
> quite comfortable mak
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu<javascript:_e(%7B%7D,'cvml','KineJapan at lists.service.ohio-state.edu');>
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
>
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From eija at helsinkicineaasia.fi  Tue Apr  8 06:36:37 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Tue, 8 Apr 2014 13:36:37 +0300
Subject: [KineJapan] CFP: Asian performance art and documentation
Message-ID: <CA+FavwPqmBT7_BrZgFRzxg53R7WnY1D_DxCPc5GSp4ARfOdeqQ@mail.gmail.com>

Though performance art -.centered, maybe this will interest some of you.

Call for Papers and Presentations
International Symposium
Shifting Dialogues III:
Documenting Asian Art and Performance: Embodied Knowledge, Virtuality & the
Archive
December 3-5, 2014 University of the Arts, Helsinki
The Asian Art and Performance Consortium (AAPC) of the Academy of Fine Arts
(Kuva) and the Finnish Theatre Academy (Teak) of the University of the Arts
Helsinki will jointly host a symposium focused on documenting and archiving
Asian and trans-cultural performance and fine arts.
Documentation preserves traditional and contemporary forms, and it
establishes a body of knowledge for future scholars and the local
communities of practitioners. Yet documentation and mediation also tends to
spectacularize and reify performance and art traditions, and it can also
lead to their de-contextualization and expropriation. Public memory, now
primarily held ?in-state? as silicon-based documents in archives, libraries
and museums, is at times in conflict with historical memory held by
audiences who were present at particular events. In the case of ephemeral
art forms, or practices of daily life, these disparities and the problems
of mediation are of particular importance. These disparities and resource
sharing across cultures form the areas of focus of this symposium.
In Asian performance, transferring knowledge bodily from teacher to
students, from one generation to another is a common practice. Thus the
performer?s body and oral transmission function both as repertoire of
embodied practices, and as an ephemeral archive that preserves, modifies
and transmits those practices from one generation to another. Different
iconographic materials, including temple reliefs and canonical treatises,
have also preserved ephemeral traditions through centuries. Filmed and
electronic documentation of the traditions has further increased the amount
of available data.
The research under this topic will focus on the relationship of cultural
artefacts to memory, discrimination, censorship and social agreements
around memorialization and the construction of Asian ?canons?.
We will also ask:
? What is the impact of media on art and performance works documented, and
how does documentation change the significance or reception of significant
cultural artefacts?
? How do we avoid the performance documentary becoming the site where
?mediocrity can play a hero's part?? as Marx put it. Are some performances
undeservedly preserved when they would be better off decaying naturally in
the audience?s collective mind? Are we surrounding ourselves by the mixed
remnants of past failures and successes, leading to a loss of the ability
to accurately assess the quality of ephemeral acts?
? Can archival procedures be more productively and strategically designed
as an active cultural
construction, rather than assumed to function as a passive repository for
technical recall or socialmemory?
Issues that can be raised at the symposium include embodied, iconographic
and electronic transfer ofperformance traditions in Asia related to live
performance and traditional pedagogies, as well as the useof moving image,
photography, web-based presence and new media, historical and theoretical
writings,the construction of archives, museums and libraries.
This is the third and final symposium organized under the Shifting
Dialogues ? Asian Performance andFine Arts research project, funded by the
Academy of Finland in 2011-2014. The symposium is free ofcharge.
Presentations reflecting practice-based artistic research are encouraged.
DEADLINE for proposals is 2 May, 2014. Decisions will be confirmed by 20
May 2014.
For the purpose of creating an interactive symposium, with a high level of
response and discussion of all presentations, we have set a deadline for
completed papers: 24 November 2014.
TO SUBMIT proposals please provide the following by the deadline to
teak.aapc at uniarts.fi
- abstract of 250 words with low resolution images or directions to on-line
video as needed
- short bio of 150 words
- attached cv
- mode of presentation and any special technical or space requirements
We regret that we are unable to provide scholarships for presenters.
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From stephen at asianfilm.info  Tue Apr  8 06:34:31 2014
From: stephen at asianfilm.info (Stephen Cremin)
Date: Tue, 8 Apr 2014 17:34:31 +0700
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
	<CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>
Message-ID: <7273427B8E0044FBB26120631076F03B@asianfilm.info>

Lola, you mean Hayashiya Shinpei's RAKUGO MONOGATARI, which I didn't know had an English title, that opened on 12 March 2011 or Nakamura Yoshihiro's end-of-the-world disaster comedy FISH STORY that opened on 20 Mar 2009 in Japan and on 28 May 2010 in the UK?  

The latter played several festivals - HKIFF, Udine, Japan Cuts, Puchon, Vienna, Kaohsiung, G?teborg, Brussels, Terracotta and Fantasia - so there should be some writing in English about it. It was also distributed in South Korea and Taiwan.  

For the former, I'd be very surprised if there's anything in English.

Stephen


On Tuesday, 8 April 2014 at 17:13, Dolores Martinez wrote:

>  
> Dear all, again somewhat off topic, but I've been following this discussion with interest as I'm writing a paper on Fish Story, the disaster 'comedy' that came out on March 12, 2011 and obviously did not do well at the box office.  Has anyone written on this film specifically or on the genre generally (and yes, I know the Godzilla literature!). I was interested to see Paul Berry mention Megalopolis, as an alternative reality anime. I have always wondered if it had attracted scholarly attention -- but anything on this topic would be useful for me. Thanks,
> Lola  
>   
> On Tuesday, 8 April 2014, Christian Morimoto Hermansen <christian_hermansen at hotmail.com (mailto:christian_hermansen at hotmail.com)> wrote:
> > Another two dealing with the Hanshin Awaji Daishinsai are  
> > 1. The 2010 drama-docu Kobe shinbun no nananichikan  
> > ?????7?? ?????????????????? ??
> > on how the News must be published no matter what; starring Sakurai Sho as a Kobe Shinbun photographer covering the disaster.  Quite well done.    
> > 2. Sakamoto Junji's "Kao" from 2000, where the main character escapes Kobe, for other reasons, on the morning of the Earthquake.
> >  
> > Christian
> > Date: Tue, 8 Apr 2014 08:08:18 +0300
> > From: eija at helsinkicineaasia.fi (javascript:_e(%7B%7D,'cvml','eija at helsinkicineaasia.fi');)
> > To: kinejapan at lists.service.ohio-state.edu (javascript:_e(%7B%7D,'cvml','kinejapan at lists.service.ohio-state.edu');)
> > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> >  
> > In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in post-quake Kobe, helping the victims. That is the only one I can remember about the Hanshin earthquake.  
> > Eija
> >  
> >  
> >  
> > 2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
> > > Yes, I would think there are certain times when you have to approach the topic from the opposite direction, as in not "are there quake films?" but "where is the quake in these films?" And I would also think it important to look beyond the films themselves.  
> > >  
> > > I remember when The Day After Tomorrow came out in 2004, as a New Yorker who also happened to be in the city on 9/11, I found the scenes of the city being destroyed to be quite personally upsetting.  
> > >  
> > > A crime that led to disaster and tragedy for a city had been appropriated as war against the Nation, and New Yorkers were against the Iraq War and (it had seemed at the time) the orgy of crimes the Nation was cooking up in "retaliation". In that context it felt like a big middle finger to New York and to the whole Northeast, which becomes unlivable by the end of the film.   
> > >  
> > > I don't want to say that that was necessarily anyone's intention, I'm speaking purely of my own very personal (and possibly excessive) reaction, but I want to say that I would imagine such reactions should be integral to this kind of discussion.
> > >  
> > >  
> > >  
> > >  
> > >  
> > > On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
> > > > Jim,
> > > > Yumeno?s reflection actually cuts both ways because he talks about the fact that there were very few films that dealt with the earthquake directly, then he talks about the rise of decadence (actually pre-empts or influences Sakaguchi Ango?s postwar daraku discourse) and makes the point that maybe those decadent films in the wake of the quake are actually quake films.
> > > > Jon
> > > >  
> > > > On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
> > > >  
> > > > >
> > > > > Jim,
> > > > >
> > > > > This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable making that claim myself because I haven't followed up on it very much, but Jonathan Abel gave a paper at Berkeley in which he cited an interesting quote from an essay by Yumeno Kyusaku written shortly after the 1923 earthquake.  Yumeno had interviewed an official responsible for film censorship who noted that there had been a lack of screenplays dealing with the disaster submitted for official approval at the time.  The conclusion was that screenwriters had exercised self-restraint at least in the historical moment.  Self-restraint (jishuku) has also been a theme since 3/11, but evidently not to the point of altogeth
> > > > > er preventing films from being made.
> > > > >
> > > > > The Wind Rises contains a dramatic depiction of the Kanto earthquake, as someone else just mentioned.  That's interesting in that it is a depiction of the earthquake from a post-3/11 vantage point (at least the film was released in 2013... I don't know when production began), and in that sense it is also a "3/11 film."  Miyazaki of course has publicly come out against nuclear energy, and it seems reasonable to imagine a subtext in all the talk of Japan "exploding" and the persistence of the wind motif in the film, the wind being as ambivalent as the dream of flight, lifting beautiful things into the air, but also spreading fires and poisonous things.  Wakamatsu Koji was reportedly planning an adaptation of the nuclear fallout graphic novel "When the Wind Blows" before his death.  Off the top of my head, I can't think of other dramatic re  
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu)
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>  
>  


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From dianni at free.fr  Tue Apr  8 06:24:57 2014
From: dianni at free.fr (dianni at free.fr)
Date: Tue, 8 Apr 2014 12:24:57 +0200
Subject: [KineJapan] Tsunami and heartwake film versions of Kanto
	daijinsai
References: <1575018917.2440306.1396942184415.JavaMail.root@kansaigaidai.ac.jp>
Message-ID: <D9D79FFC59144B75BD31894E1D08DB67@dimitri>

If I may butt in on the topic, two examples just came to mind respectively 
featuring Kanto Daijinsai and Hanshin Awaji Daishinsai:

1. Kumashiro's Yoj?han fusuma no urabari (?????????????, 74) where during 
the prologue, the geisha (Miyashita Junko) can be seen holding baby Shotaro 
fleeing the great kanto earthquake.

2. Hosono Tatsuoki?s cult yazuka farce Shabu gokudo (?????, 96) show 
striking images of the Kobe earthquake used as landscape and backdrop to the 
story.

Dimitri IANNI
Paris


----- Original Message ----- 
From: "BERRY Paul" <hakutaku at kansaigaidai.ac.jp>
To: "Japanese Cinema Discussion Forum" 
<kinejapan at lists.service.ohio-state.edu>
Sent: Tuesday, April 08, 2014 9:29 AM
Subject: Re: [KineJapan] Tsunami and heartwake film versions of Kanto 
daijinsai


> Concerning cinema versions of the Kanto daijinsai, I think there are many. 
> Two popular ones are Jissoji Akio's Tokyo: The Last Megalopolis (????, 
> Teito Monogatari, 1988 that has all kinds of detailed models of the city 
> begin destroyed in a fantasy narrative. There is also Fukusaku Kinji's 
> retelling of Yosano Akiko's life in Hana no ran ??? also from 1988 that 
> ends with the chaos of the earthquake. I think there are many more.
> It is interesting to reflect on the varied treatments like this.
> Paul Berry
> Kyoto
>
>
> ----- Original Message -----
> From: Ryan Cook <ryancook at fas.harvard.edu>
> To: Japanese Cinema Discussion Forum 
> <kinejapan at lists.service.ohio-state.edu>
> Sent: Tue, 08 Apr 2014 08:58:12 +0900 (JST)
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
>
> Jim,
>
> This was an issue that came up at times at the Berkeley symposium and was 
> a theme in my own paper which situated 3/11 fiction films in relation to 
> atomic bomb and hibakusha films.  I personally came across an observation 
> that the Kanto and Hanshin earthquakes had received surprisingly little 
> attention from fiction/narrative filmmakers.  I'm not quite comfortable 
> making that claim myself because I haven't followed up on it very much, 
> but Jonathan Abel gave a paper at Berkeley in which he cited an 
> interesting quote from an essay by Yumeno Kyusaku written shortly after 
> the 1923 earthquake.  Yumeno had interviewed an official responsible for 
> film censorship who noted that there had been a lack of screenplays 
> dealing with the disaster submitted for official approval at the time. 
> The conclusion was that screenwriters had exercised self-restraint at 
> least in the historical moment.  Self-restraint (jishuku) has also been a 
> theme since 3/11, but evidently not to the point of altogeth
>
> er preventing films from being made.
>
> The Wind Rises contains a dramatic depiction of the Kanto earthquake, as 
> someone else just mentioned.  That's interesting in that it is a depiction 
> of the earthquake from a post-3/11 vantage point (at least the film was 
> released in 2013... I don't know when production began), and in that sense 
> it is also a "3/11 film."  Miyazaki of course has publicly come out 
> against nuclear energy, and it seems reasonable to imagine a subtext in 
> all the talk of Japan "exploding" and the persistence of the wind motif in 
> the film, the wind being as ambivalent as the dream of flight, lifting 
> beautiful things into the air, but also spreading fires and poisonous 
> things.  Wakamatsu Koji was reportedly planning an adaptation of the 
> nuclear fallout graphic novel "When the Wind Blows" before his death.  Off 
> the top of my head, I can't think of other dramatic representations of the 
> 1923 earthquake in film, though I'm probably overlooking important 
> examples.
>
> Ryan
>
>
> ________________________________________
> From: 
> kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu 
> [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] 
> on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
> Sent: Monday, April 07, 2014 5:34 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
> Forgive me butting in here, but I'm curious about a couple of things.
>
> a) Has much been written about the presentation and portrayal of disaster 
> in Japanese cinema in general, prior to 3/11?
>
> b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 
> 1995 Kobe Earthquake- been heavily represented in contemporary film, also 
> prior to 3/11?
>
> Can anyone help? Just a couple of brief answers would be very much 
> appreciated. Thank you!
>
> Jim Harper.
>
> _______________________________________________
> 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 


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From dm6 at soas.ac.uk  Tue Apr  8 06:13:10 2014
From: dm6 at soas.ac.uk (Dolores Martinez)
Date: Tue, 8 Apr 2014 11:13:10 +0100
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
	<BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>
Message-ID: <CAGdu56NJs-s-0z8upk-zsLNYj=yo1YcgPmm+7pxYxv6eT5OTLA@mail.gmail.com>

Dear all, again somewhat off topic, but I've been following this discussion
with interest as I'm writing a paper on Fish Story, the disaster 'comedy'
that came out on March 12, 2011 and obviously did not do well at the box
office.  Has anyone written on this film specifically or on the genre
generally (and yes, I know the Godzilla literature!). I was interested to
see Paul Berry mention Megalopolis, as an alternative reality anime. I have
always wondered if it had attracted scholarly attention -- but anything on
this topic would be useful for me. Thanks,
Lola

On Tuesday, 8 April 2014, Christian Morimoto Hermansen <
christian_hermansen at hotmail.com> wrote:

> Another two dealing with the Hanshin Awaji Daishinsai are
> 1. The 2010 drama-docu Kobe shinbun no nananichikan ?????7??
> ?????????????????? ??
> on how the News must be published no matter what; starring Sakurai Sho as
> a Kobe Shinbun photographer covering the disaster.  Quite well done.
> 2. Sakamoto Junji's "Kao" from 2000, where the main character escapes
> Kobe, for other reasons, on the morning of the Earthquake.
>
> Christian
>
> ------------------------------
> Date: Tue, 8 Apr 2014 08:08:18 +0300
> From: eija at helsinkicineaasia.fi<javascript:_e(%7B%7D,'cvml','eija at helsinkicineaasia.fi');>
> To: kinejapan at lists.service.ohio-state.edu<javascript:_e(%7B%7D,'cvml','kinejapan at lists.service.ohio-state.edu');>
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
> In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in
> post-quake Kobe, helping the victims. That is the only one I can remember
> about the Hanshin earthquake.
> Eija
>
>
> 2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:
>
> Yes, I would think there are certain times when you have to approach the
> topic from the opposite direction, as in not "are there quake films?" but
> "where is the quake in these films?" And I would also think it important to
> look beyond the films themselves.
>
> I remember when The Day After Tomorrow came out in 2004, as a New Yorker
> who also happened to be in the city on 9/11, I found the scenes of the city
> being destroyed to be quite personally upsetting.
>
> A crime that led to disaster and tragedy for a city had been appropriated
> as war against the Nation, and New Yorkers were against the Iraq War and
> (it had seemed at the time) the orgy of crimes the Nation was cooking up in
> "retaliation". In that context it felt like a big middle finger to New York
> and to the whole Northeast, which becomes unlivable by the end of the film.
>
> I don't want to say that that was necessarily anyone's intention, I'm
> speaking purely of my own very personal (and possibly excessive) reaction,
> but I want to say that I would imagine such reactions should be integral to
> this kind of discussion.
>
>
>
>
>
> On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
>
> Jim,
> Yumeno?s reflection actually cuts both ways because he talks about the
> fact that there were very few films that dealt with the earthquake
> directly, then he talks about the rise of decadence (actually pre-empts or
> influences Sakaguchi Ango?s postwar daraku discourse) and makes the point
> that maybe those decadent films in the wake of the quake are actually quake
> films.
> Jon
>
> On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
>
> >
> > Jim,
> >
> > This was an issue that came up at times at the Berkeley symposium and
> was a theme in my own paper which situated 3/11 fiction films in relation
> to atomic bomb and hibakusha films.  I personally came across an
> observation that the Kanto and Hanshin earthquakes had received
> surprisingly little attention from fiction/narrative filmmakers.  I'm not
> quite comfortable making that claim myself because I haven't followed up on
> it very much, but Jonathan Abel gave a paper at Berkeley in which he cited
> an interesting quote from an essay by Yumeno Kyusaku written shortly after
> the 1923 earthquake.  Yumeno had interviewed an official responsible for
> film censorship who noted that there had been a lack of screenplays dealing
> with the disaster submitted for official approval at the time.  The
> conclusion was that screenwriters had exercised self-restraint at least in
> the historical moment.  Self-restraint (jishuku) has also been a theme
> since 3/11, but evidently not to the point of altogeth
> > er preventing films from being made.
> >
> > The Wind Rises contains a dramatic depiction of the Kanto earthquake, as
> someone else just mentioned.  That's interesting in that it is a depiction
> of the earthquake from a post-3/11 vantage point (at least the film was
> released in 2013... I don't know when production began), and in that sense
> it is also a "3/11 film."  Miyazaki of course has publicly come out against
> nuclear energy, and it seems reasonable to imagine a subtext in all the
> talk of Japan "exploding" and the persistence of the wind motif in the
> film, the wind being as ambivalent as the dream of flight, lifting
> beautiful things into the air, but also spreading fires and poisonous
> things.  Wakamatsu Koji was reportedly planning an adaptation of the
> nuclear fallout graphic novel "When the Wind Blows" before his death.  Off
> the top of my head, I can't think of other dramatic re
>
>
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From naokiya at gmail.com  Tue Apr  8 05:46:08 2014
From: naokiya at gmail.com (Naoki Yamamoto)
Date: Tue, 8 Apr 2014 02:46:08 -0700
Subject: [KineJapan] Tsunami and heartwake film versions of Kanto
	daijinsai
In-Reply-To: <1396950014.1568.YahooMailBasic@web173103.mail.ir2.yahoo.com>
References: <1396950014.1568.YahooMailBasic@web173103.mail.ir2.yahoo.com>
Message-ID: <F0576024-277B-49E8-B075-38429D24727C@gmail.com>

Dear Kine-Japaners,

I know this is a bit off-topic, but if you happen to be in the LA/Santa Barbara area in coming weeks, please join us for the film series that I organize at UCSB's Pollock Theater. As you know, Odayaka is one of the post-3.11 fiction films on the nuclear disaster.

Nuclear Japan: Japanese cinema before and after Fukushima

April 15 (Tue): Fukushima: Memories of the Lost Landscape (2011, dir. Matsubayashi Yojyu)
* Guest Speaker: David Novak (Music, UCSB)
 
April 22 (Tue): Odayaka (2012, dir. Uchida Nobuteru)
* Guest Speaker: Margherita Long (Comparative Literature, UCR)

April 29 (Tue): Ashes to Honey (2010, dir. Kamanaka Hitomi)
* Guest Speaker: anne-elise lewallen (EALCS, UCSB)

All the screenings will begin at 7PM. More info can be found here: 
http://www.carseywolf.ucsb.edu/pollock/events/nuclear-japan-japanese-cinema-and-after-fukushima

Best,
Naoki

Naoki Yamamoto
Assistant professor
Film and Media Studies
University of California, Santa Barbara

On Apr 8, 2014, at 2:40 AM, Jim Harper wrote:

> 
> Isola was the only contemporary reference I could find in the horror genre. And you're absolutely right; there are dozens of films that deal with the Aum attacks and cults in general, from Miike's over-the-top MPD Psycho to one Itami's long line of comedy dramas starring his wife (Woman of the Police Protection Unit). Sogo Ishii's Angel Dust and Izo Hashimoto's Hideki: Evil Dead Trap 2 are pre-Aum films that make for interesting comparisions.
> 
> I haven't yet had a chance to watch Zeze's Pandemic yet, so I'll be interested to know how it connects with these earlier films.
> 
> Jim.
> 
> On Tue, 8/4/14, Jasper Sharp <jasper_sharp at hotmail.com> wrote:
> 
> Subject: Re: [KineJapan] Tsunami and heartwake film versions of Kanto daijinsai
> To: "kinejapan" <kinejapan at lists.service.ohio-state.edu>
> Date: Tuesday, 8 April, 2014, 9:48
> 
> 
> 
> 
> 
> Yes, the
> 1923 Kanto earthquake has appeared in cinema quite a few
> times, largely because for Showa era directors it
> represented figuratively the turning point between Taisho
> liberalism and early-Showa nationalism. The Tanaka
> Noboru-directed Roman Porno Watcher in the Attic (Yaneura no
> sanp?sha, 1976) is another good example, based
> on a number of stories by Edogawa Rampo. I'm sure there
> are many more.As
> for the 1995
> Hanshin earthquake, the
> only reference I can think of is MizutaniToshiyuki?s
> J-horror Isola
> (Isola: Taj? jinkaku sh?jo, 2000), about a psychic
> girl with multiple
> personalities rescued from its ruins. As the Aum gas attacks
> on the Tokyo subway occurred within a matter of weeks of
> this, it was this latter disaster that formed the basis of
> much of the pre-millennial manifestations of national
> trauma, felt particularly strongly in films by Aoyama Shinji
> and Zeze Takahisa.
> 
> 
> 
> 
> 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
> 
> 
> 
>> Date: Tue, 8 Apr 2014 16:29:44 +0900
>> From: hakutaku at kansaigaidai.ac.jp
>> To: kinejapan at lists.service.ohio-state.edu
>> Subject: Re: [KineJapan] Tsunami and heartwake film
> versions of Kanto daijinsai
>> 
>> Concerning cinema versions of the Kanto daijinsai, I
> think there are many. Two popular ones are Jissoji
> Akio's Tokyo: The Last Megalopolis (????, Teito
> Monogatari, 1988 that has all kinds of detailed models of
> the city begin destroyed in a fantasy narrative. There is
> also Fukusaku Kinji's retelling of Yosano Akiko's
> life in Hana no ran ??? also from 1988 that ends with
> the chaos of the earthquake. I think there are many more. 
>> It is interesting to reflect on the varied treatments
> like this.
>> Paul Berry
>> Kyoto
>> 
>> 
>> ----- Original Message -----
>> From: Ryan Cook <ryancook at fas.harvard.edu>
>> To: Japanese Cinema Discussion Forum
> <kinejapan at lists.service.ohio-state.edu>
>> Sent: Tue, 08 Apr 2014 08:58:12 +0900 (JST)
>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av
> coverage
>> 
>> 
>> Jim,
>> 
>> This was an issue that came up at times at the Berkeley
> symposium and was a theme in my own paper which situated
> 3/11 fiction films in relation to atomic bomb and hibakusha
> films.  I personally came across an observation that the
> Kanto and Hanshin earthquakes had received surprisingly
> little attention from fiction/narrative filmmakers.  I'm
> not quite comfortable making that claim myself because I
> haven't followed up on it very much, but Jonathan Abel
> gave a paper at Berkeley in which he cited an interesting
> quote from an essay by Yumeno Kyusaku written shortly after
> the 1923 earthquake.  Yumeno had interviewed an official
> responsible for film censorship who noted that there had
> been a lack of screenplays dealing with the disaster
> submitted for official approval at the time.  The conclusion
> was that screenwriters had exercised self-restraint at least
> in the historical moment.  Self-restraint (jishuku) has also
> been a theme since 3/11, but evidently not to the point of
> altogeth
>> 
>> er preventing films from being made.
>> 
>> The Wind Rises contains a dramatic depiction of the
> Kanto earthquake, as someone else just mentioned. 
> That's interesting in that it is a depiction of the
> earthquake from a post-3/11 vantage point (at least the film
> was released in 2013... I don't know when production
> began), and in that sense it is also a "3/11
> film."  Miyazaki of course has publicly come out
> against nuclear energy, and it seems reasonable to imagine a
> subtext in all the talk of Japan "exploding" and
> the persistence of the wind motif in the film, the wind
> being as ambivalent as the dream of flight, lifting
> beautiful things into the air, but also spreading fires and
> poisonous things.  Wakamatsu Koji was reportedly planning an
> adaptation of the nuclear fallout graphic novel "When
> the Wind Blows" before his death.  Off the top of my
> head, I can't think of other dramatic representations of
> the 1923 earthquake in film, though I'm probably
> overlooking important examples.
>> 
>> Ryan
>> 
>> 
>> ________________________________________
>> From:
> kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu
> [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu]
> on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
>> Sent: Monday, April 07, 2014 5:34 AM
>> To: Japanese Cinema Discussion Forum
>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av
> coverage
>> 
>> Forgive me butting in here, but I'm curious about a
> couple of things.
>> 
>> a) Has much been written about the presentation and
> portrayal of disaster in Japanese cinema in general, prior
> to 3/11?
>> 
>> b) Have specific disasters- like the Great Kanto
> Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily
> represented in contemporary film, also prior to 3/11?
>> 
>> Can anyone help? Just a couple of brief answers would
> be very much appreciated. Thank you!
>> 
>> Jim Harper.
>> 
>> _______________________________________________
>> 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
>  		 	   		  
> 
> -----Inline Attachment Follows-----
> 
> _______________________________________________
> 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

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From jimharper666 at yahoo.co.uk  Tue Apr  8 05:40:14 2014
From: jimharper666 at yahoo.co.uk (Jim Harper)
Date: Tue, 8 Apr 2014 10:40:14 +0100
Subject: [KineJapan] Tsunami and heartwake film versions of Kanto
	daijinsai
In-Reply-To: <DUB126-W677FEF332DE4622B1F8B05F76B0@phx.gbl>
Message-ID: <1396950014.1568.YahooMailBasic@web173103.mail.ir2.yahoo.com>


Isola was the only contemporary reference I could find in the horror genre. And you're absolutely right; there are dozens of films that deal with the Aum attacks and cults in general, from Miike's over-the-top MPD Psycho to one Itami's long line of comedy dramas starring his wife (Woman of the Police Protection Unit). Sogo Ishii's Angel Dust and Izo Hashimoto's Hideki: Evil Dead Trap 2 are pre-Aum films that make for interesting comparisions.

I haven't yet had a chance to watch Zeze's Pandemic yet, so I'll be interested to know how it connects with these earlier films.

Jim.

On Tue, 8/4/14, Jasper Sharp <jasper_sharp at hotmail.com> wrote:

 Subject: Re: [KineJapan] Tsunami and heartwake film versions of Kanto daijinsai
 To: "kinejapan" <kinejapan at lists.service.ohio-state.edu>
 Date: Tuesday, 8 April, 2014, 9:48
 
 
 
 
 
 Yes, the
 1923 Kanto earthquake has appeared in cinema quite a few
 times, largely because for Showa era directors it
 represented figuratively the turning point between Taisho
 liberalism and early-Showa nationalism. The Tanaka
 Noboru-directed Roman Porno?Watcher in the Attic (Yaneura no
 sanp?sha,?1976) is another good example, based
 on a number of stories by Edogawa Rampo. I'm sure there
 are many more.As
 for the?1995
 Hanshin earthquake, the
 only reference I can think of is?MizutaniToshiyuki?s
 J-horror?Isola
 (Isola: Taj? jinkaku sh?jo, 2000), about a psychic
 girl?with multiple
 personalities rescued from its ruins. As the Aum gas attacks
 on the Tokyo subway occurred within a matter of weeks of
 this, it was this latter disaster that formed the basis of
 much of the pre-millennial manifestations of national
 trauma, felt particularly strongly in films by Aoyama Shinji
 and Zeze Takahisa.
 
 
 
 
 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
 
 
 
 > Date: Tue, 8 Apr 2014 16:29:44 +0900
 > From: hakutaku at kansaigaidai.ac.jp
 > To: kinejapan at lists.service.ohio-state.edu
 > Subject: Re: [KineJapan] Tsunami and heartwake film
 versions of Kanto daijinsai
 > 
 > Concerning cinema versions of the Kanto daijinsai, I
 think there are many. Two popular ones are Jissoji
 Akio's Tokyo: The Last Megalopolis (????, Teito
 Monogatari, 1988 that has all kinds of detailed models of
 the city begin destroyed in a fantasy narrative. There is
 also Fukusaku Kinji's retelling of Yosano Akiko's
 life in Hana no ran ??? also from 1988 that ends with
 the chaos of the earthquake. I think there are many more. 
 > It is interesting to reflect on the varied treatments
 like this.
 > Paul Berry
 > Kyoto
 > 
 > 
 > ----- Original Message -----
 > From: Ryan Cook <ryancook at fas.harvard.edu>
 > To: Japanese Cinema Discussion Forum
 <kinejapan at lists.service.ohio-state.edu>
 > Sent: Tue, 08 Apr 2014 08:58:12 +0900 (JST)
 > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av
 coverage
 > 
 > 
 > Jim,
 > 
 > This was an issue that came up at times at the Berkeley
 symposium and was a theme in my own paper which situated
 3/11 fiction films in relation to atomic bomb and hibakusha
 films.  I personally came across an observation that the
 Kanto and Hanshin earthquakes had received surprisingly
 little attention from fiction/narrative filmmakers.  I'm
 not quite comfortable making that claim myself because I
 haven't followed up on it very much, but Jonathan Abel
 gave a paper at Berkeley in which he cited an interesting
 quote from an essay by Yumeno Kyusaku written shortly after
 the 1923 earthquake.  Yumeno had interviewed an official
 responsible for film censorship who noted that there had
 been a lack of screenplays dealing with the disaster
 submitted for official approval at the time.  The conclusion
 was that screenwriters had exercised self-restraint at least
 in the historical moment.  Self-restraint (jishuku) has also
 been a theme since 3/11, but evidently not to the point of
 altogeth
 >  
 >  er preventing films from being made.
 > 
 > The Wind Rises contains a dramatic depiction of the
 Kanto earthquake, as someone else just mentioned. 
 That's interesting in that it is a depiction of the
 earthquake from a post-3/11 vantage point (at least the film
 was released in 2013... I don't know when production
 began), and in that sense it is also a "3/11
 film."  Miyazaki of course has publicly come out
 against nuclear energy, and it seems reasonable to imagine a
 subtext in all the talk of Japan "exploding" and
 the persistence of the wind motif in the film, the wind
 being as ambivalent as the dream of flight, lifting
 beautiful things into the air, but also spreading fires and
 poisonous things.  Wakamatsu Koji was reportedly planning an
 adaptation of the nuclear fallout graphic novel "When
 the Wind Blows" before his death.  Off the top of my
 head, I can't think of other dramatic representations of
 the 1923 earthquake in film, though I'm probably
 overlooking important examples.
 > 
 > Ryan
 > 
 > 
 > ________________________________________
 > From:
 kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu
 [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu]
 on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
 > Sent: Monday, April 07, 2014 5:34 AM
 > To: Japanese Cinema Discussion Forum
 > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av
 coverage
 > 
 > Forgive me butting in here, but I'm curious about a
 couple of things.
 > 
 > a) Has much been written about the presentation and
 portrayal of disaster in Japanese cinema in general, prior
 to 3/11?
 > 
 > b) Have specific disasters- like the Great Kanto
 Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily
 represented in contemporary film, also prior to 3/11?
 > 
 > Can anyone help? Just a couple of brief answers would
 be very much appreciated. Thank you!
 > 
 > Jim Harper.
 > 
 > _______________________________________________
 > 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
  		 	   		  
 
 -----Inline Attachment Follows-----
 
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 KineJapan at lists.service.ohio-state.edu
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From jasper_sharp at hotmail.com  Tue Apr  8 04:48:45 2014
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Tue, 8 Apr 2014 08:48:45 +0000
Subject: [KineJapan] Tsunami and heartwake film versions of Kanto
 daijinsai
In-Reply-To: <1575018917.2440306.1396942184415.JavaMail.root@kansaigaidai.ac.jp>
References: <B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>,
	<1575018917.2440306.1396942184415.JavaMail.root@kansaigaidai.ac.jp>
Message-ID: <DUB126-W677FEF332DE4622B1F8B05F76B0@phx.gbl>

Yes, the 1923 Kanto earthquake has appeared in cinema quite a few times, largely because for Showa era directors it represented figuratively the turning point between Taisho liberalism and early-Showa nationalism. The Tanaka Noboru-directed Roman Porno Watcher in the Attic (Yaneura no sanp?sha, 1976) is another good example, based on a number of stories by Edogawa Rampo. I'm sure there are many more.As for the 1995 Hanshin earthquake, the only reference I can think of is MizutaniToshiyuki?s J-horror Isola (Isola: Taj? jinkaku sh?jo, 2000), about a psychic girl with multiple personalities rescued from its ruins. As the Aum gas attacks on the Tokyo subway occurred within a matter of weeks of this, it was this latter disaster that formed the basis of much of the pre-millennial manifestations of national trauma, felt particularly strongly in films by Aoyama Shinji and Zeze Takahisa.




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



> Date: Tue, 8 Apr 2014 16:29:44 +0900
> From: hakutaku at kansaigaidai.ac.jp
> To: kinejapan at lists.service.ohio-state.edu
> Subject: Re: [KineJapan] Tsunami and heartwake film versions of Kanto daijinsai
> 
> Concerning cinema versions of the Kanto daijinsai, I think there are many. Two popular ones are Jissoji Akio's Tokyo: The Last Megalopolis (????, Teito Monogatari, 1988 that has all kinds of detailed models of the city begin destroyed in a fantasy narrative. There is also Fukusaku Kinji's retelling of Yosano Akiko's life in Hana no ran ??? also from 1988 that ends with the chaos of the earthquake. I think there are many more. 
> It is interesting to reflect on the varied treatments like this.
> Paul Berry
> Kyoto
> 
> 
> ----- Original Message -----
> From: Ryan Cook <ryancook at fas.harvard.edu>
> To: Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu>
> Sent: Tue, 08 Apr 2014 08:58:12 +0900 (JST)
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> 
> 
> Jim,
> 
> This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable making that claim myself because I haven't followed up on it very much, but Jonathan Abel gave a paper at Berkeley in which he cited an interesting quote from an essay by Yumeno Kyusaku written shortly after the 1923 earthquake.  Yumeno had interviewed an official responsible for film censorship who noted that there had been a lack of screenplays dealing with the disaster submitted for official approval at the time.  The conclusion was that screenwriters had exercised self-restraint at least in the historical moment.  Self-restraint (jishuku) has also been a theme since 3/11, but evidently not to the point of altogeth
>  
>  er preventing films from being made.
> 
> The Wind Rises contains a dramatic depiction of the Kanto earthquake, as someone else just mentioned.  That's interesting in that it is a depiction of the earthquake from a post-3/11 vantage point (at least the film was released in 2013... I don't know when production began), and in that sense it is also a "3/11 film."  Miyazaki of course has publicly come out against nuclear energy, and it seems reasonable to imagine a subtext in all the talk of Japan "exploding" and the persistence of the wind motif in the film, the wind being as ambivalent as the dream of flight, lifting beautiful things into the air, but also spreading fires and poisonous things.  Wakamatsu Koji was reportedly planning an adaptation of the nuclear fallout graphic novel "When the Wind Blows" before his death.  Off the top of my head, I can't think of other dramatic representations of the 1923 earthquake in film, though I'm probably overlooking important examples.
> 
> Ryan
> 
> 
> ________________________________________
> From: kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
> Sent: Monday, April 07, 2014 5:34 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> 
> Forgive me butting in here, but I'm curious about a couple of things.
> 
> a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?
> 
> b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?
> 
> Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!
> 
> Jim Harper.
> 
> _______________________________________________
> 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
 		 	   		  
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From christian_hermansen at hotmail.com  Tue Apr  8 04:38:59 2014
From: christian_hermansen at hotmail.com (Christian Morimoto Hermansen)
Date: Tue, 8 Apr 2014 08:38:59 +0000
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>,
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>,
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>,
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>,
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>,
	<CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>
Message-ID: <BAY179-W22E923C773E5003A8C4FAA846B0@phx.gbl>

Another two dealing with the Hanshin Awaji Daishinsai are 1. The 2010 drama-docu Kobe shinbun no nananichikan ?????7?? ?????????????????? ??on how the News must be published no matter what; starring Sakurai Sho as a Kobe Shinbun photographer covering the disaster.  Quite well done.   2. Sakamoto Junji's "Kao" from 2000, where the main character escapes Kobe, for other reasons, on the morning of the Earthquake.
Christian
Date: Tue, 8 Apr 2014 08:08:18 +0300
From: eija at helsinkicineaasia.fi
To: kinejapan at lists.service.ohio-state.edu
Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage

In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in post-quake Kobe, helping the victims. That is the only one I can remember about the Hanshin earthquake. Eija


2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:

Yes, I would think there are certain times when you have to approach the topic from the opposite direction, as in not "are there quake films?" but "where is the quake in these films?" And I would also think it important to look beyond the films themselves.




I remember when The Day After Tomorrow came out in 2004, as a New Yorker who also happened to be in the city on 9/11, I found the scenes of the city being destroyed to be quite personally upsetting.



A crime that led to disaster and tragedy for a city had been appropriated as war against the Nation, and New Yorkers were against the Iraq War and (it had seemed at the time) the orgy of crimes the Nation was cooking up in "retaliation". In that context it felt like a big middle finger to New York and to the whole Northeast, which becomes unlivable by the end of the film. 


I don't want to say that that was necessarily anyone's intention, I'm speaking purely of my own very personal (and possibly excessive) reaction, but I want to say that I would imagine such reactions should be integral to this kind of discussion.












On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:


Jim,

Yumeno?s reflection actually cuts both ways because he talks about the fact that there were very few films that dealt with the earthquake directly, then he talks about the rise of decadence (actually pre-empts or influences Sakaguchi Ango?s postwar daraku discourse) and makes the point that maybe those decadent films in the wake of the quake are actually quake films.





Jon



On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:



>

> Jim,

>

> This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable making that claim myself because I haven't followed up on it very much, but Jonathan Abel gave a paper at Berkeley in which he cited an interesting quote from an essay by Yumeno Kyusaku written shortly after the 1923 earthquake.  Yumeno had interviewed an official responsible for film censorship who noted that there had been a lack of screenplays dealing with the disaster submitted for official approval at the time.  The conclusion was that screenwriters had exercised self-restraint at least in the historical moment.  Self-restraint (jishuku) has also been a theme since 3/11, but evidently not to the point of altogeth





> er preventing films from being made.

>

> The Wind Rises contains a dramatic depiction of the Kanto earthquake, as someone else just mentioned.  That's interesting in that it is a depiction of the earthquake from a post-3/11 vantage point (at least the film was released in 2013... I don't know when production began), and in that sense it is also a "3/11 film."  Miyazaki of course has publicly come out against nuclear energy, and it seems reasonable to imagine a subtext in all the talk of Japan "exploding" and the persistence of the wind motif in the film, the wind being as ambivalent as the dream of flight, lifting beautiful things into the air, but also spreading fires and poisonous things.  Wakamatsu Koji was reportedly planning an adaptation of the nuclear fallout graphic novel "When the Wind Blows" before his death.  Off the top of my head, I can't think of other dramatic representations of the 1923 earthquake in film, though I'm probably overlooking important examples.





>

> Ryan

>

>

> ________________________________________

> From: kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [jimharper666 at yahoo.co.uk]





> Sent: Monday, April 07, 2014 5:34 AM

> To: Japanese Cinema Discussion Forum

> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage

>

> Forgive me butting in here, but I'm curious about a couple of things.

>

> a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?

>

> b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?

>

> Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!

>

> Jim Harper.

>

> _______________________________________________

> 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





_______________________________________________
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https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan 		 	   		  
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From hakutaku at kansaigaidai.ac.jp  Tue Apr  8 03:29:44 2014
From: hakutaku at kansaigaidai.ac.jp (BERRY Paul)
Date: Tue, 8 Apr 2014 16:29:44 +0900
Subject: [KineJapan] Tsunami and heartwake film versions of Kanto
 daijinsai
In-Reply-To: <B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
Message-ID: <1575018917.2440306.1396942184415.JavaMail.root@kansaigaidai.ac.jp>

Concerning cinema versions of the Kanto daijinsai, I think there are many. Two popular ones are Jissoji Akio's Tokyo: The Last Megalopolis (????, Teito Monogatari, 1988 that has all kinds of detailed models of the city begin destroyed in a fantasy narrative. There is also Fukusaku Kinji's retelling of Yosano Akiko's life in Hana no ran ??? also from 1988 that ends with the chaos of the earthquake. I think there are many more. 
It is interesting to reflect on the varied treatments like this.
Paul Berry
Kyoto


----- Original Message -----
From: Ryan Cook <ryancook at fas.harvard.edu>
To: Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu>
Sent: Tue, 08 Apr 2014 08:58:12 +0900 (JST)
Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage


Jim,

This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable making that claim myself because I haven't followed up on it very much, but Jonathan Abel gave a paper at Berkeley in which he cited an interesting quote from an essay by Yumeno Kyusaku written shortly after the 1923 earthquake.  Yumeno had interviewed an official responsible for film censorship who noted that there had been a lack of screenplays dealing with the disaster submitted for official approval at the time.  The conclusion was that screenwriters had exercised self-restraint at least in the historical moment.  Self-restraint (jishuku) has also been a theme since 3/11, but evidently not to the point of altogeth
 
 er preventing films from being made.

The Wind Rises contains a dramatic depiction of the Kanto earthquake, as someone else just mentioned.  That's interesting in that it is a depiction of the earthquake from a post-3/11 vantage point (at least the film was released in 2013... I don't know when production began), and in that sense it is also a "3/11 film."  Miyazaki of course has publicly come out against nuclear energy, and it seems reasonable to imagine a subtext in all the talk of Japan "exploding" and the persistence of the wind motif in the film, the wind being as ambivalent as the dream of flight, lifting beautiful things into the air, but also spreading fires and poisonous things.  Wakamatsu Koji was reportedly planning an adaptation of the nuclear fallout graphic novel "When the Wind Blows" before his death.  Off the top of my head, I can't think of other dramatic representations of the 1923 earthquake in film, though I'm probably overlooking important examples.

Ryan


________________________________________
From: kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
Sent: Monday, April 07, 2014 5:34 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage

Forgive me butting in here, but I'm curious about a couple of things.

a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?

b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?

Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!

Jim Harper.

_______________________________________________
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 eija at helsinkicineaasia.fi  Tue Apr  8 01:08:18 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Tue, 8 Apr 2014 08:08:18 +0300
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
	<CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>
Message-ID: <CA+FavwOLScC9=7ivw0mWez2_-KUvYP7rqGLaW=31Uxy57ywGhA@mail.gmail.com>

In one of the last Otoko wa tsurai yo films Yamada placed Tora-san in
post-quake Kobe, helping the victims. That is the only one I can remember
about the Hanshin earthquake.
Eija


2014-04-08 5:02 GMT+03:00 Jeremy Harley <jeremyharley at gmail.com>:

> Yes, I would think there are certain times when you have to approach the
> topic from the opposite direction, as in not "are there quake films?" but
> "where is the quake in these films?" And I would also think it important to
> look beyond the films themselves.
>
> I remember when The Day After Tomorrow came out in 2004, as a New Yorker
> who also happened to be in the city on 9/11, I found the scenes of the city
> being destroyed to be quite personally upsetting.
>
> A crime that led to disaster and tragedy for a city had been appropriated
> as war against the Nation, and New Yorkers were against the Iraq War and
> (it had seemed at the time) the orgy of crimes the Nation was cooking up in
> "retaliation". In that context it felt like a big middle finger to New York
> and to the whole Northeast, which becomes unlivable by the end of the film.
>
> I don't want to say that that was necessarily anyone's intention, I'm
> speaking purely of my own very personal (and possibly excessive) reaction,
> but I want to say that I would imagine such reactions should be integral to
> this kind of discussion.
>
>
>
>
>
> On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:
>
>> Jim,
>> Yumeno?s reflection actually cuts both ways because he talks about the
>> fact that there were very few films that dealt with the earthquake
>> directly, then he talks about the rise of decadence (actually pre-empts or
>> influences Sakaguchi Ango?s postwar daraku discourse) and makes the point
>> that maybe those decadent films in the wake of the quake are actually quake
>> films.
>> Jon
>>
>> On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
>>
>> >
>> > Jim,
>> >
>> > This was an issue that came up at times at the Berkeley symposium and
>> was a theme in my own paper which situated 3/11 fiction films in relation
>> to atomic bomb and hibakusha films.  I personally came across an
>> observation that the Kanto and Hanshin earthquakes had received
>> surprisingly little attention from fiction/narrative filmmakers.  I'm not
>> quite comfortable making that claim myself because I haven't followed up on
>> it very much, but Jonathan Abel gave a paper at Berkeley in which he cited
>> an interesting quote from an essay by Yumeno Kyusaku written shortly after
>> the 1923 earthquake.  Yumeno had interviewed an official responsible for
>> film censorship who noted that there had been a lack of screenplays dealing
>> with the disaster submitted for official approval at the time.  The
>> conclusion was that screenwriters had exercised self-restraint at least in
>> the historical moment.  Self-restraint (jishuku) has also been a theme
>> since 3/11, but evidently not to the point of altogeth
>> > er preventing films from being made.
>> >
>> > The Wind Rises contains a dramatic depiction of the Kanto earthquake,
>> as someone else just mentioned.  That's interesting in that it is a
>> depiction of the earthquake from a post-3/11 vantage point (at least the
>> film was released in 2013... I don't know when production began), and in
>> that sense it is also a "3/11 film."  Miyazaki of course has publicly come
>> out against nuclear energy, and it seems reasonable to imagine a subtext in
>> all the talk of Japan "exploding" and the persistence of the wind motif in
>> the film, the wind being as ambivalent as the dream of flight, lifting
>> beautiful things into the air, but also spreading fires and poisonous
>> things.  Wakamatsu Koji was reportedly planning an adaptation of the
>> nuclear fallout graphic novel "When the Wind Blows" before his death.  Off
>> the top of my head, I can't think of other dramatic representations of the
>> 1923 earthquake in film, though I'm probably overlooking important examples.
>> >
>> > Ryan
>> >
>> >
>> > ________________________________________
>> > From: kinejapan-bounces+ryancook=
>> fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=
>> fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [
>> jimharper666 at yahoo.co.uk]
>> > Sent: Monday, April 07, 2014 5:34 AM
>> > To: Japanese Cinema Discussion Forum
>> > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>> >
>> > Forgive me butting in here, but I'm curious about a couple of things.
>> >
>> > a) Has much been written about the presentation and portrayal of
>> disaster in Japanese cinema in general, prior to 3/11?
>> >
>> > b) Have specific disasters- like the Great Kanto Earthquake of 1923 or
>> the 1995 Kobe Earthquake- been heavily represented in contemporary film,
>> also prior to 3/11?
>> >
>> > Can anyone help? Just a couple of brief answers would be very much
>> appreciated. Thank you!
>> >
>> > Jim Harper.
>> >
>> > _______________________________________________
>> > 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
>>
>
>
> _______________________________________________
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> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
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>
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From jeremyharley at gmail.com  Mon Apr  7 22:02:25 2014
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Tue, 8 Apr 2014 11:02:25 +0900
Subject: [KineJapan]  Tsunami and heartwake 2011 Av coverage
In-Reply-To: <68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
	<68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>
Message-ID: <CAD3BKu85ud+wCVBeHwWAhDNuNtaE_NWoWnoJSU+H6AO6A-Su=w@mail.gmail.com>

Yes, I would think there are certain times when you have to approach the
topic from the opposite direction, as in not "are there quake films?" but
"where is the quake in these films?" And I would also think it important to
look beyond the films themselves.

I remember when The Day After Tomorrow came out in 2004, as a New Yorker
who also happened to be in the city on 9/11, I found the scenes of the city
being destroyed to be quite personally upsetting.

A crime that led to disaster and tragedy for a city had been appropriated
as war against the Nation, and New Yorkers were against the Iraq War and
(it had seemed at the time) the orgy of crimes the Nation was cooking up in
"retaliation". In that context it felt like a big middle finger to New York
and to the whole Northeast, which becomes unlivable by the end of the film.

I don't want to say that that was necessarily anyone's intention, I'm
speaking purely of my own very personal (and possibly excessive) reaction,
but I want to say that I would imagine such reactions should be integral to
this kind of discussion.





On Tue, Apr 8, 2014 at 10:02 AM, J Abel <jandj.abel at gmail.com> wrote:

> Jim,
> Yumeno?s reflection actually cuts both ways because he talks about the
> fact that there were very few films that dealt with the earthquake
> directly, then he talks about the rise of decadence (actually pre-empts or
> influences Sakaguchi Ango?s postwar daraku discourse) and makes the point
> that maybe those decadent films in the wake of the quake are actually quake
> films.
> Jon
>
> On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:
>
> >
> > Jim,
> >
> > This was an issue that came up at times at the Berkeley symposium and
> was a theme in my own paper which situated 3/11 fiction films in relation
> to atomic bomb and hibakusha films.  I personally came across an
> observation that the Kanto and Hanshin earthquakes had received
> surprisingly little attention from fiction/narrative filmmakers.  I'm not
> quite comfortable making that claim myself because I haven't followed up on
> it very much, but Jonathan Abel gave a paper at Berkeley in which he cited
> an interesting quote from an essay by Yumeno Kyusaku written shortly after
> the 1923 earthquake.  Yumeno had interviewed an official responsible for
> film censorship who noted that there had been a lack of screenplays dealing
> with the disaster submitted for official approval at the time.  The
> conclusion was that screenwriters had exercised self-restraint at least in
> the historical moment.  Self-restraint (jishuku) has also been a theme
> since 3/11, but evidently not to the point of altogeth
> > er preventing films from being made.
> >
> > The Wind Rises contains a dramatic depiction of the Kanto earthquake, as
> someone else just mentioned.  That's interesting in that it is a depiction
> of the earthquake from a post-3/11 vantage point (at least the film was
> released in 2013... I don't know when production began), and in that sense
> it is also a "3/11 film."  Miyazaki of course has publicly come out against
> nuclear energy, and it seems reasonable to imagine a subtext in all the
> talk of Japan "exploding" and the persistence of the wind motif in the
> film, the wind being as ambivalent as the dream of flight, lifting
> beautiful things into the air, but also spreading fires and poisonous
> things.  Wakamatsu Koji was reportedly planning an adaptation of the
> nuclear fallout graphic novel "When the Wind Blows" before his death.  Off
> the top of my head, I can't think of other dramatic representations of the
> 1923 earthquake in film, though I'm probably overlooking important examples.
> >
> > Ryan
> >
> >
> > ________________________________________
> > From: kinejapan-bounces+ryancook=
> fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=
> fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [
> jimharper666 at yahoo.co.uk]
> > Sent: Monday, April 07, 2014 5:34 AM
> > To: Japanese Cinema Discussion Forum
> > Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> >
> > Forgive me butting in here, but I'm curious about a couple of things.
> >
> > a) Has much been written about the presentation and portrayal of
> disaster in Japanese cinema in general, prior to 3/11?
> >
> > b) Have specific disasters- like the Great Kanto Earthquake of 1923 or
> the 1995 Kobe Earthquake- been heavily represented in contemporary film,
> also prior to 3/11?
> >
> > Can anyone help? Just a couple of brief answers would be very much
> appreciated. Thank you!
> >
> > Jim Harper.
> >
> > _______________________________________________
> > 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
>
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From jandj.abel at gmail.com  Mon Apr  7 21:02:53 2014
From: jandj.abel at gmail.com (J Abel)
Date: Mon, 7 Apr 2014 21:02:53 -0400
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>,
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>
Message-ID: <68EE465B-B9B2-4E36-AD12-B2CD0C0539E7@gmail.com>

Jim,
Yumeno?s reflection actually cuts both ways because he talks about the fact that there were very few films that dealt with the earthquake directly, then he talks about the rise of decadence (actually pre-empts or influences Sakaguchi Ango?s postwar daraku discourse) and makes the point that maybe those decadent films in the wake of the quake are actually quake films.
Jon

On Apr 7, 2014, at 7:58 PM, Cook, Ryan <ryancook at fas.harvard.edu> wrote:

> 
> Jim,
> 
> This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable making that claim myself because I haven't followed up on it very much, but Jonathan Abel gave a paper at Berkeley in which he cited an interesting quote from an essay by Yumeno Kyusaku written shortly after the 1923 earthquake.  Yumeno had interviewed an official responsible for film censorship who noted that there had been a lack of screenplays dealing with the disaster submitted for official approval at the time.  The conclusion was that screenwriters had exercised self-restraint at least in the historical moment.  Self-restraint (jishuku) has also been a theme since 3/11, but evidently not to the point of altogeth
> er preventing films from being made.
> 
> The Wind Rises contains a dramatic depiction of the Kanto earthquake, as someone else just mentioned.  That's interesting in that it is a depiction of the earthquake from a post-3/11 vantage point (at least the film was released in 2013... I don't know when production began), and in that sense it is also a "3/11 film."  Miyazaki of course has publicly come out against nuclear energy, and it seems reasonable to imagine a subtext in all the talk of Japan "exploding" and the persistence of the wind motif in the film, the wind being as ambivalent as the dream of flight, lifting beautiful things into the air, but also spreading fires and poisonous things.  Wakamatsu Koji was reportedly planning an adaptation of the nuclear fallout graphic novel "When the Wind Blows" before his death.  Off the top of my head, I can't think of other dramatic representations of the 1923 earthquake in film, though I'm probably overlooking important examples.
> 
> Ryan
> 
> 
> ________________________________________
> From: kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
> Sent: Monday, April 07, 2014 5:34 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
> 
> Forgive me butting in here, but I'm curious about a couple of things.
> 
> a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?
> 
> b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?
> 
> Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!
> 
> Jim Harper.
> 
> _______________________________________________
> 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 ryancook at fas.harvard.edu  Mon Apr  7 19:58:12 2014
From: ryancook at fas.harvard.edu (Cook, Ryan)
Date: Mon, 7 Apr 2014 23:58:12 +0000
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
References: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>,
	<1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
Message-ID: <B9672E4EF3B77F41B567609688C6A75EB01D437D@HARVANDMBX02.fasmail.priv>


Jim,

This was an issue that came up at times at the Berkeley symposium and was a theme in my own paper which situated 3/11 fiction films in relation to atomic bomb and hibakusha films.  I personally came across an observation that the Kanto and Hanshin earthquakes had received surprisingly little attention from fiction/narrative filmmakers.  I'm not quite comfortable making that claim myself because I haven't followed up on it very much, but Jonathan Abel gave a paper at Berkeley in which he cited an interesting quote from an essay by Yumeno Kyusaku written shortly after the 1923 earthquake.  Yumeno had interviewed an official responsible for film censorship who noted that there had been a lack of screenplays dealing with the disaster submitted for official approval at the time.  The conclusion was that screenwriters had exercised self-restraint at least in the historical moment.  Self-restraint (jishuku) has also been a theme since 3/11, but evidently not to the point of altogeth
 er preventing films from being made.

The Wind Rises contains a dramatic depiction of the Kanto earthquake, as someone else just mentioned.  That's interesting in that it is a depiction of the earthquake from a post-3/11 vantage point (at least the film was released in 2013... I don't know when production began), and in that sense it is also a "3/11 film."  Miyazaki of course has publicly come out against nuclear energy, and it seems reasonable to imagine a subtext in all the talk of Japan "exploding" and the persistence of the wind motif in the film, the wind being as ambivalent as the dream of flight, lifting beautiful things into the air, but also spreading fires and poisonous things.  Wakamatsu Koji was reportedly planning an adaptation of the nuclear fallout graphic novel "When the Wind Blows" before his death.  Off the top of my head, I can't think of other dramatic representations of the 1923 earthquake in film, though I'm probably overlooking important examples.

Ryan


________________________________________
From: kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Jim Harper [jimharper666 at yahoo.co.uk]
Sent: Monday, April 07, 2014 5:34 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage

Forgive me butting in here, but I'm curious about a couple of things.

a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?

b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?

Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!

Jim Harper.

_______________________________________________
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 inqualia at gmail.com  Mon Apr  7 14:12:34 2014
From: inqualia at gmail.com (Paul Roquet)
Date: Mon, 7 Apr 2014 11:12:34 -0700
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <BLU406-EAS2307D700E3AEB68EAC864BAC8690@phx.gbl>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
	<CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
	<BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>
	<CAH_CNbdiZnWqOvJBBb27yqROZzDLA9KMujOBqksHu75Scx7Pig@mail.gmail.com>
	<CAGdu56PdcOgPVKi70=G7APSu9OMuxv6-D7rLjoO0fi2yrk3fCQ@mail.gmail.com>
	<BLU406-EAS2307D700E3AEB68EAC864BAC8690@phx.gbl>
Message-ID: <CAERTjLaL-JXG5zBHgDvkNTQgZyprhpW2doCGorEkyLxFmHOEHA@mail.gmail.com>

I had similar feelings to Michael about the AAS version of the panel. It
was certainly one of the most interesting in the conference, particularly
in exploring how the teaching of a foreign popular culture must contend
with the norms of the local culture (including the campus culture and the
legal context) in determining what can or should be taught.

I also left the panel feeling disturbed, however, in ways related to the
points raised by the same Q&A questioner already mentioned. Too often the
discussion seemed to fall back on a logic of "[potentially offensive text]
is popular with my students and/or in Japan, and therefore it deserves to
be taught." Is this rationale really that different than "[potentially
offensive text] is unpopular with my students and/or the wider community,
and therefore I'm keeping it off the syllabus?" There are surely far
stronger reasons for teaching potentially offensive texts (pushing students
to relativize and question cultural norms when it comes to age and sexual
representation, for example), so it was disappointing to see popularity in
itself repeatedly invoked as a defense of teaching something potentially
'triggering,' rather than arguing more specifically for the intellectual
value of engaging with these particular works.

This teaching-of-things-because-they-are-popular might be considered one of
the central problems of "cool Japan" as it surfaces in an academic context,
making me wonder what exactly the panel title is claiming has 'ended.'

Very curious to hear what was discussed in Ann Arbor!

Paul

-
Paul Roquet
Mellon Postdoctoral Fellow in the Humanities
East Asian Languages and Cultures
Stanford University


On Sun, Apr 6, 2014 at 8:25 AM, Rob Buscher <robbuscher at hotmail.com> wrote:

> I agree that is a common criticism of Gaijin studying Japan in any
> discipline, but I'm not sure that was the sole (read most relevant) intent
> of the academic's question at AAS. I think it had more to do with our role
> as academics in shaping perceptions of Japan.
>
> I agree with Michael that these materials do have a place in the
> classroom, but only when properly contextualized. Otherwise we run the risk
> of playing into "weird" Japan coverage that Western media so adores. For
> the majority of people on this list who have devoted their professional
> careers to the study of Japan this is a given, but many of our students are
> coming into the classroom with this mentality.
>
> To the extent that Cool Japan can be associated with the ever shifting
> perceptions of Japanese popular culture, this panel had the unintended
> consequence of linking Japan with manga that are widely considered sexually
> deviant abroad. To a room full of academics who may not have extensive
> backgrounds in Japanese society or the space that these objects occupy,
> this too has a negative connotation that was not properly contextualized.
>
> Best,
> Rob
>
> Rob Buscher
> Programming Director
> Philadelphia Asian American Film Festival
> www.film.org
>
> Sent from my iPhone
>
> On Apr 5, 2014, at 4:09 PM, "Dolores Martinez" <dm6 at soas.ac.uk> wrote:
>
> I wasn't at AAS, but this discussion reminds me of what every anthrologist
> of Japan encounters at various points in their career: Japanese hostility
> at being an object of study for foreigners. So for more than 30 years (I've
> been doing this a long time), I've been challenged with
> comments ranging from 'why Japan, we are not a primitive society' to 'why
> ama, they are not proper Japanese women' to 'why popular culture, that's
> not a worthy subject' to 'isn't that book title orientalist?'  It is about
> trying to control outsiders' imaginings about Japan, which seems as
> difficult as trying to control foreigners'  imaginings about merry olde
> England, or sophisticated Paris (in fact someone has written a paper about
> the trauma suffered by young Japanese women who encounter the 'real' Paris
> -- there is a similar trauma suffered by many of my Japanese students
> encountering rundown multicultural London). Anyway, I'm not sure that
> trying to control the way others imagine Japan is possible, even though
> there is more to it than pinku eiga, cosplay and anime as I tried to
> convince the students who did my anthropology courses! But we should be
> sensitive to the fact that such partial, sometimes obsessive and
> occasionally orientalist attitudes do bother many Japanese.
> Lola
>
>
> On Saturday, 5 April 2014, Michael Raine <mraine3 at uwo.ca> wrote:
>
>>  Thank you for your thoughts on this Rob. I'm not familiar with the
>> Japanese work being done in this area either, but I would be surprised if
>> it doesn't exist. Just to be clear: I do think this material belongs in the
>> classroom. Some of the participants pointed out that students are already
>> reading the material (in disregard of local laws) but even if it were rare
>> it could still be worth teaching. Perhaps the topic of the panel was not so
>> much "cool Japan" as "queer Japan" -- meaning not a label for particular
>> object choices but for representations and reading practices that are
>> excluded from mainstream society, seen as transgressive and shameful if not
>> illegal. Their existence, and they way they question both art-historical
>> and social categories, are certainly something worth thinking about. But I
>> do think resistance to the objects themselves, and their inclusion in the
>> classroom, will come from people who identify as progressive, on the Left,
>> as well as people who identify as conservative or on the Right. I hope all
>> these topics get discussed anyway; I'd certainly be interested in knowing
>> how it went. Maybe someone at the workshop could write up a report for the
>> Kinema Club website...
>>
>>
>> On Fri, Apr 4, 2014 at 4:11 PM, Rob Buscher <robbuscher at hotmail.com>wrote:
>>
>> I'm glad you brought this up Michael - I was also quite interested by the
>> force with which the Japanese academic responded to the panel at AAS. I was
>> rather surprised by the panel myself, since the title "End of 'Cool' Japan"
>> had very little to do with the overall theme of the panel, in my opinion at
>> least.
>>
>> For those of you who were not at AAS, this panel dealt primarily with the
>> legal issues surrounding the use of sexually risque materials in class such
>> as the study of BL or lolicon manga. Straying from cinema, although we
>> do have similar issues of navigating appropriateness in the study of Pinku
>> Eiga.
>>
>> The difference in my mind is that while there are several Japanese
>> academics who are involved in the scholarly study of Pinku Eiga, I am
>> unfamiliar with any such work being conducted in Japanese on the manga that
>> this panel addressed. I wouldn't say that I agree with the criticism of the
>> academic at AAS, but it certainly raises some questions about what
>> influences non-Japanese to take interest in such topics. I would be curious
>> to hear input from other folks on the list.
>>
>> Best,
>> Rob
>>
>> Rob Buscher
>> Programming Director
>> Philadelphia Asian American Film Festival
>> www.paaff.org
>>
>>
>> ------------------------------
>> Date: Fri, 4 Apr 2014 15:52:51 -0500
>> From: raine.michael.j at gmail.com
>> To: kinejapan at lists.service.ohio-state.edu
>> Subject: Re: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
>>
>>
>> I thought this panel was one of the most interesting at AAS last weekend.
>> I enjoyed the presentations but I was also struck by the forceful objection
>> by an audience member. If I understand it correctly, she was not happy that
>> a panel of non-Japanese was choosing deliberately "outre" material to show
>> in a university classroom setting. I'm not sure if the objection was more
>> cultural (there is better work to study) or nationalist (foreigners
>> shouldn't be exposing the underside of Japan).
>>
>> Also, I think the panel tended to characterize the restrictions on
>> content as stemming from a "conservative backlash," right-wing and drawing
>> on the power of the State. I certainly agree that there is such a thing
>> and, teaching in Canada, I've experienced it first-hand. However, I'm not
>> sure that objections to the kind of material under discussion come only
>> from the Right: in Canada the law against non-photographic pornography
>> depends on a "harms discourse" that is often used by progressives. In
>> general, there are many voices on "the Left" calling for censorship of
>> pornography and limits to the kind of material that students can be made to
>> study. For example, the recent rise in calls for "trigger warnings" and the
>> provision of a "safe space" for education.
>>
>> In any case, I would be very interested he hear how the discussion goes
>> and whether these questions are addressed in the panel. Wish I could be
>> there!
>>
>> Michael
>>
>> Michael Raine, Film Studies
>> Western University, Canada
>>
>>
>> On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <amnornes at umich.edu> wrote:
>>
>> I wish you all could come. At least you'll know what's up. This will
>> eventually be a book, it seems.
>>
>> Markus
>>
>>  _______________________________________________
>
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
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> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From elise.domenach at gmail.com  Mon Apr  7 10:20:07 2014
From: elise.domenach at gmail.com (Elise Domenach)
Date: Mon, 7 Apr 2014 23:20:07 +0900
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CA+FavwNh1h8sh=hM1PNXC4HkXefeVW1MwQdfHhDKiJ3J0zz+kA@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
	<CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>
	<CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D4263@HARVANDMBX02.fasmail.priv>
	<CA+FavwNh1h8sh=hM1PNXC4HkXefeVW1MwQdfHhDKiJ3J0zz+kA@mail.gmail.com>
Message-ID: <CA+rRDFGR5Hjcvst+xY--h+x1r1=-YV=iWgDQAqXt+KieVDuNGA@mail.gmail.com>

Dear Eija,
Could you let us know when this article comes out? I would be very
interested in reading it.
Best regards
Elise


2014-04-07 17:55 GMT+09:00 Eija Niskanen <eija at helsinkicineaasia.fi>:

> I have an article coming up on Fukushima fiction films in a Newzealandese
> Flatlines book series. Someone else is covering documentaries in the same
> book. Should be out within a few months.
>
> Eija
>
>
> 2014-04-07 11:34 GMT+03:00 Cook, Ryan <ryancook at fas.harvard.edu>:
>
>
>> Lorenzo,
>>
>> I just participated in a very interesting symposium at UC Berkeley,
>> organized by Dan O'Neill, on "cinema, literature and media after Fukushima"
>> (http://ieas.berkeley.edu/cjs/events/2014.04.04w.html).  Atsushi
>> Funahashi, director of Nuclear Nation, was an active participant.  He
>> talked about his documentary and provided lots of interesting feedback on
>> the papers.  I gave a paper on fiction films after Fukushima.  You're right
>> that there are a growing number of films, fiction or otherwise, on the
>> topic.  Not having been to Japan since 2012, I could only talk about the
>> small selection of fiction films I've been able to see (seven or eight,
>> plus some shorts), though there are a number of other new ones I'm aware of
>> that I'm sure would have been relevant.  I'd be interested to exchange
>> notes with you if you like.
>>
>> Ryan
>>
>>
>>
>> ________________________________________
>> From: kinejapan-bounces+ryancook=
>> fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=
>> fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Lorenzo
>> Javier Torres Hortelano [ljth2006 at gmail.com]
>> Sent: Sunday, April 06, 2014 10:48 AM
>> To: Japanese Cinema Discussion Forum
>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>>
>> Dear Elise,
>>
>> Thanks, I would really appreciate it if you can send me it. In my case
>> the idea came to me when I was invited to give a talk next month for
>> ex-grant holders from Japan Foundation in Madrid. They let me choose the
>> subject and my idea is to follow that path...
>>
>> Best regards,
>>
>>
>>
>> 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<mailto:
>> lorenzojavier.torres.hortelano at urjc.es>
>> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>
>> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>>
>>
>> 2014-04-06 14:59 GMT+02:00 Elise Domenach <elise.domenach at gmail.com
>> <mailto:elise.domenach at gmail.com>>:
>> Hello Lorenzo,
>> If you read french I can send you a copy of the September 2013 issue of
>> the french film magazine POSITIF... My attempt to sum of a few thoughts
>> about films on 311 (5 pages article on the subject), in relation with a
>> film fund that opened in Lyon's library on the very same month.
>> I am conducting researches on the subject for JSPS in Todai, from a
>> philosophy of film point of view. And I am happy to find many interesting
>> informations on the subject regularly on KineJapan. Thanks everybody - by
>> the way !
>> Best regards,
>> Elise
>>
>>
>>
>> 2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <
>> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>>:
>>
>> Thanks Jos?!
>>
>> I'll take a look on your reference.
>>
>> I found an article in the NYT: not so deep either and old (2012), but in
>> sociological terms, it is interesting how a newspaper like NYT rememebers
>> the disaster and dedicates its space to it through cinema:
>> http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0
>> <
>> https://urldefense.proofpoint.com/v1/url?u=http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted%3Dall%26_r%3D0&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=c90b8933e6a78034206736481660e57f80f31eea840aa92f868bc4970080dd88
>> >
>>
>> Gracias,
>>
>>
>>
>> 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<mailto:
>> lorenzojavier.torres.hortelano at urjc.es>
>> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>
>> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>>
>>
>> 2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com<mailto:
>> mostro.films at gmail.com>>:
>>
>> Maybe not getting too deep, but some comments on the issue in Sono's
>> Himizu can be found in this article<
>> https://urldefense.proofpoint.com/v1/url?u=http://www.revistaatalante.com/index.php?journal%3Datalante%26page%3Darticle%26op%3Dview%26path%255B%255D%3D188&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=3789b760a16948430d79c8eaf8bb6c0e0ff0b2bcc986a261afbfb76ceafe039b>
>> by Antonio Loriguillo and on Matsuri no uma in my own one here<
>> https://urldefense.proofpoint.com/v1/url?u=http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=d8256497e34f4d4d7d7b0882ee0faed6257c51f8031c9d5aef23195ca41cd046>.
>> Himizu's last scene, by the way, has an interesting eco with Rapsody in
>> August's. I was planning to write on this regard, something like how both
>> escenes share a sense of social endurance facing hardship, but having
>> erased from the later any trace of a family (at least in a traditional
>> sense)
>>
>> Jose M
>>
>>
>> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <
>> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>> wrote:
>> Dear all,
>>
>> I was wondering if you know about any good article on films (fiction and
>> documentary) about the 2011 disaster untill now.
>>
>> I don't know if you agree with me, but it looks like an incredible amount.
>>
>> Thanks in advance!
>>
>> Lorenzo J. Torres Hortelano
>> Profesor Titular
>> Universidad Rey Juan Carlos
>> Facultad de Ciencias de la Comunicaci?n
>> Edificio Departamental - Despacho 22
>> Camino del Molino s/n
>> 28943 Fuenlabrada
>> 34-657565507<tel:34-657565507>
>> lorenzojavier.torres.hortelano at urjc.es<mailto:
>> lorenzojavier.torres.hortelano at urjc.es>
>>
>> [http://dl.dropbox.com/u/243578/logoURJC%20%281%29.jpg]
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>>
>>
>>
>> --
>> Jose Monta?o
>> ?????????
>> Cine y cultura japonesa:
>> https://eigavision.wordpress.com/<
>> https://urldefense.proofpoint.com/v1/url?u=https://eigavision.wordpress.com/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=ab866833988ffa06daa242fc59908b4185b20613b9244e78f0a6681245dad622
>> >
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>> _______________________________________________
>> 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
>
>
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From eija at helsinkicineaasia.fi  Mon Apr  7 09:05:14 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Mon, 7 Apr 2014 16:05:14 +0300
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
	<CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>
	<CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D4263@HARVANDMBX02.fasmail.priv>
	<CA+FavwNh1h8sh=hM1PNXC4HkXefeVW1MwQdfHhDKiJ3J0zz+kA@mail.gmail.com>
	<CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
Message-ID: <CA+FavwNqJnr+t2Sp8q1z4zULVmLSP0vxaApBvTqdByhkgJg3EA@mail.gmail.com>

I don't really know. Film on the Faultline, ed. Alan Wright, Canterbury
University...

Eija


2014-04-07 12:15 GMT+03:00 Lorenzo Javier Torres Hortelano <
ljth2006 at gmail.com>:

> Thanks Ryan and Eija.
> The Reframing... event looks great.
> Eija, do you already have a title for that book or any other bibliographic
> information I can tell?
>
>
>
>
> *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
> <lorenzojavier.torres.hortelano at urjc.es>34-657565507
>
>
>
>
> 2014-04-07 10:55 GMT+02:00 Eija Niskanen <eija at helsinkicineaasia.fi>:
>
> I have an article coming up on Fukushima fiction films in a Newzealandese
>> Flatlines book series. Someone else is covering documentaries in the same
>> book. Should be out within a few months.
>>
>> Eija
>>
>>
>> 2014-04-07 11:34 GMT+03:00 Cook, Ryan <ryancook at fas.harvard.edu>:
>>
>>
>>> Lorenzo,
>>>
>>> I just participated in a very interesting symposium at UC Berkeley,
>>> organized by Dan O'Neill, on "cinema, literature and media after Fukushima"
>>> (http://ieas.berkeley.edu/cjs/events/2014.04.04w.html).  Atsushi
>>> Funahashi, director of Nuclear Nation, was an active participant.  He
>>> talked about his documentary and provided lots of interesting feedback on
>>> the papers.  I gave a paper on fiction films after Fukushima.  You're right
>>> that there are a growing number of films, fiction or otherwise, on the
>>> topic.  Not having been to Japan since 2012, I could only talk about the
>>> small selection of fiction films I've been able to see (seven or eight,
>>> plus some shorts), though there are a number of other new ones I'm aware of
>>> that I'm sure would have been relevant.  I'd be interested to exchange
>>> notes with you if you like.
>>>
>>> Ryan
>>>
>>>
>>>
>>> ________________________________________
>>> From: kinejapan-bounces+ryancook=
>>> fas.harvard.edu at lists.service.ohio-state.edu[kinejapan-bounces+ryancook=
>>> fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Lorenzo
>>> Javier Torres Hortelano [ljth2006 at gmail.com]
>>> Sent: Sunday, April 06, 2014 10:48 AM
>>> To: Japanese Cinema Discussion Forum
>>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>>>
>>> Dear Elise,
>>>
>>> Thanks, I would really appreciate it if you can send me it. In my case
>>> the idea came to me when I was invited to give a talk next month for
>>> ex-grant holders from Japan Foundation in Madrid. They let me choose the
>>> subject and my idea is to follow that path...
>>>
>>> Best regards,
>>>
>>>
>>>
>>> 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<mailto:
>>> lorenzojavier.torres.hortelano at urjc.es>
>>> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>>
>>> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>>>
>>>
>>> 2014-04-06 14:59 GMT+02:00 Elise Domenach <elise.domenach at gmail.com
>>> <mailto:elise.domenach at gmail.com>>:
>>> Hello Lorenzo,
>>> If you read french I can send you a copy of the September 2013 issue of
>>> the french film magazine POSITIF... My attempt to sum of a few thoughts
>>> about films on 311 (5 pages article on the subject), in relation with a
>>> film fund that opened in Lyon's library on the very same month.
>>> I am conducting researches on the subject for JSPS in Todai, from a
>>> philosophy of film point of view. And I am happy to find many interesting
>>> informations on the subject regularly on KineJapan. Thanks everybody - by
>>> the way !
>>> Best regards,
>>> Elise
>>>
>>>
>>>
>>> 2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <
>>> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>>:
>>>
>>> Thanks Jos?!
>>>
>>> I'll take a look on your reference.
>>>
>>> I found an article in the NYT: not so deep either and old (2012), but in
>>> sociological terms, it is interesting how a newspaper like NYT rememebers
>>> the disaster and dedicates its space to it through cinema:
>>> http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0
>>> <
>>> https://urldefense.proofpoint.com/v1/url?u=http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted%3Dall%26_r%3D0&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=c90b8933e6a78034206736481660e57f80f31eea840aa92f868bc4970080dd88
>>> >
>>>
>>> Gracias,
>>>
>>>
>>>
>>> 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<mailto:
>>> lorenzojavier.torres.hortelano at urjc.es>
>>> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>>
>>> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>>>
>>>
>>> 2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com<mailto:
>>> mostro.films at gmail.com>>:
>>>
>>> Maybe not getting too deep, but some comments on the issue in Sono's
>>> Himizu can be found in this article<
>>> https://urldefense.proofpoint.com/v1/url?u=http://www.revistaatalante.com/index.php?journal%3Datalante%26page%3Darticle%26op%3Dview%26path%255B%255D%3D188&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=3789b760a16948430d79c8eaf8bb6c0e0ff0b2bcc986a261afbfb76ceafe039b>
>>> by Antonio Loriguillo and on Matsuri no uma in my own one here<
>>> https://urldefense.proofpoint.com/v1/url?u=http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=d8256497e34f4d4d7d7b0882ee0faed6257c51f8031c9d5aef23195ca41cd046>.
>>> Himizu's last scene, by the way, has an interesting eco with Rapsody in
>>> August's. I was planning to write on this regard, something like how both
>>> escenes share a sense of social endurance facing hardship, but having
>>> erased from the later any trace of a family (at least in a traditional
>>> sense)
>>>
>>> Jose M
>>>
>>>
>>> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <
>>> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>> wrote:
>>> Dear all,
>>>
>>> I was wondering if you know about any good article on films (fiction and
>>> documentary) about the 2011 disaster untill now.
>>>
>>> I don't know if you agree with me, but it looks like an incredible
>>> amount.
>>>
>>> Thanks in advance!
>>>
>>> Lorenzo J. Torres Hortelano
>>> Profesor Titular
>>> Universidad Rey Juan Carlos
>>> Facultad de Ciencias de la Comunicaci?n
>>> Edificio Departamental - Despacho 22
>>> Camino del Molino s/n
>>> 28943 Fuenlabrada
>>> 34-657565507<tel:34-657565507>
>>> lorenzojavier.torres.hortelano at urjc.es<mailto:
>>> lorenzojavier.torres.hortelano at urjc.es>
>>>
>>> [http://dl.dropbox.com/u/243578/logoURJC%20%281%29.jpg]
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.service.ohio-state.edu<mailto:
>>> KineJapan at lists.service.ohio-state.edu>
>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>>> >
>>>
>>>
>>>
>>>
>>> --
>>> Jose Monta?o
>>> ?????????
>>> Cine y cultura japonesa:
>>> https://eigavision.wordpress.com/<
>>> https://urldefense.proofpoint.com/v1/url?u=https://eigavision.wordpress.com/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=ab866833988ffa06daa242fc59908b4185b20613b9244e78f0a6681245dad622
>>> >
>>>
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.service.ohio-state.edu<mailto:
>>> KineJapan at lists.service.ohio-state.edu>
>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>>> >
>>>
>>>
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.service.ohio-state.edu<mailto:
>>> KineJapan at lists.service.ohio-state.edu>
>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>>> >
>>>
>>>
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.service.ohio-state.edu<mailto:
>>> KineJapan at lists.service.ohio-state.edu>
>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>>> >
>>>
>>> _______________________________________________
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>>> KineJapan at lists.service.ohio-state.edu
>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
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>>
>>
>> _______________________________________________
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>> KineJapan at lists.service.ohio-state.edu
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>>
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>
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From ljth2006 at gmail.com  Mon Apr  7 06:33:25 2014
From: ljth2006 at gmail.com (Lorenzo Torres)
Date: Mon, 7 Apr 2014 12:33:25 +0200
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <FDBBACAD-7D23-495D-9D3D-32943280E537@mail-central.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<FDBBACAD-7D23-495D-9D3D-32943280E537@mail-central.com>
Message-ID: <004b01cf524c$d90688f0$8b139ad0$@gmail.com>

Hi Mark,

 

Thanks, this also helps.

 

I have to go deeper, but I have the feeling that as never before in history
of Japanese film (including of course documentaries) this disaster is
impelling  filmmakers to create works (if Jim does not say the contrary ;).
And maybe this is not only for the technology simplicity or other indirect
causes. 

 

All this scientific literature, websites (thanks Mark!), etc., talks also
about something else. 

 

What else? Maybe an increasing love for reality (the best contemporary
Spanish cinema is following that path) which, indirectly is producing more
weaker fictions, even when the disaster is the focus, like in Sono?s The
Land of Hope (2012). 

 

Best regards,

 

 

Lorenzo.

 

 

 

From: kinejapan-bounces at lists.service.ohio-state.edu
[mailto:kinejapan-bounces at lists.service.ohio-state.edu] On Behalf Of Mark
Roberts
Sent: lunes, 07 de abril de 2014 11:33
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage

 

Hi Lorenzo,

 

Regarding post-3.11 documentaries, I can offer links to an article and
several screening reports that I've written over the past two years. It
sounds like you're looking for something published in a journal, but perhaps
these could be helpful:

 

Observations on Japanese Cinema after 3/11

http://film.culture360.asef.org/magazine/observations-on-japanese-cinema-aft
er-311/

 

[Report] "No Man's Zone"

http://utcp.c.u-tokyo.ac.jp/blog/2014/02/report-film-screening-no-mans/index
_en.php

 

[Report] "Nuclear Nation"

http://utcp.c.u-tokyo.ac.jp/blog/2012/12/report-film-screening-nuclear/index
_en.php

 

I also participated in "Post-3.11: Representing Disaster
<http://scms.onlineapplicationportal.com/schedule.aspx#E11> " at the most
recent SCMS conference in Seattle, though that work hasn't been published
anywhere yet.

 

HTH,

 

Mark Roberts
Research Fellow, University of Tokyo Center for Philosophy (UTCP)
http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php

 

 

On Apr 4, 2014, at 4:50 PM, Lorenzo Javier Torres Hortelano wrote:





Dear all,

 

I was wondering if you know about any good article on films (fiction and
documentary) about the 2011 disaster untill now.

 

I don't know if you agree with me, but it looks like an incredible amount.

 

Thanks in advance! 

 

Lorenzo J. Torres Hortelano

Profesor Titular 

Universidad Rey Juan Carlos

Facultad de Ciencias de la Comunicaci?n 

Edificio Departamental - Despacho 22

Camino del Molino s/n

28943 Fuenlabrada

34-657565507 <tel:34-657565507> 

 <mailto:lorenzojavier.torres.hortelano at urjc.es>
lorenzojavier.torres.hortelano at urjc.es

 

  <http://dl.dropbox.com/u/243578/logoURJC%20%281%29.jpg> 

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 <mailto:KineJapan at lists.service.ohio-state.edu>
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https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan

 

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From mroberts37 at mail-central.com  Mon Apr  7 06:11:33 2014
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Mon, 7 Apr 2014 19:11:33 +0900
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <F8B19EBA-99A0-4914-8E85-53FCB03DF9F8@mail-central.com>
References: <1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
	<F8B19EBA-99A0-4914-8E85-53FCB03DF9F8@mail-central.com>
Message-ID: <F39890FF-E5BA-4042-B3F4-0FC7A2CC0766@mail-central.com>

Also, I forgot to mention a web site that is entirely dedicated to teaching the 3.11 disaster:

http://teach311.org

This contains a number of film reviews (e.g. I reviewed "The Sketch of Mujo") and other resources that may be useful when designing courses that touch upon 3.11, or for any researchers interested in the subject.

Best,

Mark
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From mroberts37 at mail-central.com  Mon Apr  7 05:59:49 2014
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Mon, 7 Apr 2014 18:59:49 +0900
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
References: <1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>
Message-ID: <F8B19EBA-99A0-4914-8E85-53FCB03DF9F8@mail-central.com>

Hi Jim,

I guess it depends how you want to approach "disaster". If we go with Sontag, then a lot if sci-fi is essentially about disaster. A fair amount has been written about man-made disasters, and there are of course filmmakers like Tsuchimoto who have dedicated years to filming one, but I gather there is less about "natural" disasters. E.g. Miyazaki's "Kaze tachinu" includes a depiction of the Kanto earthquake, but most criticism of the film hasn't taken that up, instead focusing on the airplane and the war. As for more recent disasters, Fujiwara Toshi notes that the 1995 Kobe quake hasn't been given much attention by documentary filmmakers.

My feeling is that coverage of natural disasters has been rather uneven, though there may be scholarship in Japanese that has taken this up more seriously.

Best,

M.

> On Apr 7, 2014, at 6:34 PM, Jim Harper <jimharper666 at yahoo.co.uk> wrote:
> 
> Forgive me butting in here, but I'm curious about a couple of things.
> 
> a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?
> 
> b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?
> 
> Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!
> 
> Jim Harper.
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan

_______________________________________________
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From jimharper666 at yahoo.co.uk  Mon Apr  7 05:34:56 2014
From: jimharper666 at yahoo.co.uk (Jim Harper)
Date: Mon, 7 Apr 2014 10:34:56 +0100
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>
Message-ID: <1396863296.89935.YahooMailBasic@web173105.mail.ir2.yahoo.com>

Forgive me butting in here, but I'm curious about a couple of things.

a) Has much been written about the presentation and portrayal of disaster in Japanese cinema in general, prior to 3/11?

b) Have specific disasters- like the Great Kanto Earthquake of 1923 or the 1995 Kobe Earthquake- been heavily represented in contemporary film, also prior to 3/11?

Can anyone help? Just a couple of brief answers would be very much appreciated. Thank you!

Jim Harper.

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From mroberts37 at mail-central.com  Mon Apr  7 05:32:36 2014
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Mon, 7 Apr 2014 18:32:36 +0900
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
Message-ID: <FDBBACAD-7D23-495D-9D3D-32943280E537@mail-central.com>

Hi Lorenzo,

Regarding post-3.11 documentaries, I can offer links to an article and several screening reports that I've written over the past two years. It sounds like you're looking for something published in a journal, but perhaps these could be helpful:

Observations on Japanese Cinema after 3/11
http://film.culture360.asef.org/magazine/observations-on-japanese-cinema-after-311/

[Report] "No Man's Zone"
http://utcp.c.u-tokyo.ac.jp/blog/2014/02/report-film-screening-no-mans/index_en.php

[Report] "Nuclear Nation"
http://utcp.c.u-tokyo.ac.jp/blog/2012/12/report-film-screening-nuclear/index_en.php

I also participated in "Post-3.11: Representing Disaster" at the most recent SCMS conference in Seattle, though that work hasn't been published anywhere yet.

HTH,

Mark Roberts
Research Fellow, University of Tokyo Center for Philosophy (UTCP)
http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php


On Apr 4, 2014, at 4:50 PM, Lorenzo Javier Torres Hortelano wrote:

> Dear all,
> 
> I was wondering if you know about any good article on films (fiction and documentary) about the 2011 disaster untill now.
> 
> 
> 
> I don't know if you agree with me, but it looks like an incredible amount.
> 
> Thanks in advance!
> 
>  
> Lorenzo J. Torres Hortelano
> 
> Profesor Titular 
> 
> Universidad Rey Juan Carlos
> 
> Facultad de Ciencias de la Comunicaci?n 
> 
> Edificio Departamental - Despacho 22
> 
> Camino del Molino s/n
> 
> 28943 Fuenlabrada
> 
> 34-657565507
> 
> lorenzojavier.torres.hortelano at urjc.es
> 
>  
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan

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From ljth2006 at gmail.com  Mon Apr  7 05:15:44 2014
From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano)
Date: Mon, 7 Apr 2014 11:15:44 +0200
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CA+FavwNh1h8sh=hM1PNXC4HkXefeVW1MwQdfHhDKiJ3J0zz+kA@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
	<CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>
	<CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D4263@HARVANDMBX02.fasmail.priv>
	<CA+FavwNh1h8sh=hM1PNXC4HkXefeVW1MwQdfHhDKiJ3J0zz+kA@mail.gmail.com>
Message-ID: <CALGPOmKanCeLUbd2kD+_EY0rN=i4PH40x02NgLJn-3-bNONEdQ@mail.gmail.com>

Thanks Ryan and Eija.
The Reframing... event looks great.
Eija, do you already have a title for that book or any other bibliographic
information I can tell?




*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
<lorenzojavier.torres.hortelano at urjc.es>34-657565507




2014-04-07 10:55 GMT+02:00 Eija Niskanen <eija at helsinkicineaasia.fi>:

> I have an article coming up on Fukushima fiction films in a Newzealandese
> Flatlines book series. Someone else is covering documentaries in the same
> book. Should be out within a few months.
>
> Eija
>
>
> 2014-04-07 11:34 GMT+03:00 Cook, Ryan <ryancook at fas.harvard.edu>:
>
>
>> Lorenzo,
>>
>> I just participated in a very interesting symposium at UC Berkeley,
>> organized by Dan O'Neill, on "cinema, literature and media after Fukushima"
>> (http://ieas.berkeley.edu/cjs/events/2014.04.04w.html).  Atsushi
>> Funahashi, director of Nuclear Nation, was an active participant.  He
>> talked about his documentary and provided lots of interesting feedback on
>> the papers.  I gave a paper on fiction films after Fukushima.  You're right
>> that there are a growing number of films, fiction or otherwise, on the
>> topic.  Not having been to Japan since 2012, I could only talk about the
>> small selection of fiction films I've been able to see (seven or eight,
>> plus some shorts), though there are a number of other new ones I'm aware of
>> that I'm sure would have been relevant.  I'd be interested to exchange
>> notes with you if you like.
>>
>> Ryan
>>
>>
>>
>> ________________________________________
>> From: kinejapan-bounces+ryancook=
>> fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=
>> fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Lorenzo
>> Javier Torres Hortelano [ljth2006 at gmail.com]
>> Sent: Sunday, April 06, 2014 10:48 AM
>> To: Japanese Cinema Discussion Forum
>> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>>
>> Dear Elise,
>>
>> Thanks, I would really appreciate it if you can send me it. In my case
>> the idea came to me when I was invited to give a talk next month for
>> ex-grant holders from Japan Foundation in Madrid. They let me choose the
>> subject and my idea is to follow that path...
>>
>> Best regards,
>>
>>
>>
>> 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<mailto:
>> lorenzojavier.torres.hortelano at urjc.es>
>> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>
>> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>>
>>
>> 2014-04-06 14:59 GMT+02:00 Elise Domenach <elise.domenach at gmail.com
>> <mailto:elise.domenach at gmail.com>>:
>> Hello Lorenzo,
>> If you read french I can send you a copy of the September 2013 issue of
>> the french film magazine POSITIF... My attempt to sum of a few thoughts
>> about films on 311 (5 pages article on the subject), in relation with a
>> film fund that opened in Lyon's library on the very same month.
>> I am conducting researches on the subject for JSPS in Todai, from a
>> philosophy of film point of view. And I am happy to find many interesting
>> informations on the subject regularly on KineJapan. Thanks everybody - by
>> the way !
>> Best regards,
>> Elise
>>
>>
>>
>> 2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <
>> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>>:
>>
>> Thanks Jos?!
>>
>> I'll take a look on your reference.
>>
>> I found an article in the NYT: not so deep either and old (2012), but in
>> sociological terms, it is interesting how a newspaper like NYT rememebers
>> the disaster and dedicates its space to it through cinema:
>> http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0
>> <
>> https://urldefense.proofpoint.com/v1/url?u=http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted%3Dall%26_r%3D0&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=c90b8933e6a78034206736481660e57f80f31eea840aa92f868bc4970080dd88
>> >
>>
>> Gracias,
>>
>>
>>
>> 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<mailto:
>> lorenzojavier.torres.hortelano at urjc.es>
>> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>
>> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>>
>>
>> 2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com<mailto:
>> mostro.films at gmail.com>>:
>>
>> Maybe not getting too deep, but some comments on the issue in Sono's
>> Himizu can be found in this article<
>> https://urldefense.proofpoint.com/v1/url?u=http://www.revistaatalante.com/index.php?journal%3Datalante%26page%3Darticle%26op%3Dview%26path%255B%255D%3D188&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=3789b760a16948430d79c8eaf8bb6c0e0ff0b2bcc986a261afbfb76ceafe039b>
>> by Antonio Loriguillo and on Matsuri no uma in my own one here<
>> https://urldefense.proofpoint.com/v1/url?u=http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=d8256497e34f4d4d7d7b0882ee0faed6257c51f8031c9d5aef23195ca41cd046>.
>> Himizu's last scene, by the way, has an interesting eco with Rapsody in
>> August's. I was planning to write on this regard, something like how both
>> escenes share a sense of social endurance facing hardship, but having
>> erased from the later any trace of a family (at least in a traditional
>> sense)
>>
>> Jose M
>>
>>
>> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <
>> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>> wrote:
>> Dear all,
>>
>> I was wondering if you know about any good article on films (fiction and
>> documentary) about the 2011 disaster untill now.
>>
>> I don't know if you agree with me, but it looks like an incredible amount.
>>
>> Thanks in advance!
>>
>> Lorenzo J. Torres Hortelano
>> Profesor Titular
>> Universidad Rey Juan Carlos
>> Facultad de Ciencias de la Comunicaci?n
>> Edificio Departamental - Despacho 22
>> Camino del Molino s/n
>> 28943 Fuenlabrada
>> 34-657565507<tel:34-657565507>
>> lorenzojavier.torres.hortelano at urjc.es<mailto:
>> lorenzojavier.torres.hortelano at urjc.es>
>>
>> [http://dl.dropbox.com/u/243578/logoURJC%20%281%29.jpg]
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>>
>>
>>
>> --
>> Jose Monta?o
>> ?????????
>> Cine y cultura japonesa:
>> https://eigavision.wordpress.com/<
>> https://urldefense.proofpoint.com/v1/url?u=https://eigavision.wordpress.com/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=ab866833988ffa06daa242fc59908b4185b20613b9244e78f0a6681245dad622
>> >
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu<mailto:
>> KineJapan at lists.service.ohio-state.edu>
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
>> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
>> >
>>
>> _______________________________________________
>> 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
>
>
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From eija at helsinkicineaasia.fi  Mon Apr  7 04:55:22 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Mon, 7 Apr 2014 11:55:22 +0300
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <B9672E4EF3B77F41B567609688C6A75EB01D4263@HARVANDMBX02.fasmail.priv>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
	<CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>
	<CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>
	<B9672E4EF3B77F41B567609688C6A75EB01D4263@HARVANDMBX02.fasmail.priv>
Message-ID: <CA+FavwNh1h8sh=hM1PNXC4HkXefeVW1MwQdfHhDKiJ3J0zz+kA@mail.gmail.com>

I have an article coming up on Fukushima fiction films in a Newzealandese
Flatlines book series. Someone else is covering documentaries in the same
book. Should be out within a few months.

Eija


2014-04-07 11:34 GMT+03:00 Cook, Ryan <ryancook at fas.harvard.edu>:

>
> Lorenzo,
>
> I just participated in a very interesting symposium at UC Berkeley,
> organized by Dan O'Neill, on "cinema, literature and media after Fukushima"
> (http://ieas.berkeley.edu/cjs/events/2014.04.04w.html).  Atsushi
> Funahashi, director of Nuclear Nation, was an active participant.  He
> talked about his documentary and provided lots of interesting feedback on
> the papers.  I gave a paper on fiction films after Fukushima.  You're right
> that there are a growing number of films, fiction or otherwise, on the
> topic.  Not having been to Japan since 2012, I could only talk about the
> small selection of fiction films I've been able to see (seven or eight,
> plus some shorts), though there are a number of other new ones I'm aware of
> that I'm sure would have been relevant.  I'd be interested to exchange
> notes with you if you like.
>
> Ryan
>
>
>
> ________________________________________
> From: kinejapan-bounces+ryancook=
> fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=
> fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Lorenzo Javier
> Torres Hortelano [ljth2006 at gmail.com]
> Sent: Sunday, April 06, 2014 10:48 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage
>
> Dear Elise,
>
> Thanks, I would really appreciate it if you can send me it. In my case the
> idea came to me when I was invited to give a talk next month for ex-grant
> holders from Japan Foundation in Madrid. They let me choose the subject and
> my idea is to follow that path...
>
> Best regards,
>
>
>
> 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<mailto:
> lorenzojavier.torres.hortelano at urjc.es>
> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>
> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>
>
> 2014-04-06 14:59 GMT+02:00 Elise Domenach <elise.domenach at gmail.com
> <mailto:elise.domenach at gmail.com>>:
> Hello Lorenzo,
> If you read french I can send you a copy of the September 2013 issue of
> the french film magazine POSITIF... My attempt to sum of a few thoughts
> about films on 311 (5 pages article on the subject), in relation with a
> film fund that opened in Lyon's library on the very same month.
> I am conducting researches on the subject for JSPS in Todai, from a
> philosophy of film point of view. And I am happy to find many interesting
> informations on the subject regularly on KineJapan. Thanks everybody - by
> the way !
> Best regards,
> Elise
>
>
>
> 2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <
> ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>>:
>
> Thanks Jos?!
>
> I'll take a look on your reference.
>
> I found an article in the NYT: not so deep either and old (2012), but in
> sociological terms, it is interesting how a newspaper like NYT rememebers
> the disaster and dedicates its space to it through cinema:
> http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0
> <
> https://urldefense.proofpoint.com/v1/url?u=http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted%3Dall%26_r%3D0&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=c90b8933e6a78034206736481660e57f80f31eea840aa92f868bc4970080dd88
> >
>
> Gracias,
>
>
>
> 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<mailto:
> lorenzojavier.torres.hortelano at urjc.es>
> <mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507
>
> [http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]
>
>
> 2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com<mailto:
> mostro.films at gmail.com>>:
>
> Maybe not getting too deep, but some comments on the issue in Sono's
> Himizu can be found in this article<
> https://urldefense.proofpoint.com/v1/url?u=http://www.revistaatalante.com/index.php?journal%3Datalante%26page%3Darticle%26op%3Dview%26path%255B%255D%3D188&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=3789b760a16948430d79c8eaf8bb6c0e0ff0b2bcc986a261afbfb76ceafe039b>
> by Antonio Loriguillo and on Matsuri no uma in my own one here<
> https://urldefense.proofpoint.com/v1/url?u=http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=d8256497e34f4d4d7d7b0882ee0faed6257c51f8031c9d5aef23195ca41cd046>.
> Himizu's last scene, by the way, has an interesting eco with Rapsody in
> August's. I was planning to write on this regard, something like how both
> escenes share a sense of social endurance facing hardship, but having
> erased from the later any trace of a family (at least in a traditional
> sense)
>
> Jose M
>
>
> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <ljth2006 at gmail.com
> <mailto:ljth2006 at gmail.com>> wrote:
> Dear all,
>
> I was wondering if you know about any good article on films (fiction and
> documentary) about the 2011 disaster untill now.
>
> I don't know if you agree with me, but it looks like an incredible amount.
>
> Thanks in advance!
>
> Lorenzo J. Torres Hortelano
> Profesor Titular
> Universidad Rey Juan Carlos
> Facultad de Ciencias de la Comunicaci?n
> Edificio Departamental - Despacho 22
> Camino del Molino s/n
> 28943 Fuenlabrada
> 34-657565507<tel:34-657565507>
> lorenzojavier.torres.hortelano at urjc.es<mailto:
> lorenzojavier.torres.hortelano at urjc.es>
>
> [http://dl.dropbox.com/u/243578/logoURJC%20%281%29.jpg]
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu<mailto:
> KineJapan at lists.service.ohio-state.edu>
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
> >
>
>
>
>
> --
> Jose Monta?o
> ?????????
> Cine y cultura japonesa:
> https://eigavision.wordpress.com/<
> https://urldefense.proofpoint.com/v1/url?u=https://eigavision.wordpress.com/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=ab866833988ffa06daa242fc59908b4185b20613b9244e78f0a6681245dad622
> >
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu<mailto:
> KineJapan at lists.service.ohio-state.edu>
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
> >
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu<mailto:
> KineJapan at lists.service.ohio-state.edu>
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
> >
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu<mailto:
> KineJapan at lists.service.ohio-state.edu>
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<
> https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f
> >
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
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From ryancook at fas.harvard.edu  Mon Apr  7 04:34:38 2014
From: ryancook at fas.harvard.edu (Cook, Ryan)
Date: Mon, 7 Apr 2014 08:34:38 +0000
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
	<CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>,
	<CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>
Message-ID: <B9672E4EF3B77F41B567609688C6A75EB01D4263@HARVANDMBX02.fasmail.priv>


Lorenzo,

I just participated in a very interesting symposium at UC Berkeley, organized by Dan O'Neill, on "cinema, literature and media after Fukushima" (http://ieas.berkeley.edu/cjs/events/2014.04.04w.html).  Atsushi Funahashi, director of Nuclear Nation, was an active participant.  He talked about his documentary and provided lots of interesting feedback on the papers.  I gave a paper on fiction films after Fukushima.  You're right that there are a growing number of films, fiction or otherwise, on the topic.  Not having been to Japan since 2012, I could only talk about the small selection of fiction films I've been able to see (seven or eight, plus some shorts), though there are a number of other new ones I'm aware of that I'm sure would have been relevant.  I'd be interested to exchange notes with you if you like.

Ryan



________________________________________
From: kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu [kinejapan-bounces+ryancook=fas.harvard.edu at lists.service.ohio-state.edu] on behalf of Lorenzo Javier Torres Hortelano [ljth2006 at gmail.com]
Sent: Sunday, April 06, 2014 10:48 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Tsunami and heartwake 2011 Av coverage

Dear Elise,

Thanks, I would really appreciate it if you can send me it. In my case the idea came to me when I was invited to give a talk next month for ex-grant holders from Japan Foundation in Madrid. They let me choose the subject and my idea is to follow that path...

Best regards,



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<mailto:lorenzojavier.torres.hortelano at urjc.es>
<mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507

[http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]


2014-04-06 14:59 GMT+02:00 Elise Domenach <elise.domenach at gmail.com<mailto:elise.domenach at gmail.com>>:
Hello Lorenzo,
If you read french I can send you a copy of the September 2013 issue of the french film magazine POSITIF... My attempt to sum of a few thoughts about films on 311 (5 pages article on the subject), in relation with a film fund that opened in Lyon's library on the very same month.
I am conducting researches on the subject for JSPS in Todai, from a philosophy of film point of view. And I am happy to find many interesting informations on the subject regularly on KineJapan. Thanks everybody - by the way !
Best regards,
Elise



2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>>:

Thanks Jos?!

I'll take a look on your reference.

I found an article in the NYT: not so deep either and old (2012), but in sociological terms, it is interesting how a newspaper like NYT rememebers the disaster and dedicates its space to it through cinema: http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0<https://urldefense.proofpoint.com/v1/url?u=http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted%3Dall%26_r%3D0&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=c90b8933e6a78034206736481660e57f80f31eea840aa92f868bc4970080dd88>

Gracias,



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<mailto:lorenzojavier.torres.hortelano at urjc.es>
<mailto:lorenzojavier.torres.hortelano at urjc.es>34-657565507

[http://dl.dropbox.com/u/243578/tarjeta%20DWC_2.jpg]


2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com<mailto:mostro.films at gmail.com>>:

Maybe not getting too deep, but some comments on the issue in Sono's Himizu can be found in this article<https://urldefense.proofpoint.com/v1/url?u=http://www.revistaatalante.com/index.php?journal%3Datalante%26page%3Darticle%26op%3Dview%26path%255B%255D%3D188&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=3789b760a16948430d79c8eaf8bb6c0e0ff0b2bcc986a261afbfb76ceafe039b> by Antonio Loriguillo and on Matsuri no uma in my own one here<https://urldefense.proofpoint.com/v1/url?u=http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=d8256497e34f4d4d7d7b0882ee0faed6257c51f8031c9d5aef23195ca41cd046>. Himizu's last scene, by the way, has an interesting eco with Rapsody in August's. I was planning to write on this regard, something like how both escenes share a sense of social endurance facing hardship, but having erased from the later any trace of a family (at least in a traditional sense)

Jose M


On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <ljth2006 at gmail.com<mailto:ljth2006 at gmail.com>> wrote:
Dear all,

I was wondering if you know about any good article on films (fiction and documentary) about the 2011 disaster untill now.

I don't know if you agree with me, but it looks like an incredible amount.

Thanks in advance!

Lorenzo J. Torres Hortelano
Profesor Titular
Universidad Rey Juan Carlos
Facultad de Ciencias de la Comunicaci?n
Edificio Departamental - Despacho 22
Camino del Molino s/n
28943 Fuenlabrada
34-657565507<tel:34-657565507>
lorenzojavier.torres.hortelano at urjc.es<mailto:lorenzojavier.torres.hortelano at urjc.es>

[http://dl.dropbox.com/u/243578/logoURJC%20%281%29.jpg]

_______________________________________________
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https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan<https://urldefense.proofpoint.com/v1/url?u=https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=4f597f857907a4bc8d967eb5d9b368ce99ac8e25e6a257183f78efd5933ceb7f>




--
Jose Monta?o
?????????
Cine y cultura japonesa:
https://eigavision.wordpress.com/<https://urldefense.proofpoint.com/v1/url?u=https://eigavision.wordpress.com/&k=AjZjj3dyY74kKL92lieHqQ%3D%3D%0A&r=scMmk4nWqyjeWJcYfilS4G0AJ95QWZWZ9dWMMZwZ7Qk%3D%0A&m=eC025DQ9d%2Ft%2FflCfrDfWfRcMUTkjSnib6wFjiQQfmrk%3D%0A&s=ab866833988ffa06daa242fc59908b4185b20613b9244e78f0a6681245dad622>


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From robbuscher at hotmail.com  Sun Apr  6 11:25:32 2014
From: robbuscher at hotmail.com (Rob Buscher)
Date: Sun, 6 Apr 2014 11:25:32 -0400
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <CAGdu56PdcOgPVKi70=G7APSu9OMuxv6-D7rLjoO0fi2yrk3fCQ@mail.gmail.com>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
	<CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
	<BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>
	<CAH_CNbdiZnWqOvJBBb27yqROZzDLA9KMujOBqksHu75Scx7Pig@mail.gmail.com>
	<CAGdu56PdcOgPVKi70=G7APSu9OMuxv6-D7rLjoO0fi2yrk3fCQ@mail.gmail.com>
Message-ID: <BLU406-EAS2307D700E3AEB68EAC864BAC8690@phx.gbl>

I agree that is a common criticism of Gaijin studying Japan in any discipline, but I'm not sure that was the sole (read most relevant) intent of the academic's question at AAS. I think it had more to do with our role as academics in shaping perceptions of Japan.

I agree with Michael that these materials do have a place in the classroom, but only when properly contextualized. Otherwise we run the risk of playing into "weird" Japan coverage that Western media so adores. For the majority of people on this list who have devoted their professional careers to the study of Japan this is a given, but many of our students are coming into the classroom with this mentality. 

To the extent that Cool Japan can be associated with the ever shifting perceptions of Japanese popular culture, this panel had the unintended consequence of linking Japan with manga that are widely considered sexually deviant abroad. To a room full of academics who may not have extensive backgrounds in Japanese society or the space that these objects occupy, this too has a negative connotation that was not properly contextualized. 

Best,
Rob

Rob Buscher
Programming Director
Philadelphia Asian American Film Festival
www.film.org

Sent from my iPhone

On Apr 5, 2014, at 4:09 PM, "Dolores Martinez" <dm6 at soas.ac.uk> wrote:

> I wasn't at AAS, but this discussion reminds me of what every anthrologist of Japan encounters at various points in their career: Japanese hostility at being an object of study for foreigners. So for more than 30 years (I've been doing this a long time), I've been challenged with comments ranging from 'why Japan, we are not a primitive society' to 'why ama, they are not proper Japanese women' to 'why popular culture, that's not a worthy subject' to 'isn't that book title orientalist?'  It is about trying to control outsiders' imaginings about Japan, which seems as difficult as trying to control foreigners'  imaginings about merry olde England, or sophisticated Paris (in fact someone has written a paper about the trauma suffered by young Japanese women who encounter the 'real' Paris -- there is a similar trauma suffered by many of my Japanese students encountering rundown multicultural London). Anyway, I'm not sure that trying to control the way others imagine Japan is possible, even though there is more to it than pinku eiga, cosplay and anime as I tried to convince the students who did my anthropology courses! But we should be sensitive to the fact that such partial, sometimes obsessive and occasionally orientalist attitudes do bother many Japanese.
> Lola 
> 
> 
> On Saturday, 5 April 2014, Michael Raine <mraine3 at uwo.ca> wrote:
>> Thank you for your thoughts on this Rob. I'm not familiar with the Japanese work being done in this area either, but I would be surprised if it doesn't exist. Just to be clear: I do think this material belongs in the classroom. Some of the participants pointed out that students are already reading the material (in disregard of local laws) but even if it were rare it could still be worth teaching. Perhaps the topic of the panel was not so much "cool Japan" as "queer Japan" -- meaning not a label for particular object choices but for representations and reading practices that are excluded from mainstream society, seen as transgressive and shameful if not illegal. Their existence, and they way they question both art-historical and social categories, are certainly something worth thinking about. But I do think resistance to the objects themselves, and their inclusion in the classroom, will come from people who identify as progressive, on the Left, as well as people who identify as conservative or on the Right. I hope all these topics get discussed anyway; I'd certainly be interested in knowing how it went. Maybe someone at the workshop could write up a report for the Kinema Club website... 
>> 
>> 
>> On Fri, Apr 4, 2014 at 4:11 PM, Rob Buscher <robbuscher at hotmail.com> wrote:
>> I'm glad you brought this up Michael - I was also quite interested by the force with which the Japanese academic responded to the panel at AAS. I was rather surprised by the panel myself, since the title "End of 'Cool' Japan" had very little to do with the overall theme of the panel, in my opinion at least. 
>> 
>> For those of you who were not at AAS, this panel dealt primarily with the legal issues surrounding the use of sexually risque materials in class such as the study of BL or lolicon manga. Straying from cinema, although we do have similar issues of navigating appropriateness in the study of Pinku Eiga. 
>> 
>> The difference in my mind is that while there are several Japanese academics who are involved in the scholarly study of Pinku Eiga, I am unfamiliar with any such work being conducted in Japanese on the manga that this panel addressed. I wouldn't say that I agree with the criticism of the academic at AAS, but it certainly raises some questions about what influences non-Japanese to take interest in such topics. I would be curious to hear input from other folks on the list. 
>> 
>> Best,
>> Rob 
>> 
>> Rob Buscher
>> Programming Director
>> Philadelphia Asian American Film Festival
>> www.paaff.org
>> 
>> 
>> Date: Fri, 4 Apr 2014 15:52:51 -0500
>> From: raine.michael.j at gmail.com
>> To: kinejapan at lists.service.ohio-state.edu
>> Subject: Re: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
>> 
>> 
>> I thought this panel was one of the most interesting at AAS last weekend. I enjoyed the presentations but I was also struck by the forceful objection by an audience member. If I understand it correctly, she was not happy that a panel of non-Japanese was choosing deliberately "outre" material to show in a university classroom setting. I'm not sure if the objection was more cultural (there is better work to study) or nationalist (foreigners shouldn't be exposing the underside of Japan).
>> 
>> Also, I think the panel tended to characterize the restrictions on content as stemming from a "conservative backlash," right-wing and drawing on the power of the State. I certainly agree that there is such a thing and, teaching in Canada, I've experienced it first-hand. However, I'm not sure that objections to the kind of material under discussion come only from the Right: in Canada the law against non-photographic pornography depends on a "harms discourse" that is often used by progressives. In general, there are many voices on "the Left" calling for censorship of pornography and limits to the kind of material that students can be made to study. For example, the recent rise in calls for "trigger warnings" and the provision of a "safe space" for education. 
>> 
>> In any case, I would be very interested he hear how the discussion goes and whether these questions are addressed in the panel. Wish I could be there!
>> 
>> Michael
>> 
>> Michael Raine, Film Studies
>> Western University, Canada
>> 
>> 
>> On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <amnornes at umich.edu> wrote:
>> I wish you all could come. At least you'll know what's up. This will eventually be a book, it seems.
>> 
>> Markus
> _______________________________________________
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From ljth2006 at gmail.com  Sun Apr  6 10:48:22 2014
From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano)
Date: Sun, 6 Apr 2014 16:48:22 +0200
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
	<CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>
Message-ID: <CALGPOmJOWzC=5tEVr3TVeTFq1feYszrvj2QoG0XPbn4HfeX5MQ@mail.gmail.com>

Dear Elise,

Thanks, I would really appreciate it if you can send me it. In my case the
idea came to me when I was invited to give a talk next month for ex-grant
holders from Japan Foundation in Madrid. They let me choose the subject and
my idea is to follow that path...

Best regards,



*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
 <lorenzojavier.torres.hortelano at urjc.es>34-657565507




2014-04-06 14:59 GMT+02:00 Elise Domenach <elise.domenach at gmail.com>:

> Hello Lorenzo,
> If you read french I can send you a copy of the September 2013 issue of
> the french film magazine POSITIF... My attempt to sum of a few thoughts
> about films on 311 (5 pages article on the subject), in relation with a
> film fund that opened in Lyon's library on the very same month.
> I am conducting researches on the subject for JSPS in Todai, from a
> philosophy of film point of view. And I am happy to find many interesting
> informations on the subject regularly on KineJapan. Thanks everybody - by
> the way !
> Best regards,
> Elise
>
>
>
> 2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <
> ljth2006 at gmail.com>:
>
> Thanks Jos?!
>>
>> I'll take a look on your reference.
>>
>> I found an article in the NYT: not so deep either and old (2012), but in
>> sociological terms, it is interesting how a newspaper like NYT rememebers
>> the disaster and dedicates its space to it through cinema:
>> http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0
>>
>> Gracias,
>>
>>
>>
>> *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
>>  <lorenzojavier.torres.hortelano at urjc.es>34-657565507
>>
>>
>>
>>
>> 2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com>:
>>
>> Maybe not getting too deep, but some comments on the issue in Sono's
>>> *Himizu* can be found in this article<http://www.revistaatalante.com/index.php?journal=atalante&page=article&op=view&path%5B%5D=188>by Antonio Loriguillo and on *Matsuri
>>> no uma* in my own one here<http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/>.
>>> Himizu's last scene, by the way, has an interesting eco with Rapsody in
>>> August's. I was planning to write on this regard, something like how both
>>> escenes share a sense of social endurance facing hardship, but having
>>> erased from the later any trace of a family (at least in a traditional
>>> sense)
>>>
>>> Jose M
>>>
>>>
>>> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <
>>> ljth2006 at gmail.com> wrote:
>>>
>>>>  Dear all,
>>>>
>>>> I was wondering if you know about any good article on films (fiction
>>>> and documentary) about the 2011 disaster untill now.
>>>>
>>>> I don't know if you agree with me, but it looks like an incredible
>>>> amount.
>>>>
>>>> Thanks in advance!
>>>>
>>>>
>>>>
>>>> Lorenzo J. Torres Hortelano
>>>>
>>>> Profesor Titular
>>>>
>>>> Universidad Rey Juan Carlos
>>>>
>>>> Facultad de Ciencias de la Comunicaci?n
>>>>
>>>> Edificio Departamental - Despacho 22
>>>>
>>>> Camino del Molino s/n
>>>>
>>>> 28943 Fuenlabrada
>>>>
>>>> 34-657565507
>>>>
>>>> lorenzojavier.torres.hortelano at urjc.es
>>>>
>>>>
>>>>
>>>>
>>>> _______________________________________________
>>>> KineJapan mailing list
>>>> KineJapan at lists.service.ohio-state.edu
>>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>>>>
>>>>
>>>
>>>
>>> --
>>> Jose Monta?o
>>> ?????????
>>> *Cine y cultura japonesa:*
>>>
>>>
>>> *https://eigavision.wordpress.com/ <https://eigavision.wordpress.com/>*
>>>
>>> _______________________________________________
>>> 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
>>
>>
>
> _______________________________________________
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>
>
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From elise.domenach at gmail.com  Sun Apr  6 08:59:52 2014
From: elise.domenach at gmail.com (Elise Domenach)
Date: Sun, 6 Apr 2014 21:59:52 +0900
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
	<CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>
Message-ID: <CA+rRDFH1NZVhx55t_LZw7PE+D5A5OpsxA3sj_1-xbmSY=hbNjQ@mail.gmail.com>

Hello Lorenzo,
If you read french I can send you a copy of the September 2013 issue of the
french film magazine POSITIF... My attempt to sum of a few thoughts about
films on 311 (5 pages article on the subject), in relation with a film fund
that opened in Lyon's library on the very same month.
I am conducting researches on the subject for JSPS in Todai, from a
philosophy of film point of view. And I am happy to find many interesting
informations on the subject regularly on KineJapan. Thanks everybody - by
the way !
Best regards,
Elise



2014-04-06 21:32 GMT+09:00 Lorenzo Javier Torres Hortelano <
ljth2006 at gmail.com>:

> Thanks Jos?!
>
> I'll take a look on your reference.
>
> I found an article in the NYT: not so deep either and old (2012), but in
> sociological terms, it is interesting how a newspaper like NYT rememebers
> the disaster and dedicates its space to it through cinema:
> http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0
>
> Gracias,
>
>
>
> *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
>  <lorenzojavier.torres.hortelano at urjc.es>34-657565507
>
>
>
>
> 2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com>:
>
> Maybe not getting too deep, but some comments on the issue in Sono's
>> *Himizu* can be found in this article<http://www.revistaatalante.com/index.php?journal=atalante&page=article&op=view&path%5B%5D=188>by Antonio Loriguillo and on *Matsuri
>> no uma* in my own one here<http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/>.
>> Himizu's last scene, by the way, has an interesting eco with Rapsody in
>> August's. I was planning to write on this regard, something like how both
>> escenes share a sense of social endurance facing hardship, but having
>> erased from the later any trace of a family (at least in a traditional
>> sense)
>>
>> Jose M
>>
>>
>> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <
>> ljth2006 at gmail.com> wrote:
>>
>>>  Dear all,
>>>
>>> I was wondering if you know about any good article on films (fiction and
>>> documentary) about the 2011 disaster untill now.
>>>
>>> I don't know if you agree with me, but it looks like an incredible
>>> amount.
>>>
>>> Thanks in advance!
>>>
>>>
>>>
>>> Lorenzo J. Torres Hortelano
>>>
>>> Profesor Titular
>>>
>>> Universidad Rey Juan Carlos
>>>
>>> Facultad de Ciencias de la Comunicaci?n
>>>
>>> Edificio Departamental - Despacho 22
>>>
>>> Camino del Molino s/n
>>>
>>> 28943 Fuenlabrada
>>>
>>> 34-657565507
>>>
>>> lorenzojavier.torres.hortelano at urjc.es
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.service.ohio-state.edu
>>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>>>
>>>
>>
>>
>> --
>> Jose Monta?o
>> ?????????
>> *Cine y cultura japonesa:*
>>
>>
>> *https://eigavision.wordpress.com/ <https://eigavision.wordpress.com/>*
>>
>> _______________________________________________
>> 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
>
>
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From ljth2006 at gmail.com  Sun Apr  6 08:32:57 2014
From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano)
Date: Sun, 6 Apr 2014 14:32:57 +0200
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
	<CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>
Message-ID: <CALGPOmJRKiQgqZYXbX-9J3ieTgRWbWq61Rs4S0fcM4FqnPvmuQ@mail.gmail.com>

Thanks Jos?!

I'll take a look on your reference.

I found an article in the NYT: not so deep either and old (2012), but in
sociological terms, it is interesting how a newspaper like NYT rememebers
the disaster and dedicates its space to it through cinema:
http://www.nytimes.com/2012/03/18/movies/films-on-the-tsunami-at-yamagata-documentary-film-festival.html?pagewanted=all&_r=0

Gracias,



*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
 <lorenzojavier.torres.hortelano at urjc.es>34-657565507




2014-04-05 7:55 GMT+02:00 Jose Monta?o <mostro.films at gmail.com>:

> Maybe not getting too deep, but some comments on the issue in Sono's
> *Himizu* can be found in this article<http://www.revistaatalante.com/index.php?journal=atalante&page=article&op=view&path%5B%5D=188>by Antonio Loriguillo and on *Matsuri
> no uma* in my own one here<http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/>.
> Himizu's last scene, by the way, has an interesting eco with Rapsody in
> August's. I was planning to write on this regard, something like how both
> escenes share a sense of social endurance facing hardship, but having
> erased from the later any trace of a family (at least in a traditional
> sense)
>
> Jose M
>
>
> On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano <ljth2006 at gmail.com
> > wrote:
>
>>  Dear all,
>>
>> I was wondering if you know about any good article on films (fiction and
>> documentary) about the 2011 disaster untill now.
>>
>> I don't know if you agree with me, but it looks like an incredible amount.
>>
>> Thanks in advance!
>>
>>
>>
>> Lorenzo J. Torres Hortelano
>>
>> Profesor Titular
>>
>> Universidad Rey Juan Carlos
>>
>> Facultad de Ciencias de la Comunicaci?n
>>
>> Edificio Departamental - Despacho 22
>>
>> Camino del Molino s/n
>>
>> 28943 Fuenlabrada
>>
>> 34-657565507
>>
>> lorenzojavier.torres.hortelano at urjc.es
>>
>>
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>>
>>
>
>
> --
> Jose Monta?o
> ?????????
> *Cine y cultura japonesa:*
>
>
> *https://eigavision.wordpress.com/ <https://eigavision.wordpress.com/>*
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From dm6 at soas.ac.uk  Sat Apr  5 16:09:36 2014
From: dm6 at soas.ac.uk (Dolores Martinez)
Date: Sat, 5 Apr 2014 21:09:36 +0100
Subject: [KineJapan]  End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <CAH_CNbdiZnWqOvJBBb27yqROZzDLA9KMujOBqksHu75Scx7Pig@mail.gmail.com>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
	<CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
	<BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>
	<CAH_CNbdiZnWqOvJBBb27yqROZzDLA9KMujOBqksHu75Scx7Pig@mail.gmail.com>
Message-ID: <CAGdu56PdcOgPVKi70=G7APSu9OMuxv6-D7rLjoO0fi2yrk3fCQ@mail.gmail.com>

I wasn't at AAS, but this discussion reminds me of what every anthrologist
of Japan encounters at various points in their career: Japanese hostility
at being an object of study for foreigners. So for more than 30 years (I've
been doing this a long time), I've been challenged with
comments ranging from 'why Japan, we are not a primitive society' to 'why
ama, they are not proper Japanese women' to 'why popular culture, that's
not a worthy subject' to 'isn't that book title orientalist?'  It is about
trying to control outsiders' imaginings about Japan, which seems as
difficult as trying to control foreigners'  imaginings about merry olde
England, or sophisticated Paris (in fact someone has written a paper about
the trauma suffered by young Japanese women who encounter the 'real' Paris
-- there is a similar trauma suffered by many of my Japanese students
encountering rundown multicultural London). Anyway, I'm not sure that
trying to control the way others imagine Japan is possible, even though
there is more to it than pinku eiga, cosplay and anime as I tried to
convince the students who did my anthropology courses! But we should be
sensitive to the fact that such partial, sometimes obsessive and
occasionally orientalist attitudes do bother many Japanese.
Lola


On Saturday, 5 April 2014, Michael Raine <mraine3 at uwo.ca> wrote:

>  Thank you for your thoughts on this Rob. I'm not familiar with the
> Japanese work being done in this area either, but I would be surprised if
> it doesn't exist. Just to be clear: I do think this material belongs in the
> classroom. Some of the participants pointed out that students are already
> reading the material (in disregard of local laws) but even if it were rare
> it could still be worth teaching. Perhaps the topic of the panel was not so
> much "cool Japan" as "queer Japan" -- meaning not a label for particular
> object choices but for representations and reading practices that are
> excluded from mainstream society, seen as transgressive and shameful if not
> illegal. Their existence, and they way they question both art-historical
> and social categories, are certainly something worth thinking about. But I
> do think resistance to the objects themselves, and their inclusion in the
> classroom, will come from people who identify as progressive, on the Left,
> as well as people who identify as conservative or on the Right. I hope all
> these topics get discussed anyway; I'd certainly be interested in knowing
> how it went. Maybe someone at the workshop could write up a report for the
> Kinema Club website...
>
>
> On Fri, Apr 4, 2014 at 4:11 PM, Rob Buscher <robbuscher at hotmail.com>wrote:
>
> I'm glad you brought this up Michael - I was also quite interested by the
> force with which the Japanese academic responded to the panel at AAS. I was
> rather surprised by the panel myself, since the title "End of 'Cool' Japan"
> had very little to do with the overall theme of the panel, in my opinion at
> least.
>
> For those of you who were not at AAS, this panel dealt primarily with the
> legal issues surrounding the use of sexually risque materials in class such
> as the study of BL or lolicon manga. Straying from cinema, although we do
> have similar issues of navigating appropriateness in the study of Pinku
> Eiga.
>
> The difference in my mind is that while there are several Japanese
> academics who are involved in the scholarly study of Pinku Eiga, I am
> unfamiliar with any such work being conducted in Japanese on the manga that
> this panel addressed. I wouldn't say that I agree with the criticism of the
> academic at AAS, but it certainly raises some questions about what
> influences non-Japanese to take interest in such topics. I would be curious
> to hear input from other folks on the list.
>
> Best,
> Rob
>
> Rob Buscher
> Programming Director
> Philadelphia Asian American Film Festival
> www.paaff.org
>
>
> ------------------------------
> Date: Fri, 4 Apr 2014 15:52:51 -0500
> From: raine.michael.j at gmail.com
> To: kinejapan at lists.service.ohio-state.edu
> Subject: Re: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
>
>
> I thought this panel was one of the most interesting at AAS last weekend.
> I enjoyed the presentations but I was also struck by the forceful objection
> by an audience member. If I understand it correctly, she was not happy that
> a panel of non-Japanese was choosing deliberately "outre" material to show
> in a university classroom setting. I'm not sure if the objection was more
> cultural (there is better work to study) or nationalist (foreigners
> shouldn't be exposing the underside of Japan).
>
> Also, I think the panel tended to characterize the restrictions on content
> as stemming from a "conservative backlash," right-wing and drawing on the
> power of the State. I certainly agree that there is such a thing and,
> teaching in Canada, I've experienced it first-hand. However, I'm not sure
> that objections to the kind of material under discussion come only from the
> Right: in Canada the law against non-photographic pornography depends on a
> "harms discourse" that is often used by progressives. In general, there are
> many voices on "the Left" calling for censorship of pornography and limits
> to the kind of material that students can be made to study. For example,
> the recent rise in calls for "trigger warnings" and the provision of a
> "safe space" for education.
>
> In any case, I would be very interested he hear how the discussion goes
> and whether these questions are addressed in the panel. Wish I could be
> there!
>
> Michael
>
> Michael Raine, Film Studies
> Western University, Canada
>
>
> On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <amnornes at umich.edu> wrote:
>
> I wish you all could come. At least you'll know what's up. This will
> eventually be a book, it seems.
>
> Markus
>
>
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From pslarson2 at gmail.com  Sat Apr  5 15:12:40 2014
From: pslarson2 at gmail.com (Peter Larson)
Date: Sat, 5 Apr 2014 15:12:40 -0400
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
Message-ID: <CAMsAtOZ=23tDCroxHwJ99+c5kB+GwqrC5LatP=HVjR0xMJ6WfQ@mail.gmail.com>

I considered going to this event, but kind of decided it was a bit too
discipline-specific for me (but it looks like a great event and I'm glad to
see it at UM!)

Reading the summary, though, I was thinking of a recent conversation I had
with Keiji Haino, a legendary fringe musician from Tokyo. He recently made
a documentary about himself, but hasn't released it on DVD and, according
to him, has no plans to do so. When asked why, he said that he's afraid
that fans will appropriate it, add subtitles to it and post it to YouTube.
He has very specific ideas about his image, and it concerned that a fan
translation will inadequately represent him.

Of course, when asked if he's thought about having it translated
professionally, he said he's tried, and wasn't happy with the results.

The bottom line is (and the saddest part), that Haino's documentary, which
looks to be fantastic, will probably never be seen by anyone outside of a
few attendees of an extremely limited number of art house showings in the
Tokyo area. I don't know that the ubiquity of fan-subbing has hindered the
release of other films in Japan, but I found this particular case to be
quite interesting.


On Fri, Apr 4, 2014 at 3:58 PM, Markus Nornes <amnornes at umich.edu> wrote:

> I wish you all could come. At least you'll know what's up. This will
> eventually be a book, it seems.
>
> Markus
>
> =================================================
>
> End of "Cool" Japan Workshop
>
>
> A one-day workshop hosted by the Center for Japanese Studies and the
> Department of Screen Arts & Cultures at the University of Michigan
>
> Organizers: Mark McLelland and Markus Nornes
>
> Saturday 5 April 2014
>
> Program
>
> 9.30 Welcome
> Markus Nornes
>
> 9.45-10.30 Opening Address
> Mark McLelland
>
> 10.30-10:45 Coffee
>
> 10.45-12.00 Panel One: Negotiating Student Expectations
> Alisa Freedman
> Laura Miller
>
> 12.00-1.00 Lunch
>
> 1.00-3.00 Panel Two: Sex and Violence In and Beyond the Classroom
> Sabine Fruhstuck
> Kirsten Cather
> Patrick Galbraith
>
> 3.00-3.15 Coffee
>
> 3.15-4.00 Future Directions: ?The End of Cool Japan?? Roundtable Discussion
> ____________________________________________________
>
> About the Event
>
> This workshop addresses some pressing concerns for all those with an
> investment in teaching and learning about Japan via its popular culture. It
> brings together Japan specialists, both educators and researchers, in order
> to identify key challenges in research and pedagogy and to develop a
> framework for a code of ethics that can serve as a guideline for Japan
> Studies professionals.
>
> Since the early 2000s, interest in ?cool Japan,? particularly young
> people?s engagement with animation, comics and gaming (ACG), has been the
> driving factor in recruitment to undergraduate Japanese language and
> studies courses. Tertiary institutions and the Japanese foreign office
> alike have sought to capitalize on this interest to boost enrolments in
> Japanese courses. Young people?s interest in and contact with Japanese
> popular culture now often begins in school and continues into undergraduate
> life. An increasing number of faculty and graduate students are also
> focusing on aspects of Japanese popular culture across a range of
> disciplines including anthropology, screen studies, literary studies,
> cultural studies and sociology. Today?s convergent media environment offers
> unprecedented opportunities for sourcing and disseminating previously
> obscure or hard to find pop culture content from Japan. However alongside
> this convenience are heightened ethical and legal concerns surrounding the
> sourcing of content that bypasses national licensing and ratings systems.
>
> Today?s students occupy multiple roles as fans, students and ?produsers?
> of Japanese cultural content that is available via the Internet. Most
> Japanese pop culture students are young and tech-savvy and are involved in
> some form of online fannish interaction. In addition to mainstream ACG
> titles that have been licensed to overseas companies, translated into
> English, given appropriate ratings and conventionally distributed, students
> access an enormous amount of unofficially translated and transmitted
> Japanese material on the internet. Original Japanese titles are dubbed and
> subtitled into English and other languages by circles of fans and
> distributed via fan sites and peer-to-peer networks. Fans themselves have
> taken on active roles as mediators and distributors and facilitated the
> bottom-up spread of Japanese pop culture across geographical and linguistic
> borders, thus circumventing traditional distribution and ratings systems.
>
> The ease of manipulating digital content in today?s ?remix culture? has
> also resulted in an equally voluminous amount of fan-generated content
> based on Japanese originals. Known in Japanese as d?jin (coterie) products,
> these ?transformative works? that appropriate existing titles and
> characters and develop new story lines are also widely available online and
> popular among student fans who both consume and produce them. Yet, despite
> the fact that ?fansubbers? evince a strong desire to support the local
> animation industry by promoting anime culture and widening anime?s
> accessibility, given that these circuits of production and redistribution
> are illegal in terms of international copyright law, they have at times
> resulted in the Japanese ACG industries and local licensees taking legal
> action.
>
> In addition to these concerns over copyright, there are problems to do
> with the increased flow of Japanese cultural materials that are treated
> differently by various national ratings systems as well as different
> audiences and interest groups. While many librarians and literacy experts
> have welcomed the upsurge of interest in graphic novels among young
> readers, an alternative narrative points to the ?dark side? of Japanese
> popular culture, with its emphasis on adult-themes, violence, sexual
> fetishes and seemingly under-age characters. Recently, the violent and
> sexualized content of some Japanese media, particularly in regard to
> representations of characters who may only ?appear to be? minors, has
> caused considerable concern among international agencies such as UNICEF. In
> some countries, notably the US, the UK, Canada, Sweden, and Australia,
> fictional depictions of child characters have been included in the
> definition of ?child-abuse publications.? Japan itself has been affected by
> this new global scrutiny of pop culture representations as evidenced in
> 2010 by the successful passing of the Tokyo Metropolitan Authority?s Bill
> number 156 (the so-called ?Non-Existent Youth Bill?) placing enhanced sales
> restrictions on ACG deemed ?harmful to youth.?
>
> The ever expanding scope of this legislation has led to serious charges
> being laid against some manga and anime collectors in the US and elsewhere.
> A very large number of Japanese pop culture students have encountered or
> even actively sought out such material which is ubiquitous in the fandom.
> Furthermore, d?jin works, which might have received a PG rating for their
> official versions, are often ?sexed up? in fan creations to an extent that
> they would receive adult-only ratings or be banned altogether in some
> jurisdictions. The fact that young readers can move seamlessly from
> searching out official content on the internet to fandoms circulating these
> niche products is cited as a cause for concern among educators.
>
> Concerns about copyright, ratings and exposure to potentially illegal
> content are serious issues for those teaching and researching Japanese
> popular culture, although to date the literature discussing these issues is
> scant. This workshop brings together leading experts in the study of
> Japanese popular culture who have faced ethical and legal challenges in
> pursuing their own research and in teaching about Japan to undergraduate
> students. Speakers from the US, Australia and Japan address the different
> ways in which their academic practices are challenged by local regulations
> and the difficulties they face when sourcing, researching and teaching
> about pop culture content in an increasingly ?deterritorialized? media
> environment.
>
> Topics addressed include:
>
> ? Copyright in the classroom: teaching fan appropriations of Japanese
> popular culture.
> ? Japanese and American culture industry responses to d?jin culture.
> ? The impact of ?child-abuse material? legislation on research and
> teaching about manga and anime.
> ? Recent trends in ACG censorship and legislation in Japan.
> ? Cultural resistance among students to learning about aspects of Japanese
> popular culture.
> ? Challenges from ethics committees for researchers into sexualized
> subcultures.
> ? The range of gatekeepers who control, censure or mediate access to
> Japanese popular culture
> ____________________________________________________
>
> Presentation Abstracts
>
> 9.45-10.30 Opening Address
>
> Ethical and Legal Issues in Teaching Japanese Popular Culture to
> Undergraduate Students
>
> Mark McLelland
>
> Interest in Japanese popular culture, particularly young people?s
> engagement with manga and animation, is widely acknowledged to be a driving
> factor in recruitment to undergraduate Japanese language and studies
> courses at universities around the world. Contemporary students live in a
> convergent media culture where they often occupy multiple roles as fans,
> students and "producers" of Japanese cultural content. Students? easy
> access to and manipulation of Japanese cultural content through sites that
> offer "scanlation" and "fansubbing" services as well as sites that enable
> the production and dissemination of d?jin works raise a number of ethical
> and legal issues, not least infringement of copyright. However equally
> important are issues to do with the transnational consumption and
> production of Japanese cultural materials that are subject to different
> ratings systems and censorship. The sexualised content of some Japanese
> media, particularly in regard to representations of characters who may
> "appear to be" minors, has become the site of increased concern in some
> countries, notably Canada and Australia where fictional depictions of child
> characters have been included in the definition of "child-abuse
> publications". The ever expanding scope of this legislation has led to the
> recent arrest and prosecution of manga and anime fans in both these
> countries and in the US. In this presentation I ask what role, if any, do
> we as educators have in alerting students to the problematic nature of
> studying, consuming, producing and disseminating images of a sexualized
> nature? How do we negotiate students? interest in potentially problematic
> Japanese genres such as BL, hentai and rori in the classroom? How do we
> support students who wish to pursue their interest in these genres,
> balancing the need for academic freedom against requirements to live by the
> ethical and legal frameworks set by local authorities?
>
> Mark McLelland is Professor of Gender and Sexuality Studies at the
> University of Wollongong and author or editor of seven books focusing on
> issues to do with the history of sexuality, popular culture and new media
> in Japan, most recently, Love, Sex and Democracy in Japan during the
> American Occupation, New York: Palgrave Macmillan, 2012
>
>
> 10.45-12.00 Panel One: Negotiating Student Expectations
>
> Student Sensibilities and Gatekeeper Protests: Teaching and Presenting
> Research on Unwelcome Japan Studies Topics
>
> Laura Miller
>
> Increasingly, many of us with academic specializations in Japan Studies
> are pressured to include popular culture in our teaching menus in order to
> entice the growing ranks of animation, comics and gaming (ACG) fans.
> However, many students take our courses because they fulfil a diversity or
> multicultural requirement. For these students, course material might be met
> with responses ranging from disdain to active protest. In the state of
> Missouri, a newly passed state amendment gives students the power to reject
> any part of their academic assignments (including reading assignments) that
> contradict or offend their religious beliefs. How do we negotiate protests
> from students who object to aspects of our course content? Similarly,
> although academic institutions, local Japanese societies, and community
> groups claim they want more AEG as part of their programming, what they
> envision is Miyazaki Hayao and Hello Kitty rather than Mizuno Junko or Mat?
> Sanami, and kimono dress-up rather than maid caf? enactments. This
> presentation will focus on types of cultural resistance from those around
> us (students, community members, and colleagues). What happens when our
> students object to the sexual, religious or violent content found in our
> lectures and research? How do we respond to colleagues, native Japanese
> observers, and other gatekeepers who protest that our material or
> programming on contemporary Japan is presenting a negative or tainted image
> of the nation and its people? How do we deal with attempts to censure or
> control the nature of our research programming and presentations on Japan?
>
> Laura Miller is Ei?ichi Shibusawa-Seigo Arai Endowed Professor of Japanese
> Studies and Professor of Anthropology at the University of Missouri-St.
> Louis. She has published widely on Japanese culture and language, including
> topics such as English loanwords in Japanese, the beauty industry, girls?
> slang, self-photography, and divination. She teaches courses on Japan and
> linguistic anthropology and works to promote Japan Studies through a
> variety of campus and community programming.
>
>
> Death Note and Crimes in the Classroom: Issues in Teaching Japanese
> Popular Culture to the Ne(x)t Generation
>
> Alisa Freedman
>
> My talk explores moral, ethical, and cultural issues of teaching and
> researching Japanese popular culture and the fandoms it inspires through
> the trans-medial example of Death Note (Desu n?to). Death Note ? manga
> series written by Ohba Tsugumi and Obata Takeshi (2003-2006), television
> anime (2006-2007), three films (2006, 2008), light novels (2006, 2009), and
> videogames (2007, 2008), all commercially available in several languages ?
> is the story of bored male student who kills criminals with an old notebook
> dropped by a death god and the characters who pursue him. Death Note has
> attracted fans worldwide because of its genre-bending narrative,
> multifaceted beautiful boy (bish?nen) characters, commentary on justice and
> surveillance, and advocacy of the power of youth, among other reasons. Yet
> Death Note has been cited as a source of real-life crimes, implicating it
> in debates about the morality of manga. Importantly, the global popularity
> of Death Note has been thanks to fans, who have extended its meanings and
> turned it into more than a niche fad. Death Note was marketed at a time
> when Internet developments were making manga and anime more immediately
> accessible. Death Note fan appropriations represent primary ways fans have
> used digital media to personalize popular culture, including fanfiction,
> slash, scanlations, and fansubs. I argue that Death Note is an instructive
> text to make students aware of how they have collaborated in the global
> domination of Japanese popular culture and how they have challenged
> copyrights and other laws governing the dissemination of texts.
>
> Alisa Freedman is an Associate Professor of Japanese Literature and Film
> at the University of Oregon. Her current research explores issues
> concerning globalization, gender, and urbanization in twentieth and
> twenty-first-century Japanese literature and popular culture. Her major
> publications include Tokyo in Transit: Japanese Culture on the Rails and
> Road (Stanford University Press, 2010), an annotated translation of
> Kawabata Yasunari?s The Scarlet Gang of Asakusa (University of California
> Press, 2005), and a co-edited volume on Modern Girls on the Go: Gender,
> Mobility, and Labor in Japan (Stanford University Press, 2013). She has
> authored articles on Japanese modernism, urban studies, youth culture,
> media discourses about gender norms, television history, humor as social
> critique, and intersections of literature and digital media, along with
> translations of Japanese novels and short stories.
>
>
> 1.00-3.00 Panel Two: Sex and Violence in and Beyond the Classroom
>
> ?Every Picture Tells a Lie:? Teaching the Popular Culture of Sexuality and
> Violence
>
> Sabine Fr?hst?ck
>
> In this paper I would like to briefly describe my use of (visual) popular
> culture materials in two of my undergraduate courses, ?Representations of
> Sexuality in Modern Japan? and ?Violence and the State in Japan.? In each
> course, I have integrated one or more sessions that take up the popular
> cultural treatment of the core topics, sexuality in one case, violence in
> the other. Materials in these sessions range widely from pornographic
> ukiyoe to over-the-top violent Yakuza films. I will also describe and
> speculate about students? responses to such materials.
>
> I propose that the analysis of popular cultural materials in the classroom
> ? if done well ? can go a long way in accomplishing a number of important
> teaching goals: Such materials allow me to ?pick up? the students where
> they are most ?at home,? namely in current-day popular culture, much of
> which in California is Japanese. Such materials also help to irritate
> students? sensibilities and thus allow me to more effectively convey the
> specific cultural conditions of Japanese (and their own) beliefs and
> attitudes. In addition, they allow me to fully exploit the potential of
> such materials for the purposes of entertainment and humor (After all, some
> representations of both sex and violence, in Japan at least, are supposed
> to be funny!).
>
> Sabine Fr?hst?ck is a professor of Modern Japanese Cultural Studies at the
> University of California, Santa Barbara. She is mostly concerned with the
> history and ethnography of modern Japanese culture and its relations to the
> rest of the world. Her current book project examines the various relations
> between childhood and militarism in the twentieth and twenty-first
> centuries. Fr?hst?ck is the author of Colonizing Sex: Sexology and Social
> Control in Modern Japan (2003) and Uneasy Warriors: Gender, Memory and
> Popular Culture in the Japanese Army (2007). Both monographs were
> translated into Japanese.
>
>
> Trying Obscene Manga in the Courtroom and Classroom:
>
> Ethical and legal issues in teaching Japanese popular culture to
> undergraduate students
>
> Kirsten Cather
>
> In 2002, a half-century after the first of a series of sensational,
> high-profile obscenity trials of literature, film, and photography in Japan
> and after a lull of almost twenty years, a new medium became the target of
> government prosecution: manga. As some feared and others hoped, the
> publisher of the adult erotic manga Honey Room was convicted in a verdict
> that was upheld by the Supreme Court in June 2007. Both inside and outside
> the courtroom, lawyers, witnesses, judges, and a wide array of commentators
> from legal and cultural spheres offered their competing arguments about the
> appropriateness (or lack thereof) of the manga. This unprecedented trial
> paved the way for the increased regulation of pop culture media, including
> a subsequent conviction of another ero-manga publisher by the lower courts
> in the fall of 2013. What can we learn by studying such judicial
> proceedings? They suggest the high stakes of policing Japan?s pop cultural
> sphere for authorities today and offer a window into Japan?s contemporary
> legal and cultural standards of censorship. Might these trials also help us
> navigate the potentially murky ethical and legal terrain of handling these
> ?obscene? materials in our lives as researchers, teachers, students, or
> readers? By dissecting the rationale behind the externally-imposed
> standards of a censorship regime, we can probe our own deeply held, yet
> oft-unexamined standards about what we feel is acceptable to create, teach,
> learn, and consume and what we designate as beyond the pale. In other
> words, the solution may be to ?try? an obscene manga in the classroom that
> has been tried in the courtroom.
>
> Kirsten Cather is an Associate Professor in the Department of Asian
> ?Studies at the University of Texas, Austin. Her interests include Japanese
> literature and film; censorship; fictional and non-fictional
> representations of suicide; literary and filmic adaptations. She is author
> of The Art of Censorship in Postwar Japan, University of Hawaii Press
> (2o12).
>
>
> Is There Room for Lolicon in Cool Japan?
>
> Patrick Galbraith
>
> This paper considers possible limitations in Japan Studies through the
> case of lolicon, or desire for girl characters from manga and anime.
> Looking back at the so-called ?lolicon boom? in Japan in the early 1980s,
> it is apparent that one cannot discuss otaku, or manga and anime fandom,
> without addressing lolicon in some way. Indeed, lolicon has been the
> subject of academic inquiry for over two decades in Japan. Despite this,
> the study of lolicon has been severely retarded in the United States by its
> conflation with ?virtual child pornography.? Conservative backlash leads to
> the suspension of lolicon manga localization; private individuals face
> potential jail time for importing it. Further, even critical writing on
> lolicon is stifled because of the fear of inciting a ?moral firestorm.?
> This inability to discuss lolicon, or posses or show images of the works so
> categorized, leads to serious misperceptions about manga, history and fan
> culture in Japan. Academic inquiry, which should rise above the concerns of
> popularity, is similarly limited. Much of the funding for the study of
> Japan comes from the Japanese government, whichis still deeply invested in
> the Cool Japan project and wary of topics such as lolicon. Further,
> relevant materials are not archived in the Diet Library, and private
> collectors risk imprisonment. The paper asks if there is room in Cool Japan
> for lolicon, or, to put it another way, is there room in the study of
> popular culture for unpopular topics? What are the ethical implications of
> such a study?
>
> Patrick W. Galbraith received his first Ph.D. in Information Studies from
> the University of Tokyo, and is currently pursuing a second Ph.D. in
> Cultural Anthropology at Duke University. He is the author of The Otaku
> Encyclopedia: An Insider?s Guide to the Subculture of Cool Japan (Kodansha
> International, 2009), Tokyo Realtime: Akihabara (White Rabbit Press, 2010),
> Otaku Spaces (Chin Music Press, 2012) and The Moe Manifesto: An Insider?s
> Look at the Worlds of Manga, Anime and Gaming (Tuttle, forthcoming), and
> the co-editor of Idols and Celebrity in Japanese Media Culture (Palgrave,
> 2012). <patrick.galbraith at duke.edu>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From mostro.films at gmail.com  Sat Apr  5 01:55:10 2014
From: mostro.films at gmail.com (=?ISO-8859-1?Q?Jose_Monta=F1o?=)
Date: Sat, 5 Apr 2014 14:55:10 +0900
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
In-Reply-To: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
References: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>
Message-ID: <CAF2cNGNBkPRXxg7DD1b4NM4bzCzfQpn9uBx0tu28LpYACn7OBw@mail.gmail.com>

Maybe not getting too deep, but some comments on the issue in Sono's
*Himizu* can be found in this
article<http://www.revistaatalante.com/index.php?journal=atalante&page=article&op=view&path%5B%5D=188>by
Antonio Loriguillo and on *Matsuri
no uma* in my own one
here<http://www.cineasiaonline.com/tokyo-filmex-2013-desde-el-corazon-de-japon/>.
Himizu's last scene, by the way, has an interesting eco with Rapsody in
August's. I was planning to write on this regard, something like how both
escenes share a sense of social endurance facing hardship, but having
erased from the later any trace of a family (at least in a traditional
sense)

Jose M


On 4 April 2014 16:50, Lorenzo Javier Torres Hortelano
<ljth2006 at gmail.com>wrote:

> Dear all,
>
> I was wondering if you know about any good article on films (fiction and
> documentary) about the 2011 disaster untill now.
>
> I don't know if you agree with me, but it looks like an incredible amount.
>
> Thanks in advance!
>
>
>
> Lorenzo J. Torres Hortelano
>
> Profesor Titular
>
> Universidad Rey Juan Carlos
>
> Facultad de Ciencias de la Comunicaci?n
>
> Edificio Departamental - Despacho 22
>
> Camino del Molino s/n
>
> 28943 Fuenlabrada
>
> 34-657565507
>
> lorenzojavier.torres.hortelano at urjc.es
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>


-- 
Jose Monta?o
?????????
*Cine y cultura japonesa:*


*https://eigavision.wordpress.com/ <https://eigavision.wordpress.com/>*
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From mraine3 at uwo.ca  Fri Apr  4 22:03:38 2014
From: mraine3 at uwo.ca (Michael Raine)
Date: Fri, 4 Apr 2014 21:03:38 -0500
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
	<CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
	<BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>
Message-ID: <CAH_CNbdiZnWqOvJBBb27yqROZzDLA9KMujOBqksHu75Scx7Pig@mail.gmail.com>

Thank you for your thoughts on this Rob. I'm not familiar with the Japanese
work being done in this area either, but I would be surprised if it doesn't
exist. Just to be clear: I do think this material belongs in the classroom.
Some of the participants pointed out that students are already reading the
material (in disregard of local laws) but even if it were rare it could
still be worth teaching. Perhaps the topic of the panel was not so much
"cool Japan" as "queer Japan" -- meaning not a label for particular object
choices but for representations and reading practices that are excluded
from mainstream society, seen as transgressive and shameful if not illegal.
Their existence, and they way they question both art-historical and social
categories, are certainly something worth thinking about. But I do think
resistance to the objects themselves, and their inclusion in the classroom,
will come from people who identify as progressive, on the Left, as well as
people who identify as conservative or on the Right. I hope all these
topics get discussed anyway; I'd certainly be interested in knowing how it
went. Maybe someone at the workshop could write up a report for the Kinema
Club website...


On Fri, Apr 4, 2014 at 4:11 PM, Rob Buscher <robbuscher at hotmail.com> wrote:

> I'm glad you brought this up Michael - I was also quite interested by the
> force with which the Japanese academic responded to the panel at AAS. I was
> rather surprised by the panel myself, since the title "End of 'Cool' Japan"
> had very little to do with the overall theme of the panel, in my opinion at
> least.
>
> For those of you who were not at AAS, this panel dealt primarily with the
> legal issues surrounding the use of sexually risque materials in class such
> as the study of BL or lolicon manga. Straying from cinema, although we do
> have similar issues of navigating appropriateness in the study of Pinku
> Eiga.
>
> The difference in my mind is that while there are several Japanese
> academics who are involved in the scholarly study of Pinku Eiga, I am
> unfamiliar with any such work being conducted in Japanese on the manga that
> this panel addressed. I wouldn't say that I agree with the criticism of the
> academic at AAS, but it certainly raises some questions about what
> influences non-Japanese to take interest in such topics. I would be curious
> to hear input from other folks on the list.
>
> Best,
> Rob
>
> Rob Buscher
> Programming Director
> Philadelphia Asian American Film Festival
> www.paaff.org
>
>
> ------------------------------
> Date: Fri, 4 Apr 2014 15:52:51 -0500
> From: raine.michael.j at gmail.com
> To: kinejapan at lists.service.ohio-state.edu
> Subject: Re: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
>
>
> I thought this panel was one of the most interesting at AAS last weekend.
> I enjoyed the presentations but I was also struck by the forceful objection
> by an audience member. If I understand it correctly, she was not happy that
> a panel of non-Japanese was choosing deliberately "outre" material to show
> in a university classroom setting. I'm not sure if the objection was more
> cultural (there is better work to study) or nationalist (foreigners
> shouldn't be exposing the underside of Japan).
>
> Also, I think the panel tended to characterize the restrictions on content
> as stemming from a "conservative backlash," right-wing and drawing on the
> power of the State. I certainly agree that there is such a thing and,
> teaching in Canada, I've experienced it first-hand. However, I'm not sure
> that objections to the kind of material under discussion come only from the
> Right: in Canada the law against non-photographic pornography depends on a
> "harms discourse" that is often used by progressives. In general, there are
> many voices on "the Left" calling for censorship of pornography and limits
> to the kind of material that students can be made to study. For example,
> the recent rise in calls for "trigger warnings" and the provision of a
> "safe space" for education.
>
> In any case, I would be very interested he hear how the discussion goes
> and whether these questions are addressed in the panel. Wish I could be
> there!
>
> Michael
>
> Michael Raine, Film Studies
> Western University, Canada
>
>
> On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <amnornes at umich.edu> wrote:
>
> I wish you all could come. At least you'll know what's up. This will
> eventually be a book, it seems.
>
> Markus
>
> =================================================
>
> End of "Cool" Japan Workshop
>
>
> A one-day workshop hosted by the Center for Japanese Studies and the
> Department of Screen Arts & Cultures at the University of Michigan
>
> Organizers: Mark McLelland and Markus Nornes
>
> Saturday 5 April 2014
>
> Program
>
> 9.30 Welcome
> Markus Nornes
>
> 9.45-10.30 Opening Address
> Mark McLelland
>
> 10.30-10:45 Coffee
>
> 10.45-12.00 Panel One: Negotiating Student Expectations
> Alisa Freedman
> Laura Miller
>
> 12.00-1.00 Lunch
>
> 1.00-3.00 Panel Two: Sex and Violence In and Beyond the Classroom
> Sabine Fruhstuck
> Kirsten Cather
> Patrick Galbraith
>
> 3.00-3.15 Coffee
>
> 3.15-4.00 Future Directions: "The End of Cool Japan?" Roundtable Discussion
> ____________________________________________________
>
> About the Event
>
> This workshop addresses some pressing concerns for all those with an
> investment in teaching and learning about Japan via its popular culture. It
> brings together Japan specialists, both educators and researchers, in order
> to identify key challenges in research and pedagogy and to develop a
> framework for a code of ethics that can serve as a guideline for Japan
> Studies professionals.
>
> Since the early 2000s, interest in "cool Japan," particularly young
> people's engagement with animation, comics and gaming (ACG), has been the
> driving factor in recruitment to undergraduate Japanese language and
> studies courses. Tertiary institutions and the Japanese foreign office
> alike have sought to capitalize on this interest to boost enrolments in
> Japanese courses. Young people's interest in and contact with Japanese
> popular culture now often begins in school and continues into undergraduate
> life. An increasing number of faculty and graduate students are also
> focusing on aspects of Japanese popular culture across a range of
> disciplines including anthropology, screen studies, literary studies,
> cultural studies and sociology. Today's convergent media environment offers
> unprecedented opportunities for sourcing and disseminating previously
> obscure or hard to find pop culture content from Japan. However alongside
> this convenience are heightened ethical and legal concerns surrounding the
> sourcing of content that bypasses national licensing and ratings systems.
>
> Today's students occupy multiple roles as fans, students and "produsers"
> of Japanese cultural content that is available via the Internet. Most
> Japanese pop culture students are young and tech-savvy and are involved in
> some form of online fannish interaction. In addition to mainstream ACG
> titles that have been licensed to overseas companies, translated into
> English, given appropriate ratings and conventionally distributed, students
> access an enormous amount of unofficially translated and transmitted
> Japanese material on the internet. Original Japanese titles are dubbed and
> subtitled into English and other languages by circles of fans and
> distributed via fan sites and peer-to-peer networks. Fans themselves have
> taken on active roles as mediators and distributors and facilitated the
> bottom-up spread of Japanese pop culture across geographical and linguistic
> borders, thus circumventing traditional distribution and ratings systems.
>
> The ease of manipulating digital content in today's "remix culture" has
> also resulted in an equally voluminous amount of fan-generated content
> based on Japanese originals. Known in Japanese as d?jin (coterie) products,
> these "transformative works" that appropriate existing titles and
> characters and develop new story lines are also widely available online and
> popular among student fans who both consume and produce them. Yet, despite
> the fact that "fansubbers" evince a strong desire to support the local
> animation industry by promoting anime culture and widening anime's
> accessibility, given that these circuits of production and redistribution
> are illegal in terms of international copyright law, they have at times
> resulted in the Japanese ACG industries and local licensees taking legal
> action.
>
> In addition to these concerns over copyright, there are problems to do
> with the increased flow of Japanese cultural materials that are treated
> differently by various national ratings systems as well as different
> audiences and interest groups. While many librarians and literacy experts
> have welcomed the upsurge of interest in graphic novels among young
> readers, an alternative narrative points to the "dark side" of Japanese
> popular culture, with its emphasis on adult-themes, violence, sexual
> fetishes and seemingly under-age characters. Recently, the violent and
> sexualized content of some Japanese media, particularly in regard to
> representations of characters who may only "appear to be" minors, has
> caused considerable concern among international agencies such as UNICEF. In
> some countries, notably the US, the UK, Canada, Sweden, and Australia,
> fictional depictions of child characters have been included in the
> definition of "child-abuse publications." Japan itself has been affected by
> this new global scrutiny of pop culture representations as evidenced in
> 2010 by the successful passing of the Tokyo Metropolitan Authority's Bill
> number 156 (the so-called "Non-Existent Youth Bill") placing enhanced sales
> restrictions on ACG deemed "harmful to youth."
>
> The ever expanding scope of this legislation has led to serious charges
> being laid against some manga and anime collectors in the US and elsewhere.
> A very large number of Japanese pop culture students have encountered or
> even actively sought out such material which is ubiquitous in the fandom.
> Furthermore, d?jin works, which might have received a PG rating for their
> official versions, are often "sexed up" in fan creations to an extent that
> they would receive adult-only ratings or be banned altogether in some
> jurisdictions. The fact that young readers can move seamlessly from
> searching out official content on the internet to fandoms circulating these
> niche products is cited as a cause for concern among educators.
>
> Concerns about copyright, ratings and exposure to potentially illegal
> content are serious issues for those teaching and researching Japanese
> popular culture, although to date the literature discussing these issues is
> scant. This workshop brings together leading experts in the study of
> Japanese popular culture who have faced ethical and legal challenges in
> pursuing their own research and in teaching about Japan to undergraduate
> students. Speakers from the US, Australia and Japan address the different
> ways in which their academic practices are challenged by local regulations
> and the difficulties they face when sourcing, researching and teaching
> about pop culture content in an increasingly "deterritorialized" media
> environment.
>
> Topics addressed include:
>
> . Copyright in the classroom: teaching fan appropriations of Japanese
> popular culture.
> . Japanese and American culture industry responses to d?jin culture.
> . The impact of "child-abuse material" legislation on research and
> teaching about manga and anime.
> . Recent trends in ACG censorship and legislation in Japan.
> . Cultural resistance among students to learning about aspects of Japanese
> popular culture.
> . Challenges from ethics committees for researchers into sexualized
> subcultures.
> . The range of gatekeepers who control, censure or mediate access to
> Japanese popular culture
> ____________________________________________________
>
> Presentation Abstracts
>
> 9.45-10.30 Opening Address
>
> Ethical and Legal Issues in Teaching Japanese Popular Culture to
> Undergraduate Students
>
> Mark McLelland
>
> Interest in Japanese popular culture, particularly young people's
> engagement with manga and animation, is widely acknowledged to be a driving
> factor in recruitment to undergraduate Japanese language and studies
> courses at universities around the world. Contemporary students live in a
> convergent media culture where they often occupy multiple roles as fans,
> students and "producers" of Japanese cultural content. Students' easy
> access to and manipulation of Japanese cultural content through sites that
> offer "scanlation" and "fansubbing" services as well as sites that enable
> the production and dissemination of d?jin works raise a number of ethical
> and legal issues, not least infringement of copyright. However equally
> important are issues to do with the transnational consumption and
> production of Japanese cultural materials that are subject to different
> ratings systems and censorship. The sexualised content of some Japanese
> media, particularly in regard to representations of characters who may
> "appear to be" minors, has become the site of increased concern in some
> countries, notably Canada and Australia where fictional depictions of child
> characters have been included in the definition of "child-abuse
> publications". The ever expanding scope of this legislation has led to the
> recent arrest and prosecution of manga and anime fans in both these
> countries and in the US. In this presentation I ask what role, if any, do
> we as educators have in alerting students to the problematic nature of
> studying, consuming, producing and disseminating images of a sexualized
> nature? How do we negotiate students' interest in potentially problematic
> Japanese genres such as BL, hentai and rori in the classroom? How do we
> support students who wish to pursue their interest in these genres,
> balancing the need for academic freedom against requirements to live by the
> ethical and legal frameworks set by local authorities?
>
> Mark McLelland is Professor of Gender and Sexuality Studies at the
> University of Wollongong and author or editor of seven books focusing on
> issues to do with the history of sexuality, popular culture and new media
> in Japan, most recently, Love, Sex and Democracy in Japan during the
> American Occupation, New York: Palgrave Macmillan, 2012
>
>
> 10.45-12.00 Panel One: Negotiating Student Expectations
>
> Student Sensibilities and Gatekeeper Protests: Teaching and Presenting
> Research on Unwelcome Japan Studies Topics
>
> Laura Miller
>
> Increasingly, many of us with academic specializations in Japan Studies
> are pressured to include popular culture in our teaching menus in order to
> entice the growing ranks of animation, comics and gaming (ACG) fans.
> However, many students take our courses because they fulfil a diversity or
> multicultural requirement. For these students, course material might be met
> with responses ranging from disdain to active protest. In the state of
> Missouri, a newly passed state amendment gives students the power to reject
> any part of their academic assignments (including reading assignments) that
> contradict or offend their religious beliefs. How do we negotiate protests
> from students who object to aspects of our course content? Similarly,
> although academic institutions, local Japanese societies, and community
> groups claim they want more AEG as part of their programming, what they
> envision is Miyazaki Hayao and Hello Kitty rather than Mizuno Junko or Mat?
> Sanami, and kimono dress-up rather than maid caf? enactments. This
> presentation will focus on types of cultural resistance from those around
> us (students, community members, and colleagues). What happens when our
> students object to the sexual, religious or violent content found in our
> lectures and research? How do we respond to colleagues, native Japanese
> observers, and other gatekeepers who protest that our material or
> programming on contemporary Japan is presenting a negative or tainted image
> of the nation and its people? How do we deal with attempts to censure or
> control the nature of our research programming and presentations on Japan?
>
> Laura Miller is Ei'ichi Shibusawa-Seigo Arai Endowed Professor of Japanese
> Studies and Professor of Anthropology at the University of Missouri-St.
> Louis. She has published widely on Japanese culture and language, including
> topics such as English loanwords in Japanese, the beauty industry, girls'
> slang, self-photography, and divination. She teaches courses on Japan and
> linguistic anthropology and works to promote Japan Studies through a
> variety of campus and community programming.
>
>
> Death Note and Crimes in the Classroom: Issues in Teaching Japanese
> Popular Culture to the Ne(x)t Generation
>
> Alisa Freedman
>
> My talk explores moral, ethical, and cultural issues of teaching and
> researching Japanese popular culture and the fandoms it inspires through
> the trans-medial example of Death Note (Desu n?to). Death Note - manga
> series written by Ohba Tsugumi and Obata Takeshi (2003-2006), television
> anime (2006-2007), three films (2006, 2008), light novels (2006, 2009), and
> videogames (2007, 2008), all commercially available in several languages -
> is the story of bored male student who kills criminals with an old notebook
> dropped by a death god and the characters who pursue him. Death Note has
> attracted fans worldwide because of its genre-bending narrative,
> multifaceted beautiful boy (bish?nen) characters, commentary on justice and
> surveillance, and advocacy of the power of youth, among other reasons. Yet
> Death Note has been cited as a source of real-life crimes, implicating it
> in debates about the morality of manga. Importantly, the global popularity
> of Death Note has been thanks to fans, who have extended its meanings and
> turned it into more than a niche fad. Death Note was marketed at a time
> when Internet developments were making manga and anime more immediately
> accessible. Death Note fan appropriations represent primary ways fans have
> used digital media to personalize popular culture, including fanfiction,
> slash, scanlations, and fansubs. I argue that Death Note is an instructive
> text to make students aware of how they have collaborated in the global
> domination of Japanese popular culture and how they have challenged
> copyrights and other laws governing the dissemination of texts.
>
> Alisa Freedman is an Associate Professor of Japanese Literature and Film
> at the University of Oregon. Her current research explores issues
> concerning globalization, gender, and urbanization in twentieth and
> twenty-first-century Japanese literature and popular culture. Her major
> publications include Tokyo in Transit: Japanese Culture on the Rails and
> Road (Stanford University Press, 2010), an annotated translation of
> Kawabata Yasunari's The Scarlet Gang of Asakusa (University of California
> Press, 2005), and a co-edited volume on Modern Girls on the Go: Gender,
> Mobility, and Labor in Japan (Stanford University Press, 2013). She has
> authored articles on Japanese modernism, urban studies, youth culture,
> media discourses about gender norms, television history, humor as social
> critique, and intersections of literature and digital media, along with
> translations of Japanese novels and short stories.
>
>
> 1.00-3.00 Panel Two: Sex and Violence in and Beyond the Classroom
>
> "Every Picture Tells a Lie:" Teaching the Popular Culture of Sexuality and
> Violence
>
> Sabine Fr?hst?ck
>
> In this paper I would like to briefly describe my use of (visual) popular
> culture materials in two of my undergraduate courses, 'Representations of
> Sexuality in Modern Japan' and 'Violence and the State in Japan.' In each
> course, I have integrated one or more sessions that take up the popular
> cultural treatment of the core topics, sexuality in one case, violence in
> the other. Materials in these sessions range widely from pornographic
> ukiyoe to over-the-top violent Yakuza films. I will also describe and
> speculate about students' responses to such materials.
>
> I propose that the analysis of popular cultural materials in the classroom
> - if done well - can go a long way in accomplishing a number of important
> teaching goals: Such materials allow me to "pick up" the students where
> they are most "at home," namely in current-day popular culture, much of
> which in California is Japanese. Such materials also help to irritate
> students' sensibilities and thus allow me to more effectively convey the
> specific cultural conditions of Japanese (and their own) beliefs and
> attitudes. In addition, they allow me to fully exploit the potential of
> such materials for the purposes of entertainment and humor (After all, some
> representations of both sex and violence, in Japan at least, are supposed
> to be funny!).
>
> Sabine Fr?hst?ck is a professor of Modern Japanese Cultural Studies at the
> University of California, Santa Barbara. She is mostly concerned with the
> history and ethnography of modern Japanese culture and its relations to the
> rest of the world. Her current book project examines the various relations
> between childhood and militarism in the twentieth and twenty-first
> centuries. Fr?hst?ck is the author of Colonizing Sex: Sexology and Social
> Control in Modern Japan (2003) and Uneasy Warriors: Gender, Memory and
> Popular Culture in the Japanese Army (2007). Both monographs were
> translated into Japanese.
>
>
> Trying Obscene Manga in the Courtroom and Classroom:
>
> Ethical and legal issues in teaching Japanese popular culture to
> undergraduate students
>
> Kirsten Cather
>
> In 2002, a half-century after the first of a series of sensational,
> high-profile obscenity trials of literature, film, and photography in Japan
> and after a lull of almost twenty years, a new medium became the target of
> government prosecution: manga. As some feared and others hoped, the
> publisher of the adult erotic manga Honey Room was convicted in a verdict
> that was upheld by the Supreme Court in June 2007. Both inside and outside
> the courtroom, lawyers, witnesses, judges, and a wide array of commentators
> from legal and cultural spheres offered their competing arguments about the
> appropriateness (or lack thereof) of the manga. This unprecedented trial
> paved the way for the increased regulation of pop culture media, including
> a subsequent conviction of another ero-manga publisher by the lower courts
> in the fall of 2013. What can we learn by studying such judicial
> proceedings? They suggest the high stakes of policing Japan's pop cultural
> sphere for authorities today and offer a window into Japan's contemporary
> legal and cultural standards of censorship. Might these trials also help us
> navigate the potentially murky ethical and legal terrain of handling these
> "obscene" materials in our lives as researchers, teachers, students, or
> readers? By dissecting the rationale behind the externally-imposed
> standards of a censorship regime, we can probe our own deeply held, yet
> oft-unexamined standards about what we feel is acceptable to create, teach,
> learn, and consume and what we designate as beyond the pale. In other
> words, the solution may be to "try" an obscene manga in the classroom that
> has been tried in the courtroom.
>
> Kirsten Cather is an Associate Professor in the Department of Asian
> "Studies at the University of Texas, Austin. Her interests include Japanese
> literature and film; censorship; fictional and non-fictional
> representations of suicide; literary and filmic adaptations. She is author
> of The Art of Censorship in Postwar Japan, University of Hawaii Press
> (2o12).
>
>
> Is There Room for Lolicon in Cool Japan?
>
> Patrick Galbraith
>
> This paper considers possible limitations in Japan Studies through the
> case of lolicon, or desire for girl characters from manga and anime.
> Looking back at the so-called "lolicon boom" in Japan in the early 1980s,
> it is apparent that one cannot discuss otaku, or manga and anime fandom,
> without addressing lolicon in some way. Indeed, lolicon has been the
> subject of academic inquiry for over two decades in Japan. Despite this,
> the study of lolicon has been severely retarded in the United States by its
> conflation with "virtual child pornography." Conservative backlash leads to
> the suspension of lolicon manga localization; private individuals face
> potential jail time for importing it. Further, even critical writing on
> lolicon is stifled because of the fear of inciting a "moral firestorm."
> This inability to discuss lolicon, or posses or show images of the works so
> categorized, leads to serious misperceptions about manga, history and fan
> culture in Japan. Academic inquiry, which should rise above the concerns of
> popularity, is similarly limited. Much of the funding for the study of
> Japan comes from the Japanese government, whichis still deeply invested in
> the Cool Japan project and wary of topics such as lolicon. Further,
> relevant materials are not archived in the Diet Library, and private
> collectors risk imprisonment. The paper asks if there is room in Cool Japan
> for lolicon, or, to put it another way, is there room in the study of
> popular culture for unpopular topics? What are the ethical implications of
> such a study?
>
> Patrick W. Galbraith received his first Ph.D. in Information Studies from
> the University of Tokyo, and is currently pursuing a second Ph.D. in
> Cultural Anthropology at Duke University. He is the author of The Otaku
> Encyclopedia: An Insider's Guide to the Subculture of Cool Japan (Kodansha
> International, 2009), Tokyo Realtime: Akihabara (White Rabbit Press, 2010),
> Otaku Spaces (Chin Music Press, 2012) and The Moe Manifesto: An Insider's
> Look at the Worlds of Manga, Anime and Gaming (Tuttle, forthcoming), and
> the co-editor of Idols and Celebrity in Japanese Media Culture (Palgrave,
> 2012). <patrick.galbraith at duke.edu>
>
> _______________________________________________
> 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
>
>
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From robbuscher at hotmail.com  Fri Apr  4 17:11:22 2014
From: robbuscher at hotmail.com (Rob Buscher)
Date: Fri, 4 Apr 2014 17:11:22 -0400
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>,
	<CAH_CNbdf9o1M-yHDgZhgmD4AaHwweLf7oS+=ExQc+KGsG8Hpqw@mail.gmail.com>
Message-ID: <BLU179-W1065E01C3C8154E737DC0FC86F0@phx.gbl>

I'm glad you brought this up Michael - I was also quite interested by the force with which the Japanese academic responded to the panel at AAS. I was rather surprised by the panel myself, since the title "End of 'Cool' Japan" had very little to do with the overall theme of the panel, in my opinion at least. 
For those of you who were not at AAS, this panel dealt primarily with the legal issues surrounding the use of sexually risque materials in class such as the study of BL or lolicon manga. Straying from cinema, although we do have similar issues of navigating appropriateness in the study of Pinku Eiga. 
The difference in my mind is that while there are several Japanese academics who are involved in the scholarly study of Pinku Eiga, I am unfamiliar with any such work being conducted in Japanese on the manga that this panel addressed. I wouldn't say that I agree with the criticism of the academic at AAS, but it certainly raises some questions about what influences non-Japanese to take interest in such topics. I would be curious to hear input from other folks on the list. 
Best,Rob 
Rob BuscherProgramming DirectorPhiladelphia Asian American Film Festivalwww.paaff.org


Date: Fri, 4 Apr 2014 15:52:51 -0500
From: raine.michael.j at gmail.com
To: kinejapan at lists.service.ohio-state.edu
Subject: Re: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor

I thought this panel was one of the most interesting at AAS last weekend. I enjoyed the presentations but I was also struck by the forceful objection by an audience member. If I understand it correctly, she was not happy that a panel of non-Japanese was choosing deliberately "outre" material to show in a university classroom setting. I'm not sure if the objection was more cultural (there is better work to study) or nationalist (foreigners shouldn't be exposing the underside of Japan).


Also, I think the panel tended to characterize the restrictions on content as stemming from a "conservative backlash," right-wing and drawing on the power of the State. I certainly agree that there is such a thing and, teaching in Canada, I've experienced it first-hand. However, I'm not sure that objections to the kind of material under discussion come only from the Right: in Canada the law against non-photographic pornography depends on a "harms discourse" that is often used by progressives. In general, there are many voices on "the Left" calling for censorship of pornography and limits to the kind of material that students can be made to study. For example, the recent rise in calls for "trigger warnings" and the provision of a "safe space" for education. 


In any case, I would be very interested he hear how the discussion goes and whether these questions are addressed in the panel. Wish I could be there!

Michael

Michael Raine, Film Studies
Western University, Canada



On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <amnornes at umich.edu> wrote:

I wish you all could come. At least you'll know what's up. This will eventually be a book, it seems.


Markus


=================================================




End of "Cool" Japan Workshop








A one-day workshop hosted by the Center for Japanese Studies and the Department of Screen Arts & Cultures at the University of Michigan

Organizers: Mark McLelland and Markus Nornes

Saturday 5 April 2014



Program

9.30 Welcome
Markus Nornes

9.45-10.30 Opening Address
Mark McLelland

10.30-10:45 Coffee

10.45-12.00 Panel One: Negotiating Student Expectations
Alisa Freedman
Laura Miller



12.00-1.00 Lunch

1.00-3.00 Panel Two: Sex and Violence In and Beyond the Classroom
Sabine Fruhstuck
Kirsten Cather
Patrick Galbraith

3.00-3.15 Coffee

3.15-4.00 Future Directions: "The End of Cool Japan?" Roundtable Discussion


____________________________________________________

About the Event

This workshop addresses some pressing concerns for all those with an investment in teaching and learning about Japan via its popular culture. It brings together Japan specialists, both educators and researchers, in order to identify key challenges in research and pedagogy and to develop a framework for a code of ethics that can serve as a guideline for Japan Studies professionals.



Since the early 2000s, interest in "cool Japan," particularly young people's engagement with animation, comics and gaming (ACG), has been the driving factor in recruitment to undergraduate Japanese language and studies courses. Tertiary institutions and the Japanese foreign office alike have sought to capitalize on this interest to boost enrolments in Japanese courses. Young people's interest in and contact with Japanese popular culture now often begins in school and continues into undergraduate life. An increasing number of faculty and graduate students are also focusing on aspects of Japanese popular culture across a range of disciplines including anthropology, screen studies, literary studies, cultural studies and sociology. Today's convergent media environment offers unprecedented opportunities for sourcing and disseminating previously obscure or hard to find pop culture content from Japan. However alongside this convenience are heightened ethical and legal concerns surrounding the sourcing of content that bypasses national licensing and ratings systems.



Today's students occupy multiple roles as fans, students and "produsers" of Japanese cultural content that is available via the Internet. Most Japanese pop culture students are young and tech-savvy and are involved in some form of online fannish interaction. In addition to mainstream ACG titles that have been licensed to overseas companies, translated into English, given appropriate ratings and conventionally distributed, students access an enormous amount of unofficially translated and transmitted Japanese material on the internet. Original Japanese titles are dubbed and subtitled into English and other languages by circles of fans and distributed via fan sites and peer-to-peer networks. Fans themselves have taken on active roles as mediators and distributors and facilitated the bottom-up spread of Japanese pop culture across geographical and linguistic borders, thus circumventing traditional distribution and ratings systems.



The ease of manipulating digital content in today's "remix culture" has also resulted in an equally voluminous amount of fan-generated content based on Japanese originals. Known in Japanese as d?jin (coterie) products, these "transformative works" that appropriate existing titles and characters and develop new story lines are also widely available online and popular among student fans who both consume and produce them. Yet, despite the fact that "fansubbers" evince a strong desire to support the local animation industry by promoting anime culture and widening anime's accessibility, given that these circuits of production and redistribution are illegal in terms of international copyright law, they have at times resulted in the Japanese ACG industries and local licensees taking legal action.



In addition to these concerns over copyright, there are problems to do with the increased flow of Japanese cultural materials that are treated differently by various national ratings systems as well as different audiences and interest groups. While many librarians and literacy experts have welcomed the upsurge of interest in graphic novels among young readers, an alternative narrative points to the "dark side" of Japanese popular culture, with its emphasis on adult-themes, violence, sexual fetishes and seemingly under-age characters. Recently, the violent and sexualized content of some Japanese media, particularly in regard to representations of characters who may only "appear to be" minors, has caused considerable concern among international agencies such as UNICEF. In some countries, notably the US, the UK, Canada, Sweden, and Australia, fictional depictions of child characters have been included in the definition of "child-abuse publications." Japan itself has been affected by this new global scrutiny of pop culture representations as evidenced in 2010 by the successful passing of the Tokyo Metropolitan Authority's Bill number 156 (the so-called "Non-Existent Youth Bill") placing enhanced sales restrictions on ACG deemed "harmful to youth."



The ever expanding scope of this legislation has led to serious charges being laid against some manga and anime collectors in the US and elsewhere. A very large number of Japanese pop culture students have encountered or even actively sought out such material which is ubiquitous in the fandom. Furthermore, d?jin works, which might have received a PG rating for their official versions, are often "sexed up" in fan creations to an extent that they would receive adult-only ratings or be banned altogether in some jurisdictions. The fact that young readers can move seamlessly from searching out official content on the internet to fandoms circulating these niche products is cited as a cause for concern among educators.



Concerns about copyright, ratings and exposure to potentially illegal content are serious issues for those teaching and researching Japanese popular culture, although to date the literature discussing these issues is scant. This workshop brings together leading experts in the study of Japanese popular culture who have faced ethical and legal challenges in pursuing their own research and in teaching about Japan to undergraduate students. Speakers from the US, Australia and Japan address the different ways in which their academic practices are challenged by local regulations and the difficulties they face when sourcing, researching and teaching about pop culture content in an increasingly "deterritorialized" media environment.



Topics addressed include:

. Copyright in the classroom: teaching fan appropriations of Japanese popular culture.
. Japanese and American culture industry responses to d?jin culture.
. The impact of "child-abuse material" legislation on research and teaching about manga and anime.


. Recent trends in ACG censorship and legislation in Japan.
. Cultural resistance among students to learning about aspects of Japanese popular culture.
. Challenges from ethics committees for researchers into sexualized subcultures.


. The range of gatekeepers who control, censure or mediate access to Japanese popular culture
____________________________________________________

Presentation Abstracts



9.45-10.30 Opening Address

Ethical and Legal Issues in Teaching Japanese Popular Culture to Undergraduate Students

Mark McLelland

Interest in Japanese popular culture, particularly young people's engagement with manga and animation, is widely acknowledged to be a driving factor in recruitment to undergraduate Japanese language and studies courses at universities around the world. Contemporary students live in a convergent media culture where they often occupy multiple roles as fans, students and "producers" of Japanese cultural content. Students' easy access to and manipulation of Japanese cultural content through sites that offer "scanlation" and "fansubbing" services as well as sites that enable the production and dissemination of d?jin works raise a number of ethical and legal issues, not least infringement of copyright. However equally important are issues to do with the transnational consumption and production of Japanese cultural materials that are subject to different ratings systems and censorship. The sexualised content of some Japanese media, particularly in regard to representations of characters who may "appear to be" minors, has become the site of increased concern in some countries, notably Canada and Australia where fictional depictions of child characters have been included in the definition of "child-abuse publications". The ever expanding scope of this legislation has led to the recent arrest and prosecution of manga and anime fans in both these countries and in the US. In this presentation I ask what role, if any, do we as educators have in alerting students to the problematic nature of studying, consuming, producing and disseminating images of a sexualized nature? How do we negotiate students' interest in potentially problematic Japanese genres such as BL, hentai and rori in the classroom? How do we support students who wish to pursue their interest in these genres, balancing the need for academic freedom against requirements to live by the ethical and legal frameworks set by local authorities?



Mark McLelland is Professor of Gender and Sexuality Studies at the University of Wollongong and author or editor of seven books focusing on issues to do with the history of sexuality, popular culture and new media in Japan, most recently, Love, Sex and Democracy in Japan during the American Occupation, New York: Palgrave Macmillan, 2012




10.45-12.00 Panel One: Negotiating Student Expectations

Student Sensibilities and Gatekeeper Protests: Teaching and Presenting Research on Unwelcome Japan Studies Topics

Laura Miller

Increasingly, many of us with academic specializations in Japan Studies are pressured to include popular culture in our teaching menus in order to entice the growing ranks of animation, comics and gaming (ACG) fans. However, many students take our courses because they fulfil a diversity or multicultural requirement. For these students, course material might be met with responses ranging from disdain to active protest. In the state of Missouri, a newly passed state amendment gives students the power to reject any part of their academic assignments (including reading assignments) that contradict or offend their religious beliefs. How do we negotiate protests from students who object to aspects of our course content? Similarly, although academic institutions, local Japanese societies, and community groups claim they want more AEG as part of their programming, what they envision is Miyazaki Hayao and Hello Kitty rather than Mizuno Junko or Mat? Sanami, and kimono dress-up rather than maid caf? enactments. This presentation will focus on types of cultural resistance from those around us (students, community members, and colleagues). What happens when our students object to the sexual, religious or violent content found in our lectures and research? How do we respond to colleagues, native Japanese observers, and other gatekeepers who protest that our material or programming on contemporary Japan is presenting a negative or tainted image of the nation and its people? How do we deal with attempts to censure or control the nature of our research programming and presentations on Japan?



Laura Miller is Ei'ichi Shibusawa-Seigo Arai Endowed Professor of Japanese Studies and Professor of Anthropology at the University of Missouri-St. Louis. She has published widely on Japanese culture and language, including topics such as English loanwords in Japanese, the beauty industry, girls' slang, self-photography, and divination. She teaches courses on Japan and linguistic anthropology and works to promote Japan Studies through a variety of campus and community programming.




Death Note and Crimes in the Classroom: Issues in Teaching Japanese Popular Culture to the Ne(x)t Generation

Alisa Freedman

My talk explores moral, ethical, and cultural issues of teaching and researching Japanese popular culture and the fandoms it inspires through the trans-medial example of Death Note (Desu n?to). Death Note - manga series written by Ohba Tsugumi and Obata Takeshi (2003-2006), television anime (2006-2007), three films (2006, 2008), light novels (2006, 2009), and videogames (2007, 2008), all commercially available in several languages - is the story of bored male student who kills criminals with an old notebook dropped by a death god and the characters who pursue him. Death Note has attracted fans worldwide because of its genre-bending narrative, multifaceted beautiful boy (bish?nen) characters, commentary on justice and surveillance, and advocacy of the power of youth, among other reasons. Yet Death Note has been cited as a source of real-life crimes, implicating it in debates about the morality of manga. Importantly, the global popularity of Death Note has been thanks to fans, who have extended its meanings and turned it into more than a niche fad. Death Note was marketed at a time when Internet developments were making manga and anime more immediately accessible. Death Note fan appropriations represent primary ways fans have used digital media to personalize popular culture, including fanfiction, slash, scanlations, and fansubs. I argue that Death Note is an instructive text to make students aware of how they have collaborated in the global domination of Japanese popular culture and how they have challenged copyrights and other laws governing the dissemination of texts.



Alisa Freedman is an Associate Professor of Japanese Literature and Film at the University of Oregon. Her current research explores issues concerning globalization, gender, and urbanization in twentieth and twenty-first-century Japanese literature and popular culture. Her major publications include Tokyo in Transit: Japanese Culture on the Rails and Road (Stanford University Press, 2010), an annotated translation of Kawabata Yasunari's The Scarlet Gang of Asakusa (University of California Press, 2005), and a co-edited volume on Modern Girls on the Go: Gender, Mobility, and Labor in Japan (Stanford University Press, 2013). She has authored articles on Japanese modernism, urban studies, youth culture, media discourses about gender norms, television history, humor as social critique, and intersections of literature and digital media, along with translations of Japanese novels and short stories.




1.00-3.00 Panel Two: Sex and Violence in and Beyond the Classroom

"Every Picture Tells a Lie:" Teaching the Popular Culture of Sexuality and Violence

Sabine Fr?hst?ck

In this paper I would like to briefly describe my use of (visual) popular culture materials in two of my undergraduate courses, 'Representations of Sexuality in Modern Japan' and 'Violence and the State in Japan.' In each course, I have integrated one or more sessions that take up the popular cultural treatment of the core topics, sexuality in one case, violence in the other. Materials in these sessions range widely from pornographic ukiyoe to over-the-top violent Yakuza films. I will also describe and speculate about students' responses to such materials.



I propose that the analysis of popular cultural materials in the classroom - if done well - can go a long way in accomplishing a number of important teaching goals: Such materials allow me to "pick up" the students where they are most "at home," namely in current-day popular culture, much of which in California is Japanese. Such materials also help to irritate students' sensibilities and thus allow me to more effectively convey the specific cultural conditions of Japanese (and their own) beliefs and attitudes. In addition, they allow me to fully exploit the potential of such materials for the purposes of entertainment and humor (After all, some representations of both sex and violence, in Japan at least, are supposed to be funny!).



Sabine Fr?hst?ck is a professor of Modern Japanese Cultural Studies at the University of California, Santa Barbara. She is mostly concerned with the history and ethnography of modern Japanese culture and its relations to the rest of the world. Her current book project examines the various relations between childhood and militarism in the twentieth and twenty-first centuries. Fr?hst?ck is the author of Colonizing Sex: Sexology and Social Control in Modern Japan (2003) and Uneasy Warriors: Gender, Memory and Popular Culture in the Japanese Army (2007). Both monographs were translated into Japanese.




Trying Obscene Manga in the Courtroom and Classroom:

Ethical and legal issues in teaching Japanese popular culture to undergraduate students

Kirsten Cather

In 2002, a half-century after the first of a series of sensational, high-profile obscenity trials of literature, film, and photography in Japan and after a lull of almost twenty years, a new medium became the target of government prosecution: manga. As some feared and others hoped, the publisher of the adult erotic manga Honey Room was convicted in a verdict that was upheld by the Supreme Court in June 2007. Both inside and outside the courtroom, lawyers, witnesses, judges, and a wide array of commentators from legal and cultural spheres offered their competing arguments about the appropriateness (or lack thereof) of the manga. This unprecedented trial paved the way for the increased regulation of pop culture media, including a subsequent conviction of another ero-manga publisher by the lower courts in the fall of 2013. What can we learn by studying such judicial proceedings? They suggest the high stakes of policing Japan's pop cultural sphere for authorities today and offer a window into Japan's contemporary legal and cultural standards of censorship. Might these trials also help us navigate the potentially murky ethical and legal terrain of handling these "obscene" materials in our lives as researchers, teachers, students, or readers? By dissecting the rationale behind the externally-imposed standards of a censorship regime, we can probe our own deeply held, yet oft-unexamined standards about what we feel is acceptable to create, teach, learn, and consume and what we designate as beyond the pale. In other words, the solution may be to "try" an obscene manga in the classroom that has been tried in the courtroom.



Kirsten Cather is an Associate Professor in the Department of Asian "Studies at the University of Texas, Austin. Her interests include Japanese literature and film; censorship; fictional and non-fictional representations of suicide; literary and filmic adaptations. She is author of The Art of Censorship in Postwar Japan, University of Hawaii Press (2o12).




Is There Room for Lolicon in Cool Japan?

Patrick Galbraith

This paper considers possible limitations in Japan Studies through the case of lolicon, or desire for girl characters from manga and anime. Looking back at the so-called "lolicon boom" in Japan in the early 1980s, it is apparent that one cannot discuss otaku, or manga and anime fandom, without addressing lolicon in some way. Indeed, lolicon has been the subject of academic inquiry for over two decades in Japan. Despite this, the study of lolicon has been severely retarded in the United States by its conflation with "virtual child pornography." Conservative backlash leads to the suspension of lolicon manga localization; private individuals face potential jail time for importing it. Further, even critical writing on lolicon is stifled because of the fear of inciting a "moral firestorm." This inability to discuss lolicon, or posses or show images of the works so categorized, leads to serious misperceptions about manga, history and fan culture in Japan. Academic inquiry, which should rise above the concerns of popularity, is similarly limited. Much of the funding for the study of Japan comes from the Japanese government, whichis still deeply invested in the Cool Japan project and wary of topics such as lolicon. Further, relevant materials are not archived in the Diet Library, and private collectors risk imprisonment. The paper asks if there is room in Cool Japan for lolicon, or, to put it another way, is there room in the study of popular culture for unpopular topics? What are the ethical implications of such a study?



Patrick W. Galbraith received his first Ph.D. in Information Studies from the University of Tokyo, and is currently pursuing a second Ph.D. in Cultural Anthropology at Duke University. He is the author of The Otaku Encyclopedia: An Insider's Guide to the Subculture of Cool Japan (Kodansha International, 2009), Tokyo Realtime: Akihabara (White Rabbit Press, 2010), Otaku Spaces (Chin Music Press, 2012) and The Moe Manifesto: An Insider's Look at the Worlds of Manga, Anime and Gaming (Tuttle, forthcoming), and the co-editor of Idols and Celebrity in Japanese Media Culture (Palgrave, 2012). <patrick.galbraith at duke.edu>


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From raine.michael.j at gmail.com  Fri Apr  4 16:52:51 2014
From: raine.michael.j at gmail.com (Michael Raine)
Date: Fri, 4 Apr 2014 15:52:51 -0500
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
In-Reply-To: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
References: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>
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I thought this panel was one of the most interesting at AAS last weekend. I
enjoyed the presentations but I was also struck by the forceful objection
by an audience member. If I understand it correctly, she was not happy that
a panel of non-Japanese was choosing deliberately "outre" material to show
in a university classroom setting. I'm not sure if the objection was more
cultural (there is better work to study) or nationalist (foreigners
shouldn't be exposing the underside of Japan).

Also, I think the panel tended to characterize the restrictions on content
as stemming from a "conservative backlash," right-wing and drawing on the
power of the State. I certainly agree that there is such a thing and,
teaching in Canada, I've experienced it first-hand. However, I'm not sure
that objections to the kind of material under discussion come only from the
Right: in Canada the law against non-photographic pornography depends on a
"harms discourse" that is often used by progressives. In general, there are
many voices on "the Left" calling for censorship of pornography and limits
to the kind of material that students can be made to study. For example,
the recent rise in calls for "trigger warnings" and the provision of a
"safe space" for education.

In any case, I would be very interested he hear how the discussion goes and
whether these questions are addressed in the panel. Wish I could be there!

Michael

Michael Raine, Film Studies
Western University, Canada


On Fri, Apr 4, 2014 at 2:58 PM, Markus Nornes <amnornes at umich.edu> wrote:

> I wish you all could come. At least you'll know what's up. This will
> eventually be a book, it seems.
>
> Markus
>
> =================================================
>
> End of "Cool" Japan Workshop
>
>
> A one-day workshop hosted by the Center for Japanese Studies and the
> Department of Screen Arts & Cultures at the University of Michigan
>
> Organizers: Mark McLelland and Markus Nornes
>
> Saturday 5 April 2014
>
> Program
>
> 9.30 Welcome
> Markus Nornes
>
> 9.45-10.30 Opening Address
> Mark McLelland
>
> 10.30-10:45 Coffee
>
> 10.45-12.00 Panel One: Negotiating Student Expectations
> Alisa Freedman
> Laura Miller
>
> 12.00-1.00 Lunch
>
> 1.00-3.00 Panel Two: Sex and Violence In and Beyond the Classroom
> Sabine Fruhstuck
> Kirsten Cather
> Patrick Galbraith
>
> 3.00-3.15 Coffee
>
> 3.15-4.00 Future Directions: ?The End of Cool Japan?? Roundtable Discussion
> ____________________________________________________
>
> About the Event
>
> This workshop addresses some pressing concerns for all those with an
> investment in teaching and learning about Japan via its popular culture. It
> brings together Japan specialists, both educators and researchers, in order
> to identify key challenges in research and pedagogy and to develop a
> framework for a code of ethics that can serve as a guideline for Japan
> Studies professionals.
>
> Since the early 2000s, interest in ?cool Japan,? particularly young
> people?s engagement with animation, comics and gaming (ACG), has been the
> driving factor in recruitment to undergraduate Japanese language and
> studies courses. Tertiary institutions and the Japanese foreign office
> alike have sought to capitalize on this interest to boost enrolments in
> Japanese courses. Young people?s interest in and contact with Japanese
> popular culture now often begins in school and continues into undergraduate
> life. An increasing number of faculty and graduate students are also
> focusing on aspects of Japanese popular culture across a range of
> disciplines including anthropology, screen studies, literary studies,
> cultural studies and sociology. Today?s convergent media environment offers
> unprecedented opportunities for sourcing and disseminating previously
> obscure or hard to find pop culture content from Japan. However alongside
> this convenience are heightened ethical and legal concerns surrounding the
> sourcing of content that bypasses national licensing and ratings systems.
>
> Today?s students occupy multiple roles as fans, students and ?produsers?
> of Japanese cultural content that is available via the Internet. Most
> Japanese pop culture students are young and tech-savvy and are involved in
> some form of online fannish interaction. In addition to mainstream ACG
> titles that have been licensed to overseas companies, translated into
> English, given appropriate ratings and conventionally distributed, students
> access an enormous amount of unofficially translated and transmitted
> Japanese material on the internet. Original Japanese titles are dubbed and
> subtitled into English and other languages by circles of fans and
> distributed via fan sites and peer-to-peer networks. Fans themselves have
> taken on active roles as mediators and distributors and facilitated the
> bottom-up spread of Japanese pop culture across geographical and linguistic
> borders, thus circumventing traditional distribution and ratings systems.
>
> The ease of manipulating digital content in today?s ?remix culture? has
> also resulted in an equally voluminous amount of fan-generated content
> based on Japanese originals. Known in Japanese as d?jin (coterie) products,
> these ?transformative works? that appropriate existing titles and
> characters and develop new story lines are also widely available online and
> popular among student fans who both consume and produce them. Yet, despite
> the fact that ?fansubbers? evince a strong desire to support the local
> animation industry by promoting anime culture and widening anime?s
> accessibility, given that these circuits of production and redistribution
> are illegal in terms of international copyright law, they have at times
> resulted in the Japanese ACG industries and local licensees taking legal
> action.
>
> In addition to these concerns over copyright, there are problems to do
> with the increased flow of Japanese cultural materials that are treated
> differently by various national ratings systems as well as different
> audiences and interest groups. While many librarians and literacy experts
> have welcomed the upsurge of interest in graphic novels among young
> readers, an alternative narrative points to the ?dark side? of Japanese
> popular culture, with its emphasis on adult-themes, violence, sexual
> fetishes and seemingly under-age characters. Recently, the violent and
> sexualized content of some Japanese media, particularly in regard to
> representations of characters who may only ?appear to be? minors, has
> caused considerable concern among international agencies such as UNICEF. In
> some countries, notably the US, the UK, Canada, Sweden, and Australia,
> fictional depictions of child characters have been included in the
> definition of ?child-abuse publications.? Japan itself has been affected by
> this new global scrutiny of pop culture representations as evidenced in
> 2010 by the successful passing of the Tokyo Metropolitan Authority?s Bill
> number 156 (the so-called ?Non-Existent Youth Bill?) placing enhanced sales
> restrictions on ACG deemed ?harmful to youth.?
>
> The ever expanding scope of this legislation has led to serious charges
> being laid against some manga and anime collectors in the US and elsewhere.
> A very large number of Japanese pop culture students have encountered or
> even actively sought out such material which is ubiquitous in the fandom.
> Furthermore, d?jin works, which might have received a PG rating for their
> official versions, are often ?sexed up? in fan creations to an extent that
> they would receive adult-only ratings or be banned altogether in some
> jurisdictions. The fact that young readers can move seamlessly from
> searching out official content on the internet to fandoms circulating these
> niche products is cited as a cause for concern among educators.
>
> Concerns about copyright, ratings and exposure to potentially illegal
> content are serious issues for those teaching and researching Japanese
> popular culture, although to date the literature discussing these issues is
> scant. This workshop brings together leading experts in the study of
> Japanese popular culture who have faced ethical and legal challenges in
> pursuing their own research and in teaching about Japan to undergraduate
> students. Speakers from the US, Australia and Japan address the different
> ways in which their academic practices are challenged by local regulations
> and the difficulties they face when sourcing, researching and teaching
> about pop culture content in an increasingly ?deterritorialized? media
> environment.
>
> Topics addressed include:
>
> ? Copyright in the classroom: teaching fan appropriations of Japanese
> popular culture.
> ? Japanese and American culture industry responses to d?jin culture.
> ? The impact of ?child-abuse material? legislation on research and
> teaching about manga and anime.
> ? Recent trends in ACG censorship and legislation in Japan.
> ? Cultural resistance among students to learning about aspects of Japanese
> popular culture.
> ? Challenges from ethics committees for researchers into sexualized
> subcultures.
> ? The range of gatekeepers who control, censure or mediate access to
> Japanese popular culture
> ____________________________________________________
>
> Presentation Abstracts
>
> 9.45-10.30 Opening Address
>
> Ethical and Legal Issues in Teaching Japanese Popular Culture to
> Undergraduate Students
>
> Mark McLelland
>
> Interest in Japanese popular culture, particularly young people?s
> engagement with manga and animation, is widely acknowledged to be a driving
> factor in recruitment to undergraduate Japanese language and studies
> courses at universities around the world. Contemporary students live in a
> convergent media culture where they often occupy multiple roles as fans,
> students and "producers" of Japanese cultural content. Students? easy
> access to and manipulation of Japanese cultural content through sites that
> offer "scanlation" and "fansubbing" services as well as sites that enable
> the production and dissemination of d?jin works raise a number of ethical
> and legal issues, not least infringement of copyright. However equally
> important are issues to do with the transnational consumption and
> production of Japanese cultural materials that are subject to different
> ratings systems and censorship. The sexualised content of some Japanese
> media, particularly in regard to representations of characters who may
> "appear to be" minors, has become the site of increased concern in some
> countries, notably Canada and Australia where fictional depictions of child
> characters have been included in the definition of "child-abuse
> publications". The ever expanding scope of this legislation has led to the
> recent arrest and prosecution of manga and anime fans in both these
> countries and in the US. In this presentation I ask what role, if any, do
> we as educators have in alerting students to the problematic nature of
> studying, consuming, producing and disseminating images of a sexualized
> nature? How do we negotiate students? interest in potentially problematic
> Japanese genres such as BL, hentai and rori in the classroom? How do we
> support students who wish to pursue their interest in these genres,
> balancing the need for academic freedom against requirements to live by the
> ethical and legal frameworks set by local authorities?
>
> Mark McLelland is Professor of Gender and Sexuality Studies at the
> University of Wollongong and author or editor of seven books focusing on
> issues to do with the history of sexuality, popular culture and new media
> in Japan, most recently, Love, Sex and Democracy in Japan during the
> American Occupation, New York: Palgrave Macmillan, 2012
>
>
> 10.45-12.00 Panel One: Negotiating Student Expectations
>
> Student Sensibilities and Gatekeeper Protests: Teaching and Presenting
> Research on Unwelcome Japan Studies Topics
>
> Laura Miller
>
> Increasingly, many of us with academic specializations in Japan Studies
> are pressured to include popular culture in our teaching menus in order to
> entice the growing ranks of animation, comics and gaming (ACG) fans.
> However, many students take our courses because they fulfil a diversity or
> multicultural requirement. For these students, course material might be met
> with responses ranging from disdain to active protest. In the state of
> Missouri, a newly passed state amendment gives students the power to reject
> any part of their academic assignments (including reading assignments) that
> contradict or offend their religious beliefs. How do we negotiate protests
> from students who object to aspects of our course content? Similarly,
> although academic institutions, local Japanese societies, and community
> groups claim they want more AEG as part of their programming, what they
> envision is Miyazaki Hayao and Hello Kitty rather than Mizuno Junko or Mat?
> Sanami, and kimono dress-up rather than maid caf? enactments. This
> presentation will focus on types of cultural resistance from those around
> us (students, community members, and colleagues). What happens when our
> students object to the sexual, religious or violent content found in our
> lectures and research? How do we respond to colleagues, native Japanese
> observers, and other gatekeepers who protest that our material or
> programming on contemporary Japan is presenting a negative or tainted image
> of the nation and its people? How do we deal with attempts to censure or
> control the nature of our research programming and presentations on Japan?
>
> Laura Miller is Ei?ichi Shibusawa-Seigo Arai Endowed Professor of Japanese
> Studies and Professor of Anthropology at the University of Missouri-St.
> Louis. She has published widely on Japanese culture and language, including
> topics such as English loanwords in Japanese, the beauty industry, girls?
> slang, self-photography, and divination. She teaches courses on Japan and
> linguistic anthropology and works to promote Japan Studies through a
> variety of campus and community programming.
>
>
> Death Note and Crimes in the Classroom: Issues in Teaching Japanese
> Popular Culture to the Ne(x)t Generation
>
> Alisa Freedman
>
> My talk explores moral, ethical, and cultural issues of teaching and
> researching Japanese popular culture and the fandoms it inspires through
> the trans-medial example of Death Note (Desu n?to). Death Note ? manga
> series written by Ohba Tsugumi and Obata Takeshi (2003-2006), television
> anime (2006-2007), three films (2006, 2008), light novels (2006, 2009), and
> videogames (2007, 2008), all commercially available in several languages ?
> is the story of bored male student who kills criminals with an old notebook
> dropped by a death god and the characters who pursue him. Death Note has
> attracted fans worldwide because of its genre-bending narrative,
> multifaceted beautiful boy (bish?nen) characters, commentary on justice and
> surveillance, and advocacy of the power of youth, among other reasons. Yet
> Death Note has been cited as a source of real-life crimes, implicating it
> in debates about the morality of manga. Importantly, the global popularity
> of Death Note has been thanks to fans, who have extended its meanings and
> turned it into more than a niche fad. Death Note was marketed at a time
> when Internet developments were making manga and anime more immediately
> accessible. Death Note fan appropriations represent primary ways fans have
> used digital media to personalize popular culture, including fanfiction,
> slash, scanlations, and fansubs. I argue that Death Note is an instructive
> text to make students aware of how they have collaborated in the global
> domination of Japanese popular culture and how they have challenged
> copyrights and other laws governing the dissemination of texts.
>
> Alisa Freedman is an Associate Professor of Japanese Literature and Film
> at the University of Oregon. Her current research explores issues
> concerning globalization, gender, and urbanization in twentieth and
> twenty-first-century Japanese literature and popular culture. Her major
> publications include Tokyo in Transit: Japanese Culture on the Rails and
> Road (Stanford University Press, 2010), an annotated translation of
> Kawabata Yasunari?s The Scarlet Gang of Asakusa (University of California
> Press, 2005), and a co-edited volume on Modern Girls on the Go: Gender,
> Mobility, and Labor in Japan (Stanford University Press, 2013). She has
> authored articles on Japanese modernism, urban studies, youth culture,
> media discourses about gender norms, television history, humor as social
> critique, and intersections of literature and digital media, along with
> translations of Japanese novels and short stories.
>
>
> 1.00-3.00 Panel Two: Sex and Violence in and Beyond the Classroom
>
> ?Every Picture Tells a Lie:? Teaching the Popular Culture of Sexuality and
> Violence
>
> Sabine Fr?hst?ck
>
> In this paper I would like to briefly describe my use of (visual) popular
> culture materials in two of my undergraduate courses, ?Representations of
> Sexuality in Modern Japan? and ?Violence and the State in Japan.? In each
> course, I have integrated one or more sessions that take up the popular
> cultural treatment of the core topics, sexuality in one case, violence in
> the other. Materials in these sessions range widely from pornographic
> ukiyoe to over-the-top violent Yakuza films. I will also describe and
> speculate about students? responses to such materials.
>
> I propose that the analysis of popular cultural materials in the classroom
> ? if done well ? can go a long way in accomplishing a number of important
> teaching goals: Such materials allow me to ?pick up? the students where
> they are most ?at home,? namely in current-day popular culture, much of
> which in California is Japanese. Such materials also help to irritate
> students? sensibilities and thus allow me to more effectively convey the
> specific cultural conditions of Japanese (and their own) beliefs and
> attitudes. In addition, they allow me to fully exploit the potential of
> such materials for the purposes of entertainment and humor (After all, some
> representations of both sex and violence, in Japan at least, are supposed
> to be funny!).
>
> Sabine Fr?hst?ck is a professor of Modern Japanese Cultural Studies at the
> University of California, Santa Barbara. She is mostly concerned with the
> history and ethnography of modern Japanese culture and its relations to the
> rest of the world. Her current book project examines the various relations
> between childhood and militarism in the twentieth and twenty-first
> centuries. Fr?hst?ck is the author of Colonizing Sex: Sexology and Social
> Control in Modern Japan (2003) and Uneasy Warriors: Gender, Memory and
> Popular Culture in the Japanese Army (2007). Both monographs were
> translated into Japanese.
>
>
> Trying Obscene Manga in the Courtroom and Classroom:
>
> Ethical and legal issues in teaching Japanese popular culture to
> undergraduate students
>
> Kirsten Cather
>
> In 2002, a half-century after the first of a series of sensational,
> high-profile obscenity trials of literature, film, and photography in Japan
> and after a lull of almost twenty years, a new medium became the target of
> government prosecution: manga. As some feared and others hoped, the
> publisher of the adult erotic manga Honey Room was convicted in a verdict
> that was upheld by the Supreme Court in June 2007. Both inside and outside
> the courtroom, lawyers, witnesses, judges, and a wide array of commentators
> from legal and cultural spheres offered their competing arguments about the
> appropriateness (or lack thereof) of the manga. This unprecedented trial
> paved the way for the increased regulation of pop culture media, including
> a subsequent conviction of another ero-manga publisher by the lower courts
> in the fall of 2013. What can we learn by studying such judicial
> proceedings? They suggest the high stakes of policing Japan?s pop cultural
> sphere for authorities today and offer a window into Japan?s contemporary
> legal and cultural standards of censorship. Might these trials also help us
> navigate the potentially murky ethical and legal terrain of handling these
> ?obscene? materials in our lives as researchers, teachers, students, or
> readers? By dissecting the rationale behind the externally-imposed
> standards of a censorship regime, we can probe our own deeply held, yet
> oft-unexamined standards about what we feel is acceptable to create, teach,
> learn, and consume and what we designate as beyond the pale. In other
> words, the solution may be to ?try? an obscene manga in the classroom that
> has been tried in the courtroom.
>
> Kirsten Cather is an Associate Professor in the Department of Asian
> ?Studies at the University of Texas, Austin. Her interests include Japanese
> literature and film; censorship; fictional and non-fictional
> representations of suicide; literary and filmic adaptations. She is author
> of The Art of Censorship in Postwar Japan, University of Hawaii Press
> (2o12).
>
>
> Is There Room for Lolicon in Cool Japan?
>
> Patrick Galbraith
>
> This paper considers possible limitations in Japan Studies through the
> case of lolicon, or desire for girl characters from manga and anime.
> Looking back at the so-called ?lolicon boom? in Japan in the early 1980s,
> it is apparent that one cannot discuss otaku, or manga and anime fandom,
> without addressing lolicon in some way. Indeed, lolicon has been the
> subject of academic inquiry for over two decades in Japan. Despite this,
> the study of lolicon has been severely retarded in the United States by its
> conflation with ?virtual child pornography.? Conservative backlash leads to
> the suspension of lolicon manga localization; private individuals face
> potential jail time for importing it. Further, even critical writing on
> lolicon is stifled because of the fear of inciting a ?moral firestorm.?
> This inability to discuss lolicon, or posses or show images of the works so
> categorized, leads to serious misperceptions about manga, history and fan
> culture in Japan. Academic inquiry, which should rise above the concerns of
> popularity, is similarly limited. Much of the funding for the study of
> Japan comes from the Japanese government, whichis still deeply invested in
> the Cool Japan project and wary of topics such as lolicon. Further,
> relevant materials are not archived in the Diet Library, and private
> collectors risk imprisonment. The paper asks if there is room in Cool Japan
> for lolicon, or, to put it another way, is there room in the study of
> popular culture for unpopular topics? What are the ethical implications of
> such a study?
>
> Patrick W. Galbraith received his first Ph.D. in Information Studies from
> the University of Tokyo, and is currently pursuing a second Ph.D. in
> Cultural Anthropology at Duke University. He is the author of The Otaku
> Encyclopedia: An Insider?s Guide to the Subculture of Cool Japan (Kodansha
> International, 2009), Tokyo Realtime: Akihabara (White Rabbit Press, 2010),
> Otaku Spaces (Chin Music Press, 2012) and The Moe Manifesto: An Insider?s
> Look at the Worlds of Manga, Anime and Gaming (Tuttle, forthcoming), and
> the co-editor of Idols and Celebrity in Japanese Media Culture (Palgrave,
> 2012). <patrick.galbraith at duke.edu>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From amnornes at umich.edu  Fri Apr  4 16:14:32 2014
From: amnornes at umich.edu (Markus Nornes)
Date: Fri, 4 Apr 2014 16:14:32 -0400
Subject: [KineJapan] Hollywood Reporter on women directors in Japan
Message-ID: <CANoSnpAmG6T6ZDidd+Gx=Bvd1gw76a3YRFAvTnTwNFnE7k8s6A@mail.gmail.com>

Not much here, in this article-out-of-nowhere. Yatabe-san's quote is a
little perplexing. Equal opportunity?!

http://www.hollywoodreporter.com/news/japans-female-directors-making-mark-692070

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*
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From amnornes at umich.edu  Fri Apr  4 15:58:53 2014
From: amnornes at umich.edu (Markus Nornes)
Date: Fri, 4 Apr 2014 15:58:53 -0400
Subject: [KineJapan] End of "Cool" Japan Workshop; Ann Arbor
Message-ID: <CANoSnpA5zWFRBfjgOTVHh+ukoBomz49aG=LeycFHCkcEP0ua5Q@mail.gmail.com>

I wish you all could come. At least you'll know what's up. This will
eventually be a book, it seems.

Markus

=================================================

End of "Cool" Japan Workshop


A one-day workshop hosted by the Center for Japanese Studies and the
Department of Screen Arts & Cultures at the University of Michigan

Organizers: Mark McLelland and Markus Nornes

Saturday 5 April 2014

Program

9.30 Welcome
Markus Nornes

9.45-10.30 Opening Address
Mark McLelland

10.30-10:45 Coffee

10.45-12.00 Panel One: Negotiating Student Expectations
Alisa Freedman
Laura Miller

12.00-1.00 Lunch

1.00-3.00 Panel Two: Sex and Violence In and Beyond the Classroom
Sabine Fruhstuck
Kirsten Cather
Patrick Galbraith

3.00-3.15 Coffee

3.15-4.00 Future Directions: ?The End of Cool Japan?? Roundtable Discussion
____________________________________________________

About the Event

This workshop addresses some pressing concerns for all those with an
investment in teaching and learning about Japan via its popular culture. It
brings together Japan specialists, both educators and researchers, in order
to identify key challenges in research and pedagogy and to develop a
framework for a code of ethics that can serve as a guideline for Japan
Studies professionals.

Since the early 2000s, interest in ?cool Japan,? particularly young
people?s engagement with animation, comics and gaming (ACG), has been the
driving factor in recruitment to undergraduate Japanese language and
studies courses. Tertiary institutions and the Japanese foreign office
alike have sought to capitalize on this interest to boost enrolments in
Japanese courses. Young people?s interest in and contact with Japanese
popular culture now often begins in school and continues into undergraduate
life. An increasing number of faculty and graduate students are also
focusing on aspects of Japanese popular culture across a range of
disciplines including anthropology, screen studies, literary studies,
cultural studies and sociology. Today?s convergent media environment offers
unprecedented opportunities for sourcing and disseminating previously
obscure or hard to find pop culture content from Japan. However alongside
this convenience are heightened ethical and legal concerns surrounding the
sourcing of content that bypasses national licensing and ratings systems.

Today?s students occupy multiple roles as fans, students and ?produsers? of
Japanese cultural content that is available via the Internet. Most Japanese
pop culture students are young and tech-savvy and are involved in some form
of online fannish interaction. In addition to mainstream ACG titles that
have been licensed to overseas companies, translated into English, given
appropriate ratings and conventionally distributed, students access an
enormous amount of unofficially translated and transmitted Japanese
material on the internet. Original Japanese titles are dubbed and subtitled
into English and other languages by circles of fans and distributed via fan
sites and peer-to-peer networks. Fans themselves have taken on active roles
as mediators and distributors and facilitated the bottom-up spread of
Japanese pop culture across geographical and linguistic borders, thus
circumventing traditional distribution and ratings systems.

The ease of manipulating digital content in today?s ?remix culture? has
also resulted in an equally voluminous amount of fan-generated content
based on Japanese originals. Known in Japanese as d?jin (coterie) products,
these ?transformative works? that appropriate existing titles and
characters and develop new story lines are also widely available online and
popular among student fans who both consume and produce them. Yet, despite
the fact that ?fansubbers? evince a strong desire to support the local
animation industry by promoting anime culture and widening anime?s
accessibility, given that these circuits of production and redistribution
are illegal in terms of international copyright law, they have at times
resulted in the Japanese ACG industries and local licensees taking legal
action.

In addition to these concerns over copyright, there are problems to do with
the increased flow of Japanese cultural materials that are treated
differently by various national ratings systems as well as different
audiences and interest groups. While many librarians and literacy experts
have welcomed the upsurge of interest in graphic novels among young
readers, an alternative narrative points to the ?dark side? of Japanese
popular culture, with its emphasis on adult-themes, violence, sexual
fetishes and seemingly under-age characters. Recently, the violent and
sexualized content of some Japanese media, particularly in regard to
representations of characters who may only ?appear to be? minors, has
caused considerable concern among international agencies such as UNICEF. In
some countries, notably the US, the UK, Canada, Sweden, and Australia,
fictional depictions of child characters have been included in the
definition of ?child-abuse publications.? Japan itself has been affected by
this new global scrutiny of pop culture representations as evidenced in
2010 by the successful passing of the Tokyo Metropolitan Authority?s Bill
number 156 (the so-called ?Non-Existent Youth Bill?) placing enhanced sales
restrictions on ACG deemed ?harmful to youth.?

The ever expanding scope of this legislation has led to serious charges
being laid against some manga and anime collectors in the US and elsewhere.
A very large number of Japanese pop culture students have encountered or
even actively sought out such material which is ubiquitous in the fandom.
Furthermore, d?jin works, which might have received a PG rating for their
official versions, are often ?sexed up? in fan creations to an extent that
they would receive adult-only ratings or be banned altogether in some
jurisdictions. The fact that young readers can move seamlessly from
searching out official content on the internet to fandoms circulating these
niche products is cited as a cause for concern among educators.

Concerns about copyright, ratings and exposure to potentially illegal
content are serious issues for those teaching and researching Japanese
popular culture, although to date the literature discussing these issues is
scant. This workshop brings together leading experts in the study of
Japanese popular culture who have faced ethical and legal challenges in
pursuing their own research and in teaching about Japan to undergraduate
students. Speakers from the US, Australia and Japan address the different
ways in which their academic practices are challenged by local regulations
and the difficulties they face when sourcing, researching and teaching
about pop culture content in an increasingly ?deterritorialized? media
environment.

Topics addressed include:

? Copyright in the classroom: teaching fan appropriations of Japanese
popular culture.
? Japanese and American culture industry responses to d?jin culture.
? The impact of ?child-abuse material? legislation on research and teaching
about manga and anime.
? Recent trends in ACG censorship and legislation in Japan.
? Cultural resistance among students to learning about aspects of Japanese
popular culture.
? Challenges from ethics committees for researchers into sexualized
subcultures.
? The range of gatekeepers who control, censure or mediate access to
Japanese popular culture
____________________________________________________

Presentation Abstracts

9.45-10.30 Opening Address

Ethical and Legal Issues in Teaching Japanese Popular Culture to
Undergraduate Students

Mark McLelland

Interest in Japanese popular culture, particularly young people?s
engagement with manga and animation, is widely acknowledged to be a driving
factor in recruitment to undergraduate Japanese language and studies
courses at universities around the world. Contemporary students live in a
convergent media culture where they often occupy multiple roles as fans,
students and "producers" of Japanese cultural content. Students? easy
access to and manipulation of Japanese cultural content through sites that
offer "scanlation" and "fansubbing" services as well as sites that enable
the production and dissemination of d?jin works raise a number of ethical
and legal issues, not least infringement of copyright. However equally
important are issues to do with the transnational consumption and
production of Japanese cultural materials that are subject to different
ratings systems and censorship. The sexualised content of some Japanese
media, particularly in regard to representations of characters who may
"appear to be" minors, has become the site of increased concern in some
countries, notably Canada and Australia where fictional depictions of child
characters have been included in the definition of "child-abuse
publications". The ever expanding scope of this legislation has led to the
recent arrest and prosecution of manga and anime fans in both these
countries and in the US. In this presentation I ask what role, if any, do
we as educators have in alerting students to the problematic nature of
studying, consuming, producing and disseminating images of a sexualized
nature? How do we negotiate students? interest in potentially problematic
Japanese genres such as BL, hentai and rori in the classroom? How do we
support students who wish to pursue their interest in these genres,
balancing the need for academic freedom against requirements to live by the
ethical and legal frameworks set by local authorities?

Mark McLelland is Professor of Gender and Sexuality Studies at the
University of Wollongong and author or editor of seven books focusing on
issues to do with the history of sexuality, popular culture and new media
in Japan, most recently, Love, Sex and Democracy in Japan during the
American Occupation, New York: Palgrave Macmillan, 2012


10.45-12.00 Panel One: Negotiating Student Expectations

Student Sensibilities and Gatekeeper Protests: Teaching and Presenting
Research on Unwelcome Japan Studies Topics

Laura Miller

Increasingly, many of us with academic specializations in Japan Studies are
pressured to include popular culture in our teaching menus in order to
entice the growing ranks of animation, comics and gaming (ACG) fans.
However, many students take our courses because they fulfil a diversity or
multicultural requirement. For these students, course material might be met
with responses ranging from disdain to active protest. In the state of
Missouri, a newly passed state amendment gives students the power to reject
any part of their academic assignments (including reading assignments) that
contradict or offend their religious beliefs. How do we negotiate protests
from students who object to aspects of our course content? Similarly,
although academic institutions, local Japanese societies, and community
groups claim they want more AEG as part of their programming, what they
envision is Miyazaki Hayao and Hello Kitty rather than Mizuno Junko or Mat?
Sanami, and kimono dress-up rather than maid caf? enactments. This
presentation will focus on types of cultural resistance from those around
us (students, community members, and colleagues). What happens when our
students object to the sexual, religious or violent content found in our
lectures and research? How do we respond to colleagues, native Japanese
observers, and other gatekeepers who protest that our material or
programming on contemporary Japan is presenting a negative or tainted image
of the nation and its people? How do we deal with attempts to censure or
control the nature of our research programming and presentations on Japan?

Laura Miller is Ei?ichi Shibusawa-Seigo Arai Endowed Professor of Japanese
Studies and Professor of Anthropology at the University of Missouri-St.
Louis. She has published widely on Japanese culture and language, including
topics such as English loanwords in Japanese, the beauty industry, girls?
slang, self-photography, and divination. She teaches courses on Japan and
linguistic anthropology and works to promote Japan Studies through a
variety of campus and community programming.


Death Note and Crimes in the Classroom: Issues in Teaching Japanese Popular
Culture to the Ne(x)t Generation

Alisa Freedman

My talk explores moral, ethical, and cultural issues of teaching and
researching Japanese popular culture and the fandoms it inspires through
the trans-medial example of Death Note (Desu n?to). Death Note ? manga
series written by Ohba Tsugumi and Obata Takeshi (2003-2006), television
anime (2006-2007), three films (2006, 2008), light novels (2006, 2009), and
videogames (2007, 2008), all commercially available in several languages ?
is the story of bored male student who kills criminals with an old notebook
dropped by a death god and the characters who pursue him. Death Note has
attracted fans worldwide because of its genre-bending narrative,
multifaceted beautiful boy (bish?nen) characters, commentary on justice and
surveillance, and advocacy of the power of youth, among other reasons. Yet
Death Note has been cited as a source of real-life crimes, implicating it
in debates about the morality of manga. Importantly, the global popularity
of Death Note has been thanks to fans, who have extended its meanings and
turned it into more than a niche fad. Death Note was marketed at a time
when Internet developments were making manga and anime more immediately
accessible. Death Note fan appropriations represent primary ways fans have
used digital media to personalize popular culture, including fanfiction,
slash, scanlations, and fansubs. I argue that Death Note is an instructive
text to make students aware of how they have collaborated in the global
domination of Japanese popular culture and how they have challenged
copyrights and other laws governing the dissemination of texts.

Alisa Freedman is an Associate Professor of Japanese Literature and Film at
the University of Oregon. Her current research explores issues concerning
globalization, gender, and urbanization in twentieth and
twenty-first-century Japanese literature and popular culture. Her major
publications include Tokyo in Transit: Japanese Culture on the Rails and
Road (Stanford University Press, 2010), an annotated translation of
Kawabata Yasunari?s The Scarlet Gang of Asakusa (University of California
Press, 2005), and a co-edited volume on Modern Girls on the Go: Gender,
Mobility, and Labor in Japan (Stanford University Press, 2013). She has
authored articles on Japanese modernism, urban studies, youth culture,
media discourses about gender norms, television history, humor as social
critique, and intersections of literature and digital media, along with
translations of Japanese novels and short stories.


1.00-3.00 Panel Two: Sex and Violence in and Beyond the Classroom

?Every Picture Tells a Lie:? Teaching the Popular Culture of Sexuality and
Violence

Sabine Fr?hst?ck

In this paper I would like to briefly describe my use of (visual) popular
culture materials in two of my undergraduate courses, ?Representations of
Sexuality in Modern Japan? and ?Violence and the State in Japan.? In each
course, I have integrated one or more sessions that take up the popular
cultural treatment of the core topics, sexuality in one case, violence in
the other. Materials in these sessions range widely from pornographic
ukiyoe to over-the-top violent Yakuza films. I will also describe and
speculate about students? responses to such materials.

I propose that the analysis of popular cultural materials in the classroom
? if done well ? can go a long way in accomplishing a number of important
teaching goals: Such materials allow me to ?pick up? the students where
they are most ?at home,? namely in current-day popular culture, much of
which in California is Japanese. Such materials also help to irritate
students? sensibilities and thus allow me to more effectively convey the
specific cultural conditions of Japanese (and their own) beliefs and
attitudes. In addition, they allow me to fully exploit the potential of
such materials for the purposes of entertainment and humor (After all, some
representations of both sex and violence, in Japan at least, are supposed
to be funny!).

Sabine Fr?hst?ck is a professor of Modern Japanese Cultural Studies at the
University of California, Santa Barbara. She is mostly concerned with the
history and ethnography of modern Japanese culture and its relations to the
rest of the world. Her current book project examines the various relations
between childhood and militarism in the twentieth and twenty-first
centuries. Fr?hst?ck is the author of Colonizing Sex: Sexology and Social
Control in Modern Japan (2003) and Uneasy Warriors: Gender, Memory and
Popular Culture in the Japanese Army (2007). Both monographs were
translated into Japanese.


Trying Obscene Manga in the Courtroom and Classroom:

Ethical and legal issues in teaching Japanese popular culture to
undergraduate students

Kirsten Cather

In 2002, a half-century after the first of a series of sensational,
high-profile obscenity trials of literature, film, and photography in Japan
and after a lull of almost twenty years, a new medium became the target of
government prosecution: manga. As some feared and others hoped, the
publisher of the adult erotic manga Honey Room was convicted in a verdict
that was upheld by the Supreme Court in June 2007. Both inside and outside
the courtroom, lawyers, witnesses, judges, and a wide array of commentators
from legal and cultural spheres offered their competing arguments about the
appropriateness (or lack thereof) of the manga. This unprecedented trial
paved the way for the increased regulation of pop culture media, including
a subsequent conviction of another ero-manga publisher by the lower courts
in the fall of 2013. What can we learn by studying such judicial
proceedings? They suggest the high stakes of policing Japan?s pop cultural
sphere for authorities today and offer a window into Japan?s contemporary
legal and cultural standards of censorship. Might these trials also help us
navigate the potentially murky ethical and legal terrain of handling these
?obscene? materials in our lives as researchers, teachers, students, or
readers? By dissecting the rationale behind the externally-imposed
standards of a censorship regime, we can probe our own deeply held, yet
oft-unexamined standards about what we feel is acceptable to create, teach,
learn, and consume and what we designate as beyond the pale. In other
words, the solution may be to ?try? an obscene manga in the classroom that
has been tried in the courtroom.

Kirsten Cather is an Associate Professor in the Department of Asian
?Studies at the University of Texas, Austin. Her interests include Japanese
literature and film; censorship; fictional and non-fictional
representations of suicide; literary and filmic adaptations. She is author
of The Art of Censorship in Postwar Japan, University of Hawaii Press
(2o12).


Is There Room for Lolicon in Cool Japan?

Patrick Galbraith

This paper considers possible limitations in Japan Studies through the case
of lolicon, or desire for girl characters from manga and anime. Looking
back at the so-called ?lolicon boom? in Japan in the early 1980s, it is
apparent that one cannot discuss otaku, or manga and anime fandom, without
addressing lolicon in some way. Indeed, lolicon has been the subject of
academic inquiry for over two decades in Japan. Despite this, the study of
lolicon has been severely retarded in the United States by its conflation
with ?virtual child pornography.? Conservative backlash leads to the
suspension of lolicon manga localization; private individuals face
potential jail time for importing it. Further, even critical writing on
lolicon is stifled because of the fear of inciting a ?moral firestorm.?
This inability to discuss lolicon, or posses or show images of the works so
categorized, leads to serious misperceptions about manga, history and fan
culture in Japan. Academic inquiry, which should rise above the concerns of
popularity, is similarly limited. Much of the funding for the study of
Japan comes from the Japanese government, whichis still deeply invested in
the Cool Japan project and wary of topics such as lolicon. Further,
relevant materials are not archived in the Diet Library, and private
collectors risk imprisonment. The paper asks if there is room in Cool Japan
for lolicon, or, to put it another way, is there room in the study of
popular culture for unpopular topics? What are the ethical implications of
such a study?

Patrick W. Galbraith received his first Ph.D. in Information Studies from
the University of Tokyo, and is currently pursuing a second Ph.D. in
Cultural Anthropology at Duke University. He is the author of The Otaku
Encyclopedia: An Insider?s Guide to the Subculture of Cool Japan (Kodansha
International, 2009), Tokyo Realtime: Akihabara (White Rabbit Press, 2010),
Otaku Spaces (Chin Music Press, 2012) and The Moe Manifesto: An Insider?s
Look at the Worlds of Manga, Anime and Gaming (Tuttle, forthcoming), and
the co-editor of Idols and Celebrity in Japanese Media Culture (Palgrave,
2012). <patrick.galbraith at duke.edu>
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From ljth2006 at gmail.com  Fri Apr  4 03:50:31 2014
From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano)
Date: Fri, 4 Apr 2014 09:50:31 +0200
Subject: [KineJapan] Tsunami and heartwake 2011 Av coverage
Message-ID: <CALGPOmK57nD2Urn5TwQc531rO5U-=V3v62P8H9-9O+ZuU1pVXg@mail.gmail.com>

Dear all,

I was wondering if you know about any good article on films (fiction and
documentary) about the 2011 disaster untill now.

I don't know if you agree with me, but it looks like an incredible amount.

Thanks in advance!



Lorenzo J. Torres Hortelano

Profesor Titular

Universidad Rey Juan Carlos

Facultad de Ciencias de la Comunicaci?n

Edificio Departamental - Despacho 22

Camino del Molino s/n

28943 Fuenlabrada

34-657565507

lorenzojavier.torres.hortelano at urjc.es
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From joel.neville.anderson at rochester.edu  Tue Apr  1 18:09:44 2014
From: joel.neville.anderson at rochester.edu (Anderson, Joel Neville)
Date: Tue, 1 Apr 2014 22:09:44 +0000
Subject: [KineJapan] CFP: InVisible Culture,
	Issue 22: "Opacity" (DEADLINE: MAY 1, 2014)
Message-ID: <01E7948F-8161-460E-831B-65F9561C8FCE@rochester.edu>

Dear KineJapan subscribers,

Not directly related to Japanese cinema, but hopefully of interest to those working on postcolonialism, identity politics, globalization, and visual material:

Only one month remains before the deadline for InVisible Culture: An Electronic Journal for Visual Culture?s latest CFP, on the theme of ?Opacity.? Please circulate widely (pasted and linked below). Deadline May 1, 2014.

Many thanks.


Best regards,
Joel Neville Anderson

Managing Editor
InVisible Culture
503A Morey Hall
University of Rochester
Rochester, NY 14627


http://ivc.lib.rochester.edu/cfp-invisible-culture-issue-22-opacity


?Opacity? - Issue 22

For its twenty-second issue, InVisible Culture: An Electronic Journal for Visual Culture invites scholarly articles and creative works that address the multiple meanings of opacity.

In the spring of 2013, former US intelligence contractor Edward Snowden began releasing documents pertaining to the wide-ranging data collection methods of the National Security Agency. Alternately hailed as hero and traitor, Snowden?s actions have fueled intense public debate regarding issues of privacy and transparency. For Issue 22, we would like contributors to consider the tension between transparency and opacity and reflect on the cultural and political contexts that gave rise to their connotations of openness and secrecy. What does it mean to claim either as a right? The late writer, poet, and critic ?douard Glissant (1928-2011) developed a model of opacity as a means of creating ethical relationships, writing in Poetics of Relation, ?Transparency no longer seems like the bottom of the mirror in which Western humanity reflected the world in its own image. There is opacity now at the bottom of the mirror, a whole alluvium deposited by populations.? How could opacity be used as a tool of resistance? What stakes are involved in the revelation or obscuring of artworks? racial, cultural, or gendered origins? How might we imagine opacity to be useful or limiting to the work of visual culture?

We also seek to address optical properties of opacity more broadly as a conceptual tool for approaching medium specificity, innovations in color theory, and other subjects. Does our understanding of opacity shift in regard to digital technologies as it may between cultural spheres and political territories? How might visual culture be invested in the theoretical and physical properties of opacity and transparency?

We welcome papers and artworks that further the various understandings of opacity. Possible topics of exploration include, but are not limited to:


  *   Aesthetic and political dimensions of transparency and opacity
  *   Identity politics, ?the right to opacity?
  *   Privacy and visibility, surveillance
  *   The ?transparent society? and digital panopticism
  *   Scientific and medical visualization, the body, big data
  *   Opacity of architectural traditions
  *   Liminal spaces, borders, zones of conflict
  *   Transparency and globalization, geopolitics
  *   Emerging, established, and decaying democracies
  *   Politics of clothing, fabric, screens, interstitial space and material
  *   Camera obscura/lucida, properties of darkness and light, color, pigmentation
  *   Transparency and opacity in the plastic arts (painting, film, sculpture)
  *   Penetration and resistance


Please send completed papers (with references following the guidelines from the Chicago Manual of Style) of between 4,000 and 10,000 words to ivc[dot]rochester[at]gmail[dot]com by May 1, 2014. Inquiries should be sent to the same address.


Creative/Artistic Works
In addition to written materials, InVisible Culture is accepting work in other media (video, photography, drawing, code) that reflect upon the theme as it is outlined above. For questions or more details concerning acceptable formats, go to http://ivc.lib.rochester.edu/contribute<http://ivc.lib.rochester.edu/contribute/> or contact ivc[dot]rochester[at]gmail[dot]com.


Reviews
InVisible Culture is also currently seeking submissions for book, exhibition, and film reviews (600-1,000 words). To submit a review proposal, go to http://ivc.lib.rochester.edu/contribute<http://ivc.lib.rochester.edu/contribute/> or contact ivc[dot]rochester[at]gmail[dot]com.


Blog
The journal also invites submissions to its blog feature, which will accommodate more immediate responses to the topic of the current issue. For further details, please contact us at ivc[dot]rochester[at]gmail[dot]com with the subject heading ?blog submission.?

* InVisible Culture: An Electronic Journal for Visual Culture (IVC) is a student run interdisciplinary journal published online twice a year in an open access format. Through peer reviewed articles, creative works, and reviews of books, films, and exhibitions, our issues explore changing themes in visual culture. Fostering a global and current dialog across fields, IVC investigates the power and limits of vision.

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