From mso1 at sfu.ca Thu Feb 27 15:47:22 2014 From: mso1 at sfu.ca (Melek Ortabasi) Date: Thu, 27 Feb 2014 12:47:22 -0800 Subject: [KineJapan] Fwd: New Journal Announcement: Asian Diasporic Visual Cultures and the Americas In-Reply-To: <1AB18EE2-5732-44F5-AAEF-67293EAC0D37@sfu.ca> Message-ID: <1486002408.17914127.1393534042876.JavaMail.root@sfu.ca> Hi all, Please circulate widely and consider submitting to this new journal on Asian diasporic visual cultures. The submission deadline for the inaugural issue is June 1. Cheers, Melek ----------------------------------------- From: advaedit at gmail.com Date: February 27, 2014 12:23:17 PM PST To: < advaedit at gmail.com > Subject: New Journal Announcement: Asian Diasporic Visual Cultures and the Americas New Journal Announcement: Asian Diasporic Visual Cultures and the Americas (ADVA) Call for Submissions We are pleased to announce the launch of Asian Diasporic Visual Cultures and the Americas, a new international peer-reviewed journal that features multidisciplinary scholarship on intersections between visual culture studies and the study of Asian diasporas across the Americas. Perspectives on and from North, Central and South America, as well as the Pacific Islands and the Caribbean will be presented to encourage the hemispheric transnational study of multiple Americas with diverse indigenous and diasporic populations. The broad conceptualization of the Americas as a complex system of continual movement, migratory flows and cultural exchange, and Asian diaspora as an analytical tool, enables the critical examination of the historically under-represented intersections between and within, Asian Canadian Studies, Asian American Studies, Asian Latin American Studies, Asian Caribbean Studies, and Pacific Island Studies. It encourages submission of transnational and transhistorical as well as site-based scholarly critique and investigation on visual cultures that engage with historical, material, cultural and political contextualizations within current discussions on race, ethnicity, gender, sexuality, dis/ability and class as well as aesthetics, ethics, epistemologies, and technologies of visuality. Transcultural areas of investigation in the humanities, including Asian-Indigenous collaborations, historical formulations of Afro-Asian connections, and studies on transnational subjects of mixed ra ce heritage are welcome. Asian Diasporic Visual Cultures and the Americas explores visual culture in all its multifaceted forms, including, but not limited to, visual arts, craft, cinema, film, performing arts, public art, architecture, design, fashion, media, sound, food, networked practices, and popular culture. It recognizes the ways in which diverse systems of visualities, inclusive of sensorial, embodied experience, have shaped and embedded meanings within culturally specific, socio-political and ideological contexts. The journal provides an intellectual forum for researchers and educators to showcase, engage and be in dialogue with this growing multidisciplinary area of investigation within the humanities Asian Diasporic Visual Cultures and the Americas (ADVA) will be published by Brill ( www.brill.com ) in affiliation with the Asian/Pacific/American Institute, New York University (New York) and the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art, Concordia University (Montreal). To read more about ADVA, including our aims and scope and editorial and advisory board membership, and submission guidelines, please visit our Facebook page: https://www.facebook.com/pages/Asian-Diasporic-Visual-Cultures-and-the-Americas/646111668789406 . Please send queries or submissions to: ADVAedit at gmail.com . The first issue is planned for Spring 2015. Deadline for submissions for the first issue: June 1, 2014 -- Melek Ortabasi, Ph.D. Associate Professor World Literature Program Faculty of Arts and Social Sciences Simon Fraser University Unit 250-13450 102 Ave., Surrey, BC V3T0A3 CANADA Phone: 778-782-8660 "All novels...are smaller than real life...They are never real life itself...And this is why translation is always still possible. The style of a novel, and a novelist, is a set of instructions, a project: it is never able to create an entirely unique, irreplaceable object." -- Adam Thirlwell, _Miss Herbert_ _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From ishii at jvtacademy.com Thu Feb 27 10:18:53 2014 From: ishii at jvtacademy.com (ISHII Kiyotake JVTA/MTC) Date: Fri, 28 Feb 2014 00:18:53 +0900 Subject: [KineJapan] =?iso-2022-jp?b?Um9sYW5kIERvbWVuaWcbJEIhRxsoQnMgIFNw?= =?iso-2022-jp?b?ZWNpYWwgV29ya3Nob3AgYXQgSlZUQQ==?= In-Reply-To: References: Message-ID: <20140228001850.0CB8.5A45579C@jvtacademy.com> Dear KineJapaners, Japan Visualmedia Translation Academy will host a special seminar on Monday, March 10 by Dr. Roland Domenig. All KineJapaners are invited, so those who are interested please write to me off the list to: ishii at jvtacademy.com. The seminar will be conducted in Japanese/English. DATE & TIME: 7:00pm - 9:00pm, Monday, March 10 WORKSHOP TITLE: Where the Real Learning Starts (III) - How can a visual media translator take what's not spelled out on the screen and bring it into translation? - INSTRUCTOR: Roland Domenig (Meiji Gakuin University) VENUE: Japan Visualmedia Translation Academy 3F/2F Kyodo Bldg, 3-2-4 NihonbashiHongoku-cho Chuo-ku, Tokyo, 103-0021 03-3517-5550 http://www.jvtacademy.com I look forward to seeing all of you. Warm regards, Ishii +++++++++++++++++++++++++++++++++++++++ Kiyotake Ishii Media Translation Center/ Japan Visualmedia Translation Academy Co. Ltd. http://www.jvtacademy.com Tokyo Office: 2&3F Kyodo Bldg, 3-2-4 NihonbashiHongoku-cho Chuo-ku, Tokyo, 103-0021 Ph: +81-3-3517-5550 Fax: +81-3-3272-5057 LA Office: 3510 Torrance Blvd., Suite 219, Torrance, CA 90503 TEL:310-316-3121 / FAX:310-316-2411 +++++++++++++++++++++++++++++++++++++++ _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From takinami at iii.u-tokyo.ac.jp Tue Feb 25 09:28:39 2014 From: takinami at iii.u-tokyo.ac.jp (Yuki TAKINAMI) Date: Tue, 25 Feb 2014 23:28:39 +0900 Subject: [KineJapan] Symposium on anime, animation, and "media mix" Message-ID: Dear all, Though only in Japanese, we will hold a symposium on anime, animation, and "media mix" in Japan and East Asia. If you are in Tokyo in mid-March, please come to this event! Sincerely, Yuki --------------------------------- ??????????? ???????? ???????????????? ?????????????????????????? ??????? --------------------------------- ??????????????????????????????????????????????????????????????????????????????????????????????????????????????? ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????KADOKAWA??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???2014?3?11????13?00?17?30 ?????????????? ??????????B2? ??????????? http://fukutake.iii.u-tokyo.ac.jp/access/index.html ???????????? ?????????????????? ---------------------------------------------- ?1? 13?00?15?00 ?????????????????????????????????????????????????????????? ?????????????????????????? ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???? ???????????????????????????? ???????????????????? ??????????????????????????????????? ????????????????????????????????????????????? ????????????????????????????????? ?2? 15?15?17?30 ???????????????KADOKAWA???????????????????????????????????????????? ???????????????????????? ???????????????????????????????????????????????????????????????????Anime?s Media Mix?????????????????????????????????????????????????????????????????????????? ???? ???????????????????????????????????????? ?????????????????????????Assistant Professor? ???????????????????????????? ??????????????????????? ?????????? ---------------------------------------------- ? ??????? ??????????????3?11??????????????????????????????????????????? 1. ??? 2. ??? 3. ????e-mail?????? ???????????: event at kadokawa.iii.u-tokyo.ac.jp ????????????????????????????????????????? ? ???????????? ??????????? ?????????????? TEL03-5841-7907?FAX03-5841-7907?e-mail inquiry at kadokawa.iii.u-tokyo.ac.jp ? ??????????????????? ????http://kadokawa.iii.u-tokyo.ac.jp/ ????????? -- Yuki TAKINAMI Project Lecturer, University of Tokyo Interfaculty Initiative in Information Studies -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From gangamati at gmail.com Tue Feb 25 07:31:16 2014 From: gangamati at gmail.com (Rob Schwartz) Date: Tue, 25 Feb 2014 21:31:16 +0900 Subject: [KineJapan] J-FLICKS on NHK World In-Reply-To: <3910F726-D532-4D35-8E18-CF22FA88DDFB@umass.edu> References: <3910F726-D532-4D35-8E18-CF22FA88DDFB@umass.edu> Message-ID: Thanks Bruce. We hope to help popularize Japanese cinema though I wouldn't call JFlicks 'academically rigorous'. If list members can help spread the word that would be much appreciated. Also, I'd be interested to know if anyone knows of any other TV show in English dedicated solely to Japanese film. Thanks, Rob Schwartz NHK Billboard magazine The Hollywood Reporter On Tue, Feb 25, 2014 at 4:40 PM, Bruce Baird wrote: > Colleagues, > > Rob Schwartz is hosting a program on NHK World entitled J-FLICKS. > > Here is the write-up of the first episode: > > "J-FLICKS" brings you the world of classic and contemporary Japanese > cinema. On the premiere episode we look at the Asami Sunada's documentary, > "The Kingdom of Dream and Madness" about Hayao Miyazaki and Studio Ghibli. > We will check out the award-winning film by Koji Fukada, "Au revoir, > l'ete". Our trips to the Tokyo International Film Festival and Tokyo Filmex > will give insight to the Japanese film industry. International movie star, > Rinko Kikuchi stops by for an intimate chat and there will be a > retrospective of Kaneto Shindo's seminal film, "The Naked Island". Tune in > to "J-FLICKS". > > For more info and schedule see: > > http://www3.nhk.or.jp/nhkworld/english/tv/schedule/index.html > > > http://www3.nhk.or.jp/nhkworld/english/tv/special/201402.html#pId201402250130 > > > Bruce Baird > Associate Professor > Asian Languages and Literatures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 717 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-4992 > Fax: 413-545-5876 > baird at umass.edu > > For information about my book *Hijikata Tatsumi and Butoh* see: > > http://us.macmillan.com/hijikatatatsumiandbutoh/BruceBaird > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From baird at umass.edu Tue Feb 25 02:40:47 2014 From: baird at umass.edu (Bruce Baird) Date: Tue, 25 Feb 2014 16:40:47 +0900 Subject: [KineJapan] J-FLICKS on NHK World Message-ID: <3910F726-D532-4D35-8E18-CF22FA88DDFB@umass.edu> Colleagues, Rob Schwartz is hosting a program on NHK World entitled J-FLICKS. Here is the write-up of the first episode: "J-FLICKS" brings you the world of classic and contemporary Japanese cinema. On the premiere episode we look at the Asami Sunada's documentary, "The Kingdom of Dream and Madness" about Hayao Miyazaki and Studio Ghibli. We will check out the award-winning film by Koji Fukada, "Au revoir, l'ete". Our trips to the Tokyo International Film Festival and Tokyo Filmex will give insight to the Japanese film industry. International movie star, Rinko Kikuchi stops by for an intimate chat and there will be a retrospective of Kaneto Shindo's seminal film, "The Naked Island". Tune in to "J-FLICKS". For more info and schedule see: http://www3.nhk.or.jp/nhkworld/english/tv/schedule/index.html http://www3.nhk.or.jp/nhkworld/english/tv/special/201402.html#pId201402250130 Bruce Baird Associate Professor Asian Languages and Literatures University of Massachusetts Amherst But?, Japanese Theater, Intellectual History 717 Herter Hall 161 Presidents Drive University of Massachusetts Amherst Amherst, MA 01003-9312 Phone: 413-577-4992 Fax: 413-545-5876 baird at umass.edu For information about my book Hijikata Tatsumi and Butoh see: http://us.macmillan.com/hijikatatatsumiandbutoh/BruceBaird -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mostro.films at gmail.com Fri Feb 21 23:05:47 2014 From: mostro.films at gmail.com (=?ISO-8859-1?Q?Jose_Monta=F1o?=) Date: Sat, 22 Feb 2014 13:05:47 +0900 Subject: [KineJapan] Oxford Handbook of Japanese Cinema In-Reply-To: <68e9e8bc2bca1e13511a53044e21b58a@uoregon.edu> References: <68e9e8bc2bca1e13511a53044e21b58a@uoregon.edu> Message-ID: Some weeks ago, I found out each chapter of Oxford Handbooks can be accessed on-line by a payable system. As the library in my university is not affiliated, I would have payed for some but, again, the system is just addressed to institutions while individuals can't register. Sounds like they just don't want our money... But, of course, the library already purchased the book under my request, so they get the 150 instead of my 5 On 22 February 2014 11:04, Daisuke Miyao wrote: > Thank you for your kind posting, Markus. Yes, I am sorry for the price of > the book and I do not expect many of you will actually purchase it. But I > sincerely hope that many of you will have a chance to read the essays in > the volume at the libraries of your institutions or else. Because they are > fantastic! I'd like to extend my deepest gratitude to all the > contributors. Thank you! > > Best, > Daisuke > > Daisuke Miyao > Chair, Department of East Asian Languages and Literatures > Associate Professor of Japanese Film and Cinema Studies > University of Oregon > > > On 2014/02/21 11:57, Markus Nornes wrote: > >> Daisuke Miyao's Oxford Handbook of Japanese Cinema is out, and it's an >> thick, impressive book. For me it gives a powerful sense for how rich >> Japanese film studies has become. Nearly twenty years ago, Mitsuhiro >> Yoshimoto and I sketched out a similar kind of handbook. We gave up >> because our ambitions looked like this book, but it was difficult to >> imagine who could write all the essays. Things have changed. >> >> Unfortunately, the price tag of this book is astronomical--$150. >> >> Oxford basically has a strategy that gives up on individual readers >> and relies wholly on a predictable number of research library >> purchases. This is incredibly disheartening, you spend all that effort >> on a piece of writing that no one can actually hope to place on their >> bookshelf. I don't know. I may just stop participating on book >> projects with such outrageous pricing. >> >> (So anyone who wants to read my piece--a critique of the international >> >> film festival circuit's Eurocentrism through a case study of the >> Yamagata festival--is welcome to contact me _off_list_. I'll gladly >> >> send you a pdf.) >> >> Thanks for the book, Daisuke! >> >> Markus >> >> PS: The table of contents: >> >> Introduction >> PART 1: WHAT IS JAPANESE CINEMA STUDIES?: JAPANESE CINEMA AND CINEMA >> STUDIES >> >> Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film >> Studies (Eric Cazdyn) >> Chapter 2: Triangulating Japanese Film Style (Ben Singer) >> Chapter 3: Critical Reception: Historical Conceptions of Japanese >> Film Criticism (Aaron Gerow) >> Chapter 4: Creating the Audience: Cinema as Popular Recreation and >> Social Education in Modern Japan (Hideaki Fujiki) >> PART 2: WHAT IS JAPANESE CINEMA?: JAPANESE CINEMA AND THE >> TRANSNATIONAL NETWORK >> >> Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine) >> Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in >> Japanese Cinema (Chika Kinoshita) >> Chapter 7 Nationalizing Madame Butterfly: The Formation of Female >> Stars in Japanese Cinema (Daisuke Miyao) >> Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film >> Spectatorship, and the Formation of National Cinema in Korea under >> Japanese Colonial Rule (Dong Hoon Kim) >> Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan, >> 1952-1962 (Hiroshi Kitamura) >> Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung >> Lo) >> Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia >> and Japan's Re-entrance to the Regional Film Industry in the 1950s >> (Sang Joon Lee) >> Chapter 12 Yamagata - Asia - Europe: International Film Festival >> Short-Circuit (Ab? Mark Nornes) >> PART 3: WHAT JAPANESE CINEMA IS!: JAPANESE CINEMA AND THE INTERMEDIAL >> PRACTICES >> >> Chapter 13 Nitrate Film Production in Japan: a Historical Background >> of the Early Days (Okada Hidenori - Translated by Ayako Saito) >> Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical >> Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa >> Shuhei) >> Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its >> Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis) >> Chapter 16 Occupation and Memory: the Representation of Woman's Body >> in Postwar Japanese Cinema (Ayako Saito) >> Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) >> (Mitsuyo Wada-Marciano) >> Chapter 18 By Other Hands: Environment and Apparatus in 1960s >> Intermedia (Myriam Sas) >> Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas) >> Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric >> Economy of World (Alexander Zahlten) >> >> -- >> >> MARKUS NORNES >> >> Chair, Department of Screen Arts and Cultures >> Professor of Asian Cinema, Department of Asian Languages and Cultures >> Professor, School of Art & Design >> >> DEPARTMENT OF SCREEN ARTS AND CULTURES >> 6348 NORTH QUAD >> 105 S. STATE STREET >> ANN ARBOR, MI 48109-1285 >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > -- ???????? *Jose Monta?o* *Cine y cultura japonesa:https://eigavision.wordpress.com/ * -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From dmiyao at uoregon.edu Fri Feb 21 21:04:51 2014 From: dmiyao at uoregon.edu (Daisuke Miyao) Date: Fri, 21 Feb 2014 18:04:51 -0800 Subject: [KineJapan] Oxford Handbook of Japanese Cinema In-Reply-To: References: Message-ID: <68e9e8bc2bca1e13511a53044e21b58a@uoregon.edu> Thank you for your kind posting, Markus. Yes, I am sorry for the price of the book and I do not expect many of you will actually purchase it. But I sincerely hope that many of you will have a chance to read the essays in the volume at the libraries of your institutions or else. Because they are fantastic! I'd like to extend my deepest gratitude to all the contributors. Thank you! Best, Daisuke Daisuke Miyao Chair, Department of East Asian Languages and Literatures Associate Professor of Japanese Film and Cinema Studies University of Oregon On 2014/02/21 11:57, Markus Nornes wrote: > Daisuke Miyao's Oxford Handbook of Japanese Cinema is out, and it's an > thick, impressive book. For me it gives a powerful sense for how rich > Japanese film studies has become. Nearly twenty years ago, Mitsuhiro > Yoshimoto and I sketched out a similar kind of handbook. We gave up > because our ambitions looked like this book, but it was difficult to > imagine who could write all the essays. Things have changed. > > Unfortunately, the price tag of this book is astronomical--$150. > Oxford basically has a strategy that gives up on individual readers > and relies wholly on a predictable number of research library > purchases. This is incredibly disheartening, you spend all that effort > on a piece of writing that no one can actually hope to place on their > bookshelf. I don't know. I may just stop participating on book > projects with such outrageous pricing. > > (So anyone who wants to read my piece--a critique of the international > film festival circuit's Eurocentrism through a case study of the > Yamagata festival--is welcome to contact me _off_list_. I'll gladly > send you a pdf.) > > Thanks for the book, Daisuke! > > Markus > > PS: The table of contents: > > Introduction > PART 1: WHAT IS JAPANESE CINEMA STUDIES?: JAPANESE CINEMA AND CINEMA > STUDIES > Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film > Studies (Eric Cazdyn) > Chapter 2: Triangulating Japanese Film Style (Ben Singer) > Chapter 3: Critical Reception: Historical Conceptions of Japanese > Film Criticism (Aaron Gerow) > Chapter 4: Creating the Audience: Cinema as Popular Recreation and > Social Education in Modern Japan (Hideaki Fujiki) > PART 2: WHAT IS JAPANESE CINEMA?: JAPANESE CINEMA AND THE > TRANSNATIONAL NETWORK > Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine) > Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in > Japanese Cinema (Chika Kinoshita) > Chapter 7 Nationalizing Madame Butterfly: The Formation of Female > Stars in Japanese Cinema (Daisuke Miyao) > Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film > Spectatorship, and the Formation of National Cinema in Korea under > Japanese Colonial Rule (Dong Hoon Kim) > Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan, > 1952-1962 (Hiroshi Kitamura) > Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung > Lo) > Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia > and Japan's Re-entrance to the Regional Film Industry in the 1950s > (Sang Joon Lee) > Chapter 12 Yamagata - Asia - Europe: International Film Festival > Short-Circuit (Ab? Mark Nornes) > PART 3: WHAT JAPANESE CINEMA IS!: JAPANESE CINEMA AND THE INTERMEDIAL > PRACTICES > Chapter 13 Nitrate Film Production in Japan: a Historical Background > of the Early Days (Okada Hidenori - Translated by Ayako Saito) > Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical > Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa > Shuhei) > Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its > Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis) > Chapter 16 Occupation and Memory: the Representation of Woman's Body > in Postwar Japanese Cinema (Ayako Saito) > Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) > (Mitsuyo Wada-Marciano) > Chapter 18 By Other Hands: Environment and Apparatus in 1960s > Intermedia (Myriam Sas) > Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas) > Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric > Economy of World (Alexander Zahlten) > > -- > > MARKUS NORNES > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > DEPARTMENT OF SCREEN ARTS AND CULTURES > 6348 NORTH QUAD > 105 S. STATE STREET > ANN ARBOR, MI 48109-1285 > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Fri Feb 21 16:41:34 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Fri, 21 Feb 2014 23:41:34 +0200 Subject: [KineJapan] Oxford Handbook of Japanese Cinema In-Reply-To: References: Message-ID: Markus: I would like to read your YIDFF piece. Eija 2014-02-21 21:57 GMT+02:00 Markus Nornes : > Daisuke Miyao's Oxford Handbook of Japanese Cinema is out, and it's an > thick, impressive book. For me it gives a powerful sense for how rich > Japanese film studies has become. Nearly twenty years ago, Mitsuhiro > Yoshimoto and I sketched out a similar kind of handbook. We gave up because > our ambitions looked like this book, but it was difficult to imagine who > could write all the essays. Things have changed. > > Unfortunately, the price tag of this book is astronomical?$150. Oxford > basically has a strategy that gives up on individual readers and relies > wholly on a predictable number of research library purchases. This is > incredibly disheartening, you spend all that effort on a piece of writing > that no one can actually hope to place on their bookshelf. I don't know. I > may just stop participating on book projects with such outrageous pricing. > > (So anyone who wants to read my piece?a critique of the international film > festival circuit's Eurocentrism through a case study of the Yamagata > festival?is welcome to contact me _off_list_. I'll gladly send you a pdf.) > > Thanks for the book, Daisuke! > > Markus > > PS: The table of contents: > > > Introduction > *Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema > Studies* > Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film > Studies (Eric Cazdyn) > Chapter 2: Triangulating Japanese Film Style (Ben Singer) > Chapter 3: Critical Reception: Historical Conceptions of Japanese Film > Criticism (Aaron Gerow) > Chapter 4: Creating the Audience: Cinema as Popular Recreation and Social > Education in Modern Japan (Hideaki Fujiki) > *Part 2: What Is Japanese Cinema?: Japanese Cinema and the Transnational > Network* > Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine) > Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in Japanese > Cinema (Chika Kinoshita) > Chapter 7 Nationalizing Madame Butterfly: The Formation of Female Stars in > Japanese Cinema (Daisuke Miyao) > Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film > Spectatorship, and the Formation of National Cinema in Korea under Japanese > Colonial Rule (Dong Hoon Kim) > Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan, 1952-1962 > (Hiroshi Kitamura) > Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung Lo) > Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia and > Japan's Re-entrance to the Regional Film Industry in the 1950s (Sang Joon > Lee) > Chapter 12 Yamagata - Asia - Europe: International Film Festival > Short-Circuit (Ab? Mark Nornes) > *Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial > Practices* > Chapter 13 Nitrate Film Production in Japan: a Historical Background of > the Early Days (Okada Hidenori - Translated by Ayako Saito) > Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical Functions of > Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa Shuhei) > Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its Contexts > (Yamamoto Ichiro - Translated by Diane Wei Lewis) > Chapter 16 Occupation and Memory: the Representation of Woman's Body in > Postwar Japanese Cinema (Ayako Saito) > Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) > (Mitsuyo Wada-Marciano) > Chapter 18 By Other Hands: Environment and Apparatus in 1960s Intermedia > (Myriam Sas) > Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas) > Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric Economy of > World (Alexander Zahlten) > > > > -- > *Markus Nornes* > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > *Department of Screen Arts and Cultures* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From wgardne1 at swarthmore.edu Fri Feb 21 16:08:19 2014 From: wgardne1 at swarthmore.edu (William Gardner) Date: Fri, 21 Feb 2014 16:08:19 -0500 Subject: [KineJapan] Japan/Youth/Disasters film and lecture series in Philadelphia In-Reply-To: References: Message-ID: <1531276088.2437217.1393016899736.JavaMail.zimbra@swarthmore.edu> Dear kinejapan colleagues, We are planning a series of film events for March and April here in the Philadelphia area. Highlights include a screening of the documentary A2-B-C with director Ian Ash and a guest lecture by Nagoya University Prof. Hideaki Fujiki, happening just after the Association for Asian Studies meeting in Philadelphia. -------- ?Japan at the Brink: Precarity of Youth in Films of Disaster and Dystopia? A series of four films presented at the Bryn Mawr Film Institute www.brynmawrfilm.org Selected to represent a range of forms and moments in Japanese cinema history this series curated by local Tri-College students takes as its theme the depiction of Japanese youth during social upheaval in real and imagined worlds. ?Precarity of youth? refers to children?s roles in these momentous times. Shifting between positions of vulnerability and influence, children in these films tell stories displaying contradictory points of hope and hopelessness. While the extensive record of natural and man-made disasters has altered Japan?s landscape, the impact of disasters on younger generations is revealed as a mechanism of social critique and potential transformation. Twenty Four Eyes Monday, March 3, 7:00 pm, Bryn Mawr Film Institute (NR) Japan - 2 hr 36 min 1954 ? d. Kinoshita Keisuke http://www.criterion.com/films/745-twenty-four-eyes Starring Hideko Takamine, Chishu Ryu, Toshiko Kobayashi, Yumeji Tsukioka Set in 1928, Twenty-Four Eyes follows Hisako Oshi, a young schoolteacher guiding twelve innocent students from childhood to adulthood as they are forced to face war and society?s problems. Through the eyes of these twelve children and their teacher, the film bears witness to fragility and moral responsibility amidst events and circumstances of World War II. Akira Monday, March 17, 7:00 pm, Bryn Mawr Film Institute (R) Japan ? 2 hr 4 min 1988 ? d. ?tomo Katsuhiro http://www.funimation.com/shows/akira/anime Starring Nozomu Sasaki, Mami Koyama, Mitsuo Iwata, Tessh? Genda, and Hiroshi ?take In this animated feature set in the dystopian world of Neo-Tokyo, a teenage outcast biker develops supernatural powers and retaliates against corrupt authorities but risks losing a part of himself. Filled with visceral imagery and dark themes full of adolescent angst, the film is a cult classic and widely recognized as a landmark of Japanese anime. Himizu Monday, March 24, 7:00 pm, Bryn Mawr Film Institute Japan ? 2 hr 9 min 2012 ? d. Sion Sono http://thirdwindowfilms.com/films/himizu Starring Shota Sometani, Fumi Nikaido, Tetsu Watanabe, Mitsuru Fukikoshihi, Megumi Kagurazaka, and DenDen Based on Minoru Furuya?s manga of the same name Himizu illustrates consequences of cataclysmic disaster. With filming interrupted by 3.11, Sono?s vision of a post-disaster world became prophetic of actual chaotic circumstances. Told from the perspective of two teenagers the story of parental neglect and unspoken love asks if the corrupt may still be redeemed. A2-B-C Monday, March 31, 7:00 pm, Bryn Mawr Film Institute Japan ? 1 hr 11 min 2013 d. Ian Thomas Ash http://www.a2documentary.com/ Eighteen months after the 3.11 nuclear disaster, children of Fukushima Prefecture have begun developing thyroid abnormalities. Although declared harmless, the ambiguity of official medical test reports and the decrease in children?s overall health have left mothers to take radiation monitoring into their own hands. Please join Professor of Film, Hideaki Fujiki (Nagoya University) and Director Ian Thomas Ash for discussion and conversation after tonight?s screening. Related event: "Audience and Action: Recent Citizen Activism and Cinema" a lecture by Hideaki Fujiki, Professor of Cinema, Nagoya University Tuesday, April 1, 4:30 pm Center for Visual Culture Thomas 154 Bryn Mawr College Professor Fujiki, the author of Making Personas: Transnational Film Stardom in Modern Japan , will give a talk on recent citizens' use of cinema as a tool for activism against nuclear technologies. In light of continued international impact and developing effects of the Fukushima 3.11 Triple Disaster, Fujiki will present on how screening events by citizens function as a vital point of convergence and divergence in the formation of multilayered networks in the anti-nuclear movement after the nuclear catastrophe. ------- This series is an independent study project by the students of Bryn Mawr?s 360? Course Cluster ?Perspectives on Sustainability: Disasters and Rebuilding in Japan,? funded by the Japan Foundation. The independent study is directed by Prof. Tienfong Ho (Bryn Mawr College/Temple University), with support from Profs. Will Gardner (Swarthmore College), Carola Hein (Bryn Mawr College), Tomoko Sakomura (Swarthmore College), and Erin Schoneveld (Haverford College). http://brynmawr.edu/360/previous/SustainabilityJapan.htm -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Fri Feb 21 14:57:34 2014 From: amnornes at umich.edu (Markus Nornes) Date: Fri, 21 Feb 2014 14:57:34 -0500 Subject: [KineJapan] Oxford Handbook of Japanese Cinema Message-ID: Daisuke Miyao's Oxford Handbook of Japanese Cinema is out, and it's an thick, impressive book. For me it gives a powerful sense for how rich Japanese film studies has become. Nearly twenty years ago, Mitsuhiro Yoshimoto and I sketched out a similar kind of handbook. We gave up because our ambitions looked like this book, but it was difficult to imagine who could write all the essays. Things have changed. Unfortunately, the price tag of this book is astronomical--$150. Oxford basically has a strategy that gives up on individual readers and relies wholly on a predictable number of research library purchases. This is incredibly disheartening, you spend all that effort on a piece of writing that no one can actually hope to place on their bookshelf. I don't know. I may just stop participating on book projects with such outrageous pricing. (So anyone who wants to read my piece--a critique of the international film festival circuit's Eurocentrism through a case study of the Yamagata festival--is welcome to contact me _off_list_. I'll gladly send you a pdf.) Thanks for the book, Daisuke! Markus PS: The table of contents: Introduction *Part 1: What Is Japanese Cinema Studies?: Japanese Cinema and Cinema Studies* Chapter 1: Japanese Film Without Japan: Toward an Undisciplined Film Studies (Eric Cazdyn) Chapter 2: Triangulating Japanese Film Style (Ben Singer) Chapter 3: Critical Reception: Historical Conceptions of Japanese Film Criticism (Aaron Gerow) Chapter 4: Creating the Audience: Cinema as Popular Recreation and Social Education in Modern Japan (Hideaki Fujiki) *Part 2: What Is Japanese Cinema?: Japanese Cinema and the Transnational Network* Chapter 5 Adaptation As "Transcultural Mimesis" (Michael Raine) Chapter 6 The Edge of Montage: A Case of Modernism/Modanizumu in Japanese Cinema (Chika Kinoshita) Chapter 7 Nationalizing Madame Butterfly: The Formation of Female Stars in Japanese Cinema (Daisuke Miyao) Chapter 8 Performing Colonial Identity: Byeonsa, Colonial Film Spectatorship, and the Formation of National Cinema in Korea under Japanese Colonial Rule (Dong Hoon Kim) Chapter 9 Outpost of Hybridity: Paramount's Campaign in Japan, 1952-1962 (Hiroshi Kitamura) Chapter 10 Erasing China in Japan's "Hong Kong Films" (Kwai Cheung Lo) Chapter 11 The Emergence of the Asian Film Festival: Cold War Asia and Japan's Re-entrance to the Regional Film Industry in the 1950s (Sang Joon Lee) Chapter 12 Yamagata - Asia - Europe: International Film Festival Short-Circuit (Ab? Mark Nornes) *Part 3: What Japanese Cinema Is!: Japanese Cinema and the Intermedial Practices* Chapter 13 Nitrate Film Production in Japan: a Historical Background of the Early Days (Okada Hidenori - Translated by Ayako Saito) Chapter 14 Sketches of Silent Film Sound in Japan: Theatrical Functions of Ballyhoo, Orchestras and Kabuki Ensambles (Hosokawa Shuhei) Chapter 15 The Jidaigeki Film Genre: Twilight Samurai and Its Contexts (Yamamoto Ichiro - Translated by Diane Wei Lewis) Chapter 16 Occupation and Memory: the Representation of Woman's Body in Postwar Japanese Cinema (Ayako Saito) Chapter 17 Cinema and Memory: Confabulated Memories, Nishijin (1961) (Mitsuyo Wada-Marciano) Chapter 18 By Other Hands: Environment and Apparatus in 1960s Intermedia (Myriam Sas) Chapter 19 Viral Contagion in the Ringu Intertext (Carlos Rojas) Chapter 20 Manga/Anime/Games (the Media Mix) and the Metaphoric Economy of World (Alexander Zahlten) -- *Markus Nornes* Chair, Department of Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and Cultures Professor, School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From matteo.boscarol at gmail.com Thu Feb 20 05:27:32 2014 From: matteo.boscarol at gmail.com (matteo.boscarol at gmail.com) Date: Thu, 20 Feb 2014 19:27:32 +0900 Subject: [KineJapan] =?iso-2022-jp?b?RG9jdW1lbnRhcnkgb24gSmFwYW4=?= =?iso-2022-jp?b?GyRCIUcbKEJzIFVuaXQgNzMx?= In-Reply-To: References: Message-ID: <1319D82B-9771-4864-BBC2-B88400C04B11@gmail.com> Dear all, Filming of a documentary about the atrocities of Japan's notorious Unit 731 during WorldWar II (WWII) began in the northeastern Chinese city of Harbin on Wednesday: http://english.peopledaily.com.cn/90782/8541035.html mb ????? ???? ??????????? _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jeremyharley at gmail.com Thu Feb 20 03:04:49 2014 From: jeremyharley at gmail.com (Jeremy Harley) Date: Thu, 20 Feb 2014 17:04:49 +0900 Subject: [KineJapan] Conference named Sushi Typhoon? In-Reply-To: References: Message-ID: Last year, 2013, it was at Tokyo Keizai: http://cultural-typhoon.com/2013/en This year it will be at ICU. The ad for this year's Cultural Typhoon (June 28 and 29) is an anti-secrets law piece: https://www.youtube.com/watch?v=E1SN58r3lSs (details of this year's event appear at the end of the video) On Thu, Feb 20, 2014 at 4:06 PM, Eija Niskanen wrote: > Thanks. They don't seem to be having a conference the coming summer. Last > update is from 2012. > > Eija > > > 2014-02-20 8:53 GMT+02:00 sten at niijanaa.net : > > Eija, >> its Cultural Typhoon, Sushi Typhoon is a film label of Nikkatsu. >> >> More on: >> http://cultural-typhoon.com/act/en/ >> >> Best, >> Sten >> >> -- >> Sten-Kristian Saluveer >> Creative Director / Partner >> Niijanaa Films >> >> >> On 20 Feb 2014 at 15:49:18, Eija Niskanen (eija at helsinkicineaasia.fi) >> wrote: >> >> Just a question: what is the name of that conference, Sushi Typhoon or >> something, in Tokyo around July every year? Do they have a webpage? >> >> Best, >> >> Eija >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Thu Feb 20 02:06:11 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Thu, 20 Feb 2014 09:06:11 +0200 Subject: [KineJapan] Conference named Sushi Typhoon? In-Reply-To: References: Message-ID: Thanks. They don't seem to be having a conference the coming summer. Last update is from 2012. Eija 2014-02-20 8:53 GMT+02:00 sten at niijanaa.net : > Eija, > its Cultural Typhoon, Sushi Typhoon is a film label of Nikkatsu. > > More on: > http://cultural-typhoon.com/act/en/ > > Best, > Sten > > -- > Sten-Kristian Saluveer > Creative Director / Partner > Niijanaa Films > > > On 20 Feb 2014 at 15:49:18, Eija Niskanen (eija at helsinkicineaasia.fi) > wrote: > > Just a question: what is the name of that conference, Sushi Typhoon or > something, in Tokyo around July every year? Do they have a webpage? > > Best, > > Eija > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From sten at niijanaa.net Thu Feb 20 01:53:22 2014 From: sten at niijanaa.net (=?utf-8?Q?sten=40niijanaa.net?=) Date: Thu, 20 Feb 2014 15:53:22 +0900 Subject: [KineJapan] Conference named Sushi Typhoon? In-Reply-To: References: Message-ID: Eija, its Cultural Typhoon, Sushi Typhoon is a film label of Nikkatsu. More on: http://cultural-typhoon.com/act/en/ Best, Sten --? Sten-Kristian Saluveer? Creative Director / Partner Niijanaa Films On 20 Feb 2014 at 15:49:18, Eija Niskanen (eija at helsinkicineaasia.fi) wrote: Just a question: what is the name of that conference, Sushi Typhoon or something, in Tokyo around July every year? Do they have a webpage? Best, Eija _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Thu Feb 20 01:48:54 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Thu, 20 Feb 2014 08:48:54 +0200 Subject: [KineJapan] Conference named Sushi Typhoon? Message-ID: Just a question: what is the name of that conference, Sushi Typhoon or something, in Tokyo around July every year? Do they have a webpage? Best, Eija -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From marcwalkow at earthlink.net Wed Feb 19 09:39:47 2014 From: marcwalkow at earthlink.net (Marc Walkow) Date: Wed, 19 Feb 2014 09:39:47 -0500 Subject: [KineJapan] Right wing cinema In-Reply-To: References: <509E1973-0E8B-4279-919A-F4C513BDEFB0@earthlink.net>, <1392804831.5909.YahooMailBasic@web173101.mail.ir2.yahoo.com>, Message-ID: <62153620-989C-409D-AE03-7241EDAAD219@earthlink.net> Wow - I had no idea. Seems like it was only uploaded a month ago. Maybe they got tired of waiting for some film festival to notice them? Marc On Feb 19, 2014, at 5:23 AM, Jasper Sharp wrote: > Sorry, my computer just fired off that email without my having posted the link: https://www.youtube.com/watch?v=8ODh9L_Nf0s > > Anyway, it seems it has been uploaded legitimately by the films producers, so you can watch without the guilt of knowing you are ripping someone off. > > > > > > > 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 > > > > From: jasper_sharp at hotmail.com > To: kinejapan at lists.service.ohio-state.edu > Subject: RE: [KineJapan] Right wing cinema > Date: Wed, 19 Feb 2014 10:22:31 +0000 > > Well, you can easily find out now, as the whole film appears to have been uploaded to youtube: > > > > > > > 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: Wed, 19 Feb 2014 10:13:51 +0000 > > From: jimharper666 at yahoo.co.uk > > To: kinejapan at lists.service.ohio-state.edu > > Subject: Re: [KineJapan] Right wing cinema > > > > Hello! > > > > I'd be very interested in knowing which (alleged) rock star was involved with that feature, if anyone comes across the name. > > > > Best, > > > > Jim Harper. > > > > -------------------------------------------- > > On Wed, 19/2/14, Marc Walkow wrote: > > > > Subject: Re: [KineJapan] Right wing cinema > > To: "Japanese Cinema Discussion Forum" > > Date: Wednesday, 19 February, 2014, 4:44 > > > > Markus - bizarre > > you mention that film! I was hired by the company > > distributing it in Japan, or at least the company who'd > > produced it, to try to get it booked at overseas film > > festivals, along with an action film they also > > produced. > > The action film was innocuous enough, if not very > > well-made or interesting in terms of cast or director's > > name, and played at a couple of small festivals. But the > > documentary - called SENKAKU ROCK - didn't generate any > > interest at all. Not surprisingly, I think. Few overseas > > people who aren't already interested in either Chinese > > or Japanese issues have even heard of the Senkaku dispute, > > and I think those who had might have been scared off by the > > nationalist feelings expressed in the film. It also > > wasn't even feature-length, only about 45 minutes long, > > which made programming difficult. (Of course, nobody had > > heard of the rock star in it, either.) > > The film itself was pretty harmless, I felt. > > It's presented with a kind of feel-good nationalist > > tone, if that makes any sense, concentrating on personal and > > national pride rather than demonizing the Chinese, for the > > most part. The rocker plays a depressingly tiny concert in > > Okinawa, then sets out on a boat with a right-wing politico > > to set foot on one of the Senkaku islands and plant a > > Japanese flag. It gets interesting at this point, because > > they run into various problems before being picked up by > > Japanese maritime police, but manage to land after all, and > > even play two national rallying-cry songs. > > I'm not sure who you might have met, maybe > > the director (who was also on the boat to the island, of > > course). I'd met a couple of the company members who > > were flogging it overseas in Yubari last year, but don't > > remember their names and I don't think the guy you met > > was among them. Small world - I thought nobody had ever > > heard of this movie other than me! > > If any members of this mailing list is interested > > in seeing it privately, I can provide a password-protected > > Vimeo link. Just email me separately, please. > > Marc > > > > > > On Feb 18, 2014, at 11:23 PM, Markus Nornes > > wrote: > > Anecdotally, one of my strong > > experiences of the last Yamagata festival occurred late at > > night at Komian Club (the venue everyone gathers at after > > the films). I noticed a slightly awkward looking fellow > > flitting from one clutch of people to the other. At some > > point, it was my turn. He pushed a chirashi into my hand. It > > was a film he had produced about the Senkaku Islands, and > > featuring some aged rock star. Probably because I didn't > > turn and walk away from him, he become increasingly agitated > > as he described his film and explained Japan's natural > > right to the rocks?along with China's pernicious > > claims to sovereignty. After a few minutes, his eyes started > > to gleam and thanks to his vigorous, clipped speech he began > > foaming at the mouth. Becoming nervous, I found an excuse to > > hand him off to the next poor soul. The pattern continued > > until the end of the festival, I noticed. What amazed me was > > the way his body language and speech took on the conventions > > of the New Order films?think Abe Yutaka's war films, > > for example. I'd actually like to see his film. He > > wanted me to buy the rights and distribute it for him, but > > didn't offer a screener. > > > > Markus > > > > On Tue, Feb 18, 2014 > > at 10:38 PM, Gerow Aaron > > wrote: > > > > I had > > forgotten to respond to this, sorry. > > > > > > > > There are many ways one could talk about right wing cinema. > > Personally, I would argue it was more marginal to what at > > least the film studios and film critics wanted to say was > > Japanese film culture. What has changed now is this marginal > > status. > > > > > > > > > > Shintoho of course had its Meiji Tenno films, but those > > occupied an odd position, especially next to the eruguro > > Shintoho was also selling. > > > > > > > > Clearly there were a lot of war films. Some talk of films by > > Matsubayashi Shu'e or Abe Yutaka as rightist, in part > > because of their backgrounds, though Matsubayashi also made > > some great comedies. And Abe's Senkan Yamato is very > > different from Otokotachi no Yamato. Also, not a small > > number of war films were anti-war films, and others, like > > Okamoto's Gurentai films or the Heitai yakuza films, > > made mockery of the military. > > > > > > > > > > Isolde Standish has written about some of the war films and > > masculinity. Yoshikuni Igarashi has written about recent > > kamikaze films. I have several articles on Japan Focus about > > recent neo-nationalist war and fantasy films, one of which > > is a shorter version of a much longer piece about Yamato > > films that is forthcoming. > > > > > > > > > > Aaron Gerow > > > > > > > > > > > > > > > > On Feb 15, 2014, at 8:40 AM, Peter Larson wrote: > > > > > > > > > All, > > > > > > > > > > A friend and I were discussing the recent success of > > Eien no zero (a recent war piece about Kamikaze pilots in > > WWII) in the context of the recent "resurgence" > > (did they ever go away?) of right wingers in Japanese > > politics. > > > > > > > > > > > > It seems like every few years a film with nationalist > > undertones comes out of Japan. Does anyone know if anyone > > has ever done any work on right wing cinema? > > > > > > > > > > Pete > > > > > > > _______________________________________________ > > > > > 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 > > > > > > > > > > -- > > Markus > > NornesChair, > > Department of Screen Arts and Cultures > > Professor of Asian Cinema, > > Department of Asian Languages and CulturesProfessor, School of Art & > > Design > > > > Department of Screen Arts and > > Cultures > > 6348 North > > Quad105 S. State > > StreetAnn Arbor, MI > > 48109-1285 > > > > > > > > > > > > _______________________________________________ > > 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 > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jimharper666 at yahoo.co.uk Wed Feb 19 05:34:20 2014 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Wed, 19 Feb 2014 10:34:20 +0000 Subject: [KineJapan] Right wing cinema In-Reply-To: Message-ID: <1392806060.88976.YahooMailBasic@web173106.mail.ir2.yahoo.com> Thank you! His name's Tokma and he's from the 'new religious movement' (a.k.a. cult), the Happiness Realisation Party. They're firm right-wingers with a the usual grudge about China, Nanking, etc etc. Tokma himself stood for governor of Tokyo in 2012. Jim Harper. _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jasper_sharp at hotmail.com Wed Feb 19 05:23:54 2014 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Wed, 19 Feb 2014 10:23:54 +0000 Subject: [KineJapan] Right wing cinema In-Reply-To: References: <509E1973-0E8B-4279-919A-F4C513BDEFB0@earthlink.net>, <1392804831.5909.YahooMailBasic@web173101.mail.ir2.yahoo.com>, Message-ID: Sorry, my computer just fired off that email without my having posted the link: https://www.youtube.com/watch?v=8ODh9L_Nf0s Anyway, it seems it has been uploaded legitimately by the films producers, so you can watch without the guilt of knowing you are ripping someone off. 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 From: jasper_sharp at hotmail.com To: kinejapan at lists.service.ohio-state.edu Subject: RE: [KineJapan] Right wing cinema Date: Wed, 19 Feb 2014 10:22:31 +0000 Well, you can easily find out now, as the whole film appears to have been uploaded to youtube: 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: Wed, 19 Feb 2014 10:13:51 +0000 > From: jimharper666 at yahoo.co.uk > To: kinejapan at lists.service.ohio-state.edu > Subject: Re: [KineJapan] Right wing cinema > > Hello! > > I'd be very interested in knowing which (alleged) rock star was involved with that feature, if anyone comes across the name. > > Best, > > Jim Harper. > > -------------------------------------------- > On Wed, 19/2/14, Marc Walkow wrote: > > Subject: Re: [KineJapan] Right wing cinema > To: "Japanese Cinema Discussion Forum" > Date: Wednesday, 19 February, 2014, 4:44 > > Markus - bizarre > you mention that film! I was hired by the company > distributing it in Japan, or at least the company who'd > produced it, to try to get it booked at overseas film > festivals, along with an action film they also > produced. > The action film was innocuous enough, if not very > well-made or interesting in terms of cast or director's > name, and played at a couple of small festivals. But the > documentary - called SENKAKU ROCK - didn't generate any > interest at all. Not surprisingly, I think. Few overseas > people who aren't already interested in either Chinese > or Japanese issues have even heard of the Senkaku dispute, > and I think those who had might have been scared off by the > nationalist feelings expressed in the film. It also > wasn't even feature-length, only about 45 minutes long, > which made programming difficult. (Of course, nobody had > heard of the rock star in it, either.) > The film itself was pretty harmless, I felt. > It's presented with a kind of feel-good nationalist > tone, if that makes any sense, concentrating on personal and > national pride rather than demonizing the Chinese, for the > most part. The rocker plays a depressingly tiny concert in > Okinawa, then sets out on a boat with a right-wing politico > to set foot on one of the Senkaku islands and plant a > Japanese flag. It gets interesting at this point, because > they run into various problems before being picked up by > Japanese maritime police, but manage to land after all, and > even play two national rallying-cry songs. > I'm not sure who you might have met, maybe > the director (who was also on the boat to the island, of > course). I'd met a couple of the company members who > were flogging it overseas in Yubari last year, but don't > remember their names and I don't think the guy you met > was among them. Small world - I thought nobody had ever > heard of this movie other than me! > If any members of this mailing list is interested > in seeing it privately, I can provide a password-protected > Vimeo link. Just email me separately, please. > Marc > > > On Feb 18, 2014, at 11:23 PM, Markus Nornes > wrote: > Anecdotally, one of my strong > experiences of the last Yamagata festival occurred late at > night at Komian Club (the venue everyone gathers at after > the films). I noticed a slightly awkward looking fellow > flitting from one clutch of people to the other. At some > point, it was my turn. He pushed a chirashi into my hand. It > was a film he had produced about the Senkaku Islands, and > featuring some aged rock star. Probably because I didn't > turn and walk away from him, he become increasingly agitated > as he described his film and explained Japan's natural > right to the rocks?along with China's pernicious > claims to sovereignty. After a few minutes, his eyes started > to gleam and thanks to his vigorous, clipped speech he began > foaming at the mouth. Becoming nervous, I found an excuse to > hand him off to the next poor soul. The pattern continued > until the end of the festival, I noticed. What amazed me was > the way his body language and speech took on the conventions > of the New Order films?think Abe Yutaka's war films, > for example. I'd actually like to see his film. He > wanted me to buy the rights and distribute it for him, but > didn't offer a screener. > > Markus > > On Tue, Feb 18, 2014 > at 10:38 PM, Gerow Aaron > wrote: > > I had > forgotten to respond to this, sorry. > > > > There are many ways one could talk about right wing cinema. > Personally, I would argue it was more marginal to what at > least the film studios and film critics wanted to say was > Japanese film culture. What has changed now is this marginal > status. > > > > > Shintoho of course had its Meiji Tenno films, but those > occupied an odd position, especially next to the eruguro > Shintoho was also selling. > > > > Clearly there were a lot of war films. Some talk of films by > Matsubayashi Shu'e or Abe Yutaka as rightist, in part > because of their backgrounds, though Matsubayashi also made > some great comedies. And Abe's Senkan Yamato is very > different from Otokotachi no Yamato. Also, not a small > number of war films were anti-war films, and others, like > Okamoto's Gurentai films or the Heitai yakuza films, > made mockery of the military. > > > > > Isolde Standish has written about some of the war films and > masculinity. Yoshikuni Igarashi has written about recent > kamikaze films. I have several articles on Japan Focus about > recent neo-nationalist war and fantasy films, one of which > is a shorter version of a much longer piece about Yamato > films that is forthcoming. > > > > > Aaron Gerow > > > > > > > > On Feb 15, 2014, at 8:40 AM, Peter Larson wrote: > > > > > All, > > > > > > A friend and I were discussing the recent success of > Eien no zero (a recent war piece about Kamikaze pilots in > WWII) in the context of the recent "resurgence" > (did they ever go away?) of right wingers in Japanese > politics. > > > > > > > It seems like every few years a film with nationalist > undertones comes out of Japan. Does anyone know if anyone > has ever done any work on right wing cinema? > > > > > > Pete > > > > _______________________________________________ > > > 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 > > > > > -- > Markus > NornesChair, > Department of Screen Arts and Cultures > Professor of Asian Cinema, > Department of Asian Languages and CulturesProfessor, School of Art & > Design > > Department of Screen Arts and > Cultures > 6348 North > Quad105 S. State > StreetAnn Arbor, MI > 48109-1285 > > > > > > _______________________________________________ > 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jasper_sharp at hotmail.com Wed Feb 19 05:22:31 2014 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Wed, 19 Feb 2014 10:22:31 +0000 Subject: [KineJapan] Right wing cinema In-Reply-To: <1392804831.5909.YahooMailBasic@web173101.mail.ir2.yahoo.com> References: <509E1973-0E8B-4279-919A-F4C513BDEFB0@earthlink.net>, <1392804831.5909.YahooMailBasic@web173101.mail.ir2.yahoo.com> Message-ID: Well, you can easily find out now, as the whole film appears to have been uploaded to youtube: 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: Wed, 19 Feb 2014 10:13:51 +0000 > From: jimharper666 at yahoo.co.uk > To: kinejapan at lists.service.ohio-state.edu > Subject: Re: [KineJapan] Right wing cinema > > Hello! > > I'd be very interested in knowing which (alleged) rock star was involved with that feature, if anyone comes across the name. > > Best, > > Jim Harper. > > -------------------------------------------- > On Wed, 19/2/14, Marc Walkow wrote: > > Subject: Re: [KineJapan] Right wing cinema > To: "Japanese Cinema Discussion Forum" > Date: Wednesday, 19 February, 2014, 4:44 > > Markus - bizarre > you mention that film! I was hired by the company > distributing it in Japan, or at least the company who'd > produced it, to try to get it booked at overseas film > festivals, along with an action film they also > produced. > The action film was innocuous enough, if not very > well-made or interesting in terms of cast or director's > name, and played at a couple of small festivals. But the > documentary - called SENKAKU ROCK - didn't generate any > interest at all. Not surprisingly, I think. Few overseas > people who aren't already interested in either Chinese > or Japanese issues have even heard of the Senkaku dispute, > and I think those who had might have been scared off by the > nationalist feelings expressed in the film. It also > wasn't even feature-length, only about 45 minutes long, > which made programming difficult. (Of course, nobody had > heard of the rock star in it, either.) > The film itself was pretty harmless, I felt. > It's presented with a kind of feel-good nationalist > tone, if that makes any sense, concentrating on personal and > national pride rather than demonizing the Chinese, for the > most part. The rocker plays a depressingly tiny concert in > Okinawa, then sets out on a boat with a right-wing politico > to set foot on one of the Senkaku islands and plant a > Japanese flag. It gets interesting at this point, because > they run into various problems before being picked up by > Japanese maritime police, but manage to land after all, and > even play two national rallying-cry songs. > I'm not sure who you might have met, maybe > the director (who was also on the boat to the island, of > course). I'd met a couple of the company members who > were flogging it overseas in Yubari last year, but don't > remember their names and I don't think the guy you met > was among them. Small world - I thought nobody had ever > heard of this movie other than me! > If any members of this mailing list is interested > in seeing it privately, I can provide a password-protected > Vimeo link. Just email me separately, please. > Marc > > > On Feb 18, 2014, at 11:23 PM, Markus Nornes > wrote: > Anecdotally, one of my strong > experiences of the last Yamagata festival occurred late at > night at Komian Club (the venue everyone gathers at after > the films). I noticed a slightly awkward looking fellow > flitting from one clutch of people to the other. At some > point, it was my turn. He pushed a chirashi into my hand. It > was a film he had produced about the Senkaku Islands, and > featuring some aged rock star. Probably because I didn't > turn and walk away from him, he become increasingly agitated > as he described his film and explained Japan's natural > right to the rocks?along with China's pernicious > claims to sovereignty. After a few minutes, his eyes started > to gleam and thanks to his vigorous, clipped speech he began > foaming at the mouth. Becoming nervous, I found an excuse to > hand him off to the next poor soul. The pattern continued > until the end of the festival, I noticed. What amazed me was > the way his body language and speech took on the conventions > of the New Order films?think Abe Yutaka's war films, > for example. I'd actually like to see his film. He > wanted me to buy the rights and distribute it for him, but > didn't offer a screener. > > Markus > > On Tue, Feb 18, 2014 > at 10:38 PM, Gerow Aaron > wrote: > > I had > forgotten to respond to this, sorry. > > > > There are many ways one could talk about right wing cinema. > Personally, I would argue it was more marginal to what at > least the film studios and film critics wanted to say was > Japanese film culture. What has changed now is this marginal > status. > > > > > Shintoho of course had its Meiji Tenno films, but those > occupied an odd position, especially next to the eruguro > Shintoho was also selling. > > > > Clearly there were a lot of war films. Some talk of films by > Matsubayashi Shu'e or Abe Yutaka as rightist, in part > because of their backgrounds, though Matsubayashi also made > some great comedies. And Abe's Senkan Yamato is very > different from Otokotachi no Yamato. Also, not a small > number of war films were anti-war films, and others, like > Okamoto's Gurentai films or the Heitai yakuza films, > made mockery of the military. > > > > > Isolde Standish has written about some of the war films and > masculinity. Yoshikuni Igarashi has written about recent > kamikaze films. I have several articles on Japan Focus about > recent neo-nationalist war and fantasy films, one of which > is a shorter version of a much longer piece about Yamato > films that is forthcoming. > > > > > Aaron Gerow > > > > > > > > On Feb 15, 2014, at 8:40 AM, Peter Larson wrote: > > > > > All, > > > > > > A friend and I were discussing the recent success of > Eien no zero (a recent war piece about Kamikaze pilots in > WWII) in the context of the recent "resurgence" > (did they ever go away?) of right wingers in Japanese > politics. > > > > > > > It seems like every few years a film with nationalist > undertones comes out of Japan. Does anyone know if anyone > has ever done any work on right wing cinema? > > > > > > Pete > > > > _______________________________________________ > > > 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 > > > > > -- > Markus > NornesChair, > Department of Screen Arts and Cultures > Professor of Asian Cinema, > Department of Asian Languages and CulturesProfessor, School of Art & > Design > > Department of Screen Arts and > Cultures > 6348 North > Quad105 S. State > StreetAnn Arbor, MI > 48109-1285 > > > > > > _______________________________________________ > 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jimharper666 at yahoo.co.uk Wed Feb 19 05:13:51 2014 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Wed, 19 Feb 2014 10:13:51 +0000 Subject: [KineJapan] Right wing cinema In-Reply-To: <509E1973-0E8B-4279-919A-F4C513BDEFB0@earthlink.net> Message-ID: <1392804831.5909.YahooMailBasic@web173101.mail.ir2.yahoo.com> Hello! I'd be very interested in knowing which (alleged) rock star was involved with that feature, if anyone comes across the name. Best, Jim Harper. -------------------------------------------- On Wed, 19/2/14, Marc Walkow wrote: Subject: Re: [KineJapan] Right wing cinema To: "Japanese Cinema Discussion Forum" Date: Wednesday, 19 February, 2014, 4:44 Markus - bizarre you mention that film! I was hired by the company distributing it in Japan, or at least the company who'd produced it, to try to get it booked at overseas film festivals, along with an action film they also produced.? The action film was innocuous enough, if not very well-made or interesting in terms of cast or director's name, and played at a couple of small festivals. But the documentary - called SENKAKU ROCK - didn't generate any interest at all. Not surprisingly, I think. Few overseas people who aren't already interested in either Chinese or Japanese issues have even heard of the Senkaku dispute, and I think those who had might have been scared off by the nationalist feelings expressed in the film. It also wasn't even feature-length, only about 45 minutes long, which made programming difficult. (Of course, nobody had heard of the rock star in it, either.)? The film itself was pretty harmless, I felt. It's presented with a kind of feel-good nationalist tone, if that makes any sense, concentrating on personal and national pride rather than demonizing the Chinese, for the most part. The rocker plays a depressingly tiny concert in Okinawa, then sets out on a boat with a right-wing politico to set foot on one of the Senkaku islands and plant a Japanese flag. It gets interesting at this point, because they run into various problems before being picked up by Japanese maritime police, but manage to land after all, and even play two national rallying-cry songs.? I'm not sure who you might have met, maybe the director (who was also on the boat to the island, of course). I'd met a couple of the company members who were flogging it overseas in Yubari last year, but don't remember their names and I don't think the guy you met was among them. Small world - I thought nobody had ever heard of this movie other than me! If any members of this mailing list is interested in seeing it privately, I can provide a password-protected Vimeo link. Just email me separately, please. Marc On Feb 18, 2014, at 11:23 PM, Markus Nornes wrote: Anecdotally, one of my strong experiences of the last Yamagata festival occurred late at night at Komian Club (the venue everyone gathers at after the films). I noticed a slightly awkward looking fellow flitting from one clutch of people to the other. At some point, it was my turn. He pushed a chirashi into my hand. It was a film he had produced about the Senkaku Islands, and featuring some aged rock star. Probably because I didn't turn and walk away from him, he become increasingly agitated as he described his film and explained Japan's natural right to the rocks?along with China's pernicious claims to sovereignty. After a few minutes, his eyes started to gleam and thanks to his vigorous, clipped speech he began foaming at the mouth. Becoming nervous, I found an excuse to hand him off to the next poor soul. The pattern continued until the end of the festival, I noticed. What amazed me was the way his body language and speech took on the conventions of the New Order films?think Abe Yutaka's war films, for example. I'd actually like to see his film. He wanted me to buy the rights and distribute it for him, but didn't offer a screener.? Markus On Tue, Feb 18, 2014 at 10:38 PM, Gerow Aaron wrote: I had forgotten to respond to this, sorry. There are many ways one could talk about right wing cinema. Personally, I would argue it was more marginal to what at least the film studios and film critics wanted to say was Japanese film culture. What has changed now is this marginal status. Shintoho of course had its Meiji Tenno films, but those occupied an odd position, especially next to the eruguro Shintoho was also selling. Clearly there were a lot of war films. Some talk of films by Matsubayashi Shu'e or Abe Yutaka as rightist, in part because of their backgrounds, though Matsubayashi also made some great comedies. And Abe's Senkan Yamato is very different from Otokotachi no Yamato. Also, not a small number of war films were anti-war films, and others, like Okamoto's Gurentai films or the Heitai yakuza films, made mockery of the military. Isolde Standish has written about some of the war films and masculinity. Yoshikuni Igarashi has written about recent kamikaze films. I have several articles on Japan Focus about recent neo-nationalist war and fantasy films, one of which is a shorter version of a much longer piece about Yamato films that is forthcoming. Aaron Gerow On Feb 15, 2014, at 8:40 AM, Peter Larson wrote: > All, > > A friend and I were discussing the recent success of Eien no zero (a recent war piece about Kamikaze pilots in WWII) in the context of the recent "resurgence" (did they ever go away?) of right wingers in Japanese politics. > > It seems like every few years a film with nationalist undertones comes out of Japan. Does anyone know if anyone has ever done any work on right wing cinema? > > Pete > _______________________________________________ > 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 -- Markus NornesChair, Department of?Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and CulturesProfessor, School of Art & Design Department of Screen Arts and Cultures 6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285 _______________________________________________ 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 From marcwalkow at earthlink.net Tue Feb 18 23:44:57 2014 From: marcwalkow at earthlink.net (Marc Walkow) Date: Tue, 18 Feb 2014 23:44:57 -0500 Subject: [KineJapan] Right wing cinema In-Reply-To: References: <86B6DC63-60B6-49D6-BBCF-49F15858F07B@yale.edu> Message-ID: <509E1973-0E8B-4279-919A-F4C513BDEFB0@earthlink.net> Markus - bizarre you mention that film! I was hired by the company distributing it in Japan, or at least the company who'd produced it, to try to get it booked at overseas film festivals, along with an action film they also produced. The action film was innocuous enough, if not very well-made or interesting in terms of cast or director's name, and played at a couple of small festivals. But the documentary - called SENKAKU ROCK - didn't generate any interest at all. Not surprisingly, I think. Few overseas people who aren't already interested in either Chinese or Japanese issues have even heard of the Senkaku dispute, and I think those who had might have been scared off by the nationalist feelings expressed in the film. It also wasn't even feature-length, only about 45 minutes long, which made programming difficult. (Of course, nobody had heard of the rock star in it, either.) The film itself was pretty harmless, I felt. It's presented with a kind of feel-good nationalist tone, if that makes any sense, concentrating on personal and national pride rather than demonizing the Chinese, for the most part. The rocker plays a depressingly tiny concert in Okinawa, then sets out on a boat with a right-wing politico to set foot on one of the Senkaku islands and plant a Japanese flag. It gets interesting at this point, because they run into various problems before being picked up by Japanese maritime police, but manage to land after all, and even play two national rallying-cry songs. I'm not sure who you might have met, maybe the director (who was also on the boat to the island, of course). I'd met a couple of the company members who were flogging it overseas in Yubari last year, but don't remember their names and I don't think the guy you met was among them. Small world - I thought nobody had ever heard of this movie other than me! If any members of this mailing list is interested in seeing it privately, I can provide a password-protected Vimeo link. Just email me separately, please. Marc On Feb 18, 2014, at 11:23 PM, Markus Nornes wrote: > Anecdotally, one of my strong experiences of the last Yamagata festival occurred late at night at Komian Club (the venue everyone gathers at after the films). I noticed a slightly awkward looking fellow flitting from one clutch of people to the other. At some point, it was my turn. He pushed a chirashi into my hand. It was a film he had produced about the Senkaku Islands, and featuring some aged rock star. Probably because I didn't turn and walk away from him, he become increasingly agitated as he described his film and explained Japan's natural right to the rocks?along with China's pernicious claims to sovereignty. After a few minutes, his eyes started to gleam and thanks to his vigorous, clipped speech he began foaming at the mouth. Becoming nervous, I found an excuse to hand him off to the next poor soul. The pattern continued until the end of the festival, I noticed. What amazed me was the way his body language and speech took on the conventions of the New Order films?think Abe Yutaka's war films, for example. I'd actually like to see his film. He wanted me to buy the rights and distribute it for him, but didn't offer a screener. > > Markus > > > On Tue, Feb 18, 2014 at 10:38 PM, Gerow Aaron wrote: > I had forgotten to respond to this, sorry. > > There are many ways one could talk about right wing cinema. Personally, I would argue it was more marginal to what at least the film studios and film critics wanted to say was Japanese film culture. What has changed now is this marginal status. > > Shintoho of course had its Meiji Tenno films, but those occupied an odd position, especially next to the eruguro Shintoho was also selling. > > Clearly there were a lot of war films. Some talk of films by Matsubayashi Shu'e or Abe Yutaka as rightist, in part because of their backgrounds, though Matsubayashi also made some great comedies. And Abe's Senkan Yamato is very different from Otokotachi no Yamato. Also, not a small number of war films were anti-war films, and others, like Okamoto's Gurentai films or the Heitai yakuza films, made mockery of the military. > > Isolde Standish has written about some of the war films and masculinity. Yoshikuni Igarashi has written about recent kamikaze films. I have several articles on Japan Focus about recent neo-nationalist war and fantasy films, one of which is a shorter version of a much longer piece about Yamato films that is forthcoming. > > Aaron Gerow > > > > On Feb 15, 2014, at 8:40 AM, Peter Larson wrote: > > > All, > > > > A friend and I were discussing the recent success of Eien no zero (a recent war piece about Kamikaze pilots in WWII) in the context of the recent "resurgence" (did they ever go away?) of right wingers in Japanese politics. > > > > It seems like every few years a film with nationalist undertones comes out of Japan. Does anyone know if anyone has ever done any work on right wing cinema? > > > > Pete > > _______________________________________________ > > 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 > > > > -- > Markus Nornes > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > Department of Screen Arts and Cultures > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Tue Feb 18 23:23:58 2014 From: amnornes at umich.edu (Markus Nornes) Date: Tue, 18 Feb 2014 23:23:58 -0500 Subject: [KineJapan] Right wing cinema In-Reply-To: <86B6DC63-60B6-49D6-BBCF-49F15858F07B@yale.edu> References: <86B6DC63-60B6-49D6-BBCF-49F15858F07B@yale.edu> Message-ID: Anecdotally, one of my strong experiences of the last Yamagata festival occurred late at night at Komian Club (the venue everyone gathers at after the films). I noticed a slightly awkward looking fellow flitting from one clutch of people to the other. At some point, it was my turn. He pushed a chirashi into my hand. It was a film he had produced about the Senkaku Islands, and featuring some aged rock star. Probably because I didn't turn and walk away from him, he become increasingly agitated as he described his film and explained Japan's natural right to the rocks--along with China's pernicious claims to sovereignty. After a few minutes, his eyes started to gleam and thanks to his vigorous, clipped speech he began foaming at the mouth. Becoming nervous, I found an excuse to hand him off to the next poor soul. The pattern continued until the end of the festival, I noticed. What amazed me was the way his body language and speech took on the conventions of the New Order films--think Abe Yutaka's war films, for example. I'd actually like to see his film. He wanted me to buy the rights and distribute it for him, but didn't offer a screener. Markus On Tue, Feb 18, 2014 at 10:38 PM, Gerow Aaron wrote: > I had forgotten to respond to this, sorry. > > There are many ways one could talk about right wing cinema. Personally, I > would argue it was more marginal to what at least the film studios and film > critics wanted to say was Japanese film culture. What has changed now is > this marginal status. > > Shintoho of course had its Meiji Tenno films, but those occupied an odd > position, especially next to the eruguro Shintoho was also selling. > > Clearly there were a lot of war films. Some talk of films by Matsubayashi > Shu'e or Abe Yutaka as rightist, in part because of their backgrounds, > though Matsubayashi also made some great comedies. And Abe's Senkan Yamato > is very different from Otokotachi no Yamato. Also, not a small number of > war films were anti-war films, and others, like Okamoto's Gurentai films or > the Heitai yakuza films, made mockery of the military. > > Isolde Standish has written about some of the war films and masculinity. > Yoshikuni Igarashi has written about recent kamikaze films. I have several > articles on Japan Focus about recent neo-nationalist war and fantasy films, > one of which is a shorter version of a much longer piece about Yamato films > that is forthcoming. > > Aaron Gerow > > > > On Feb 15, 2014, at 8:40 AM, Peter Larson wrote: > > > All, > > > > A friend and I were discussing the recent success of Eien no zero (a > recent war piece about Kamikaze pilots in WWII) in the context of the > recent "resurgence" (did they ever go away?) of right wingers in Japanese > politics. > > > > It seems like every few years a film with nationalist undertones comes > out of Japan. Does anyone know if anyone has ever done any work on right > wing cinema? > > > > Pete > > _______________________________________________ > > 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 > -- *Markus Nornes* Chair, Department of Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and Cultures Professor, School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Mon Feb 17 22:26:03 2014 From: amnornes at umich.edu (Markus Nornes) Date: Mon, 17 Feb 2014 22:26:03 -0500 Subject: [KineJapan] Pre-1930s Film Doujinshi In-Reply-To: <96933C72AA9E2948A936F760F7A5A00C0E9F6D06@HARVANDMBX04.fasmail.priv> References: <96933C72AA9E2948A936F760F7A5A00C0E9F6D06@HARVANDMBX04.fasmail.priv> Message-ID: The most significant collection of these is in the Makino Collection at Columbia. Another important cache is in the digital reprint series at UM CJS: https://www.cjspubs.lsa.umich.edu/electronic/facultyseries/list/series/prewar/journals.php Markus On Mon, Feb 17, 2014 at 7:48 PM, Sanders, Kimberlee < ksanders at fas.harvard.edu> wrote: > Dear all, > > I am currently working on a research project about amateur publication and > pre-1930s film doujinshi, and I was wondering if anyone might have any > leads for finding concrete information about titles, authors, circulation, > or any archives that might still hold copies. Any information would be > greatly appreciated! > > Thank you, > > Kimberlee Sanders > M.A. Student, East Asian Film and Media Studies > Regional Studies - East Asia > Harvard University > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > -- *Markus Nornes* Chair, Department of Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and Cultures Professor, School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From ksanders at fas.harvard.edu Mon Feb 17 19:48:16 2014 From: ksanders at fas.harvard.edu (Sanders, Kimberlee) Date: Tue, 18 Feb 2014 00:48:16 +0000 Subject: [KineJapan] Pre-1930s Film Doujinshi Message-ID: <96933C72AA9E2948A936F760F7A5A00C0E9F6D06@HARVANDMBX04.fasmail.priv> Dear all, I am currently working on a research project about amateur publication and pre-1930s film doujinshi, and I was wondering if anyone might have any leads for finding concrete information about titles, authors, circulation, or any archives that might still hold copies. Any information would be greatly appreciated! Thank you, Kimberlee Sanders M.A. Student, East Asian Film and Media Studies Regional Studies - East Asia Harvard University _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From asatoikeda at gmail.com Mon Feb 17 14:40:46 2014 From: asatoikeda at gmail.com (Ikeda Asato) Date: Mon, 17 Feb 2014 14:40:46 -0500 Subject: [KineJapan] Contact Address for Kobayashi Yoshinori and Miyazaki Hayao Message-ID: Dear all, Hello. I'm working with Mark Selden and Matthew Penney to publish translations of anti-nuclear writings by Kobayashi Yoshinori and Miyazaki Hayao in The Asia-Pacific Journal: Japan Focus. We are trying to reach both Kobayashi and Miyazaki to get permissions, but the only contacts address we have found so far were email addresses on their websites. If any of you know a better way to contact them, could you please let me know? I would appreciate your input very much. Best, Asato Ikeda -- Asato Ikeda Assistant Professor Fordham University Faculty Memorial Hall, Room 440 Bronx, New York 10458 aikeda at fordham.edu http://www.brill.com/art-and-war-japan-and-its-empire-1931-1960 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From pslarson2 at gmail.com Sun Feb 16 08:47:59 2014 From: pslarson2 at gmail.com (Peter Larson) Date: Sun, 16 Feb 2014 08:47:59 -0500 Subject: [KineJapan] Right wing cinema In-Reply-To: <5300745B.20401@xs4all.nl> References: <5300745B.20401@xs4all.nl> Message-ID: Dick, My feeling as well. Have you found that there is any link between studio ownership/funding and rightist film production? I'll be interested to read your work. An aside: A friend of mine (gaijin) was in Pride (1998) and can be seen displaying his middle finger clearly in one of the court room scenes. Pete On Sun, Feb 16, 2014 at 3:18 AM, Dick Stegewerns wrote: > Dear Pete, > > I am working on postwar and contemporary Japanese war films. From my point > of view 'resurgence' is a mistaken concept. There is immense continuity in > terms of 'rightist' war films ever since the end of the occupation. > > Best regards, > > Dick > > > > Peter Larson schreef op 15-2-2014 14:40: > > All, > > A friend and I were discussing the recent success of Eien no zero (a > recent war piece about Kamikaze pilots in WWII) in the context of the > recent "resurgence" (did they ever go away?) of right wingers in Japanese > politics. > > It seems like every few years a film with nationalist undertones comes out > of Japan. Does anyone know if anyone has ever done any work on right wing > cinema? > > Pete > > > _______________________________________________ > KineJapan mailing listKineJapan at lists.service.ohio-state.eduhttps://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From dick.stegewerns at xs4all.nl Sun Feb 16 03:18:35 2014 From: dick.stegewerns at xs4all.nl (Dick Stegewerns) Date: Sun, 16 Feb 2014 09:18:35 +0100 Subject: [KineJapan] Right wing cinema In-Reply-To: References: Message-ID: <5300745B.20401@xs4all.nl> Dear Pete, I am working on postwar and contemporary Japanese war films. From my point of view 'resurgence' is a mistaken concept. There is immense continuity in terms of 'rightist' war films ever since the end of the occupation. Best regards, Dick Peter Larson schreef op 15-2-2014 14:40: > All, > > A friend and I were discussing the recent success of Eien no zero (a > recent war piece about Kamikaze pilots in WWII) in the context of the > recent "resurgence" (did they ever go away?) of right wingers in > Japanese politics. > > It seems like every few years a film with nationalist undertones comes > out of Japan. Does anyone know if anyone has ever done any work on > right wing cinema? > > Pete > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From macyroger at yahoo.co.uk Sat Feb 15 18:38:37 2014 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sat, 15 Feb 2014 23:38:37 +0000 Subject: [KineJapan] Berlinale Awards Message-ID: <1392507517.34465.YahooMailNeo@web171405.mail.ir2.yahoo.com> Dear KineJapaners, Well, knock me down with a feather.? The full list of awards at the 2014 Berlinale have been announced https://www.berlinale.de/media/pdf_word/service_7/64_ifb/64_Berlinale_Awards.pdf , and KUROKI Haru has won best actress award for her role in Chiisai ouchi.? I had to look up what her role is, which is as the young maid of the house.? She?s listed seventh on IMDb, which is about right.? She has few lines but serves many drinks and delicacies to the guests whilst keeping her eyes to the ground.? She has to show a transition from a Yamagata mountain accent to a more metropolitan one and does also have some voice-over.? This seems to be her first appearance in a feature film.? She may have the makings of a fine actress but I don?t see how you could tell from this and I?m not convinced this award is helpful.? She did appear last night before the film at the Berlinale Palast in a fetching kimono and said a few words of halting German.? The characters, since they?re not all standard, are ???. The eight ?silver bear? awards are the main festival awards, but the full list numbers about 80.? The children?s jury of the section ?generation Kplus? gave a special mention to Hito no nozomi no yorokobi yo (which they group somewhat differently), by SUGITA Masakazu - first feature for this director.? I have interviewed Sugita-san, as well as the festival-section?s director.? Sugita was as surprised as I was that it ended up in a children?s section.? In a jurisdiction with me as censor it wouldn?t be shown to children at all.? I hope to write this up for Midnight Eye, but the main acting part, by ?MORI Ayane was far more demanding than that of the main silver bear winner and carried her film.? Sugita-san tells me she?s fourteen but she convinced me as a nine-year-old. The Fipresci Forum award went to Forma, by SAKAMOTO Ayumi, a film I actively disliked but, again, much of the acting was commendable. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From CookT at wpunj.edu Sat Feb 15 10:31:36 2014 From: CookT at wpunj.edu (Cook, Theodore) Date: Sat, 15 Feb 2014 15:31:36 +0000 Subject: [KineJapan] =?utf-8?q?Yamada_Y=EF=8C=B7ji=E2=80=99s_Chiisai_ouchi?= In-Reply-To: <1392470490.69082.YahooMailNeo@web171402.mail.ir2.yahoo.com> References: <1392470490.69082.YahooMailNeo@web171402.mail.ir2.yahoo.com> Message-ID: <0F2F6E8F-BC6A-47E4-91EA-7E7D475409D8@wpunj.edu> Roger, This is a fascinating and detail rich report that reflects exactly how I find myself watching movies with war themes. Thank you! I was also interested in the reference to Gonin no sekk?hei . Ted Sent from my iPhone On Feb 15, 2014, at 8:21 AM, "Roger Macy" > wrote: Dear KineJapaners, A few early thoughts on Yamada Y?ji?s new Chiisai ouchi that premiered here in Berlin last night, for anyone who is interested. ?The Little House? - seems to go out of its way to avoid adverse criticism and, arguably, too far. It has a flash-back structure that starts with the funeral of a grand aunt in Yamagata-prefecture, flashing back to her being encouraged to write her war-time story by a grand nephew, flashing back again to the war-time story itself. But there is a coda where we flash forward, after the funeral and the rediscovery of the story, to this same nephew?s subsequent hunt for survivors of her story. The story comes from the prize-winning novel of 2010 by Nakajima Ky?ko. I do not know how the story unfolds in that book. The intermediate flash-back allows the script-writers, Yamada and frequent collaborator Hiramatsu Eriko, to filter the language. One particular problem of stories from this period - and not just of Japanese films - is that if the terminology for describing the war is historically authentic, then certain attitudes and positions could be imported without critical judgement, and it is clear that the authors wish to avoid this, even when this filtering device gets in the way of a crisp story. Grand aunt, who presumably has had little use for her schooling in eighty years, has her young relative as an analogue spell-checker, which places him to say such things as ?You?re not telling the truth - Tokyo couldn?t have been at peace in 1936, five years after the start of the ?Fifteen years? war? and in the year of the attempted coup.? This allows grand aunt to affirm the life she experienced in service to a middle-class family of that time. ?Fifteen years? war? is hardly an uncontested term for that period, even by a 2000s student, but the rhetorical device allows a certain distance from the language to be established. In other cases I think the writers gloss over the language and propaganda. For example, if a 1943 character were to criticise the eating of delicacies, I don?t think that they would refer to the ?starving soldiers in New Guinea? because I?m sure that information would not have been broadcast. I would like to have said definitely that the film explains too much that people would know about the war-time era but, alas, Yamada may be right that he needs to start near the beginning. A screening here of Gonin no sekk?hei / Five Scouts got patriotic noises of approval from some of the audience that upset others. In contrast, Yamada has gone out of his way in an interview in the Hollywood Reporter to criticise the current drift of Japanese foreign policy. The film, for a prime Saturday night slot at the Berlinale, looked decidedly low budget. The only street scene I recall was stock film. There simply wasn?t enough dirt, or wear on these fine, war-time clothes, which looked like they had to go back to the hire-company totally unblemished. A little weathering of the digital red roof of the house wouldn?t have broken the bank. Although I couldn?t relate the interior sets to the digital exterior, neither seemed very little, to me. The careful showing of a copy of Japanese ?Gone With the Wind? did not, in the end, lead me anywhere. We get a brief modelling of Tokyo fire-bombing but no mention of fire-storms. There was a point where the writers seemed to have set up two interesting and interlocking love-triangles of crossed gender but the tide abated with most feelings still well damned up, or at least, unrevealed. This should have an opportunity for a Berlin audience to relate to a tale of city-dwellers sleep-walking to their destruction but I thought the reception was muted. Roger _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From pslarson2 at gmail.com Sat Feb 15 08:40:05 2014 From: pslarson2 at gmail.com (Peter Larson) Date: Sat, 15 Feb 2014 08:40:05 -0500 Subject: [KineJapan] Right wing cinema Message-ID: All, A friend and I were discussing the recent success of Eien no zero (a recent war piece about Kamikaze pilots in WWII) in the context of the recent "resurgence" (did they ever go away?) of right wingers in Japanese politics. It seems like every few years a film with nationalist undertones comes out of Japan. Does anyone know if anyone has ever done any work on right wing cinema? Pete -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From macyroger at yahoo.co.uk Sat Feb 15 08:21:30 2014 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sat, 15 Feb 2014 13:21:30 +0000 Subject: [KineJapan] =?utf-8?q?Yamada_Y=C5=8Dji=E2=80=99s_Chiisai_ouchi?= Message-ID: <1392470490.69082.YahooMailNeo@web171402.mail.ir2.yahoo.com> Dear KineJapaners, A few early thoughts on Yamada Y?ji?s new Chiisai ouchi that premiered here in Berlin last night, for anyone who is interested. ?The Little House? - seems to go out of its way to avoid adverse criticism and, arguably, too far.? It has a flash-back structure that starts with the funeral of a grand aunt in Yamagata-prefecture, flashing back to her being encouraged to write her war-time story by a grand nephew, flashing back again to the war-time story itself. But there is a coda where we flash forward, after the funeral and the rediscovery of the story, to this same nephew?s subsequent hunt for survivors of her story. The story comes from the prize-winning novel of 2010 by Nakajima Ky?ko.? I do not know how the story unfolds in that book. The intermediate flash-back allows the script-writers, Yamada and frequent collaborator Hiramatsu Eriko, to filter the language.? One particular problem of stories from this period - and not just of Japanese films - is that if the terminology for describing the war is historically authentic, then certain attitudes and positions could be imported without critical judgement, and it is clear that the authors wish to avoid this, even when this filtering device gets in the way of a crisp story.? Grand aunt, who presumably has had little use for her schooling in eighty years, has her young relative as an analogue spell-checker, which places him to say such things as ?You?re not telling the truth - Tokyo couldn?t have been at peace in 1936, five years after the start of the ?Fifteen years? war? and in the year of the attempted coup.?? This allows grand aunt to affirm the life she experienced in service to a middle-class family of that time.? ?Fifteen years? war? is hardly an uncontested term for that period, even by a 2000s student, but the rhetorical device allows a certain distance from the language to be established.? In other cases I think the writers gloss over the language and propaganda.? For example, if a 1943 character were to criticise the eating of delicacies, I don?t think that they would refer to the ?starving soldiers in New Guinea? because I?m sure that information would not have been broadcast. I would like to have said definitely that the film explains too much that people would know about the war-time era but, alas, Yamada may be right that he needs to start near the beginning.? A screening here of Gonin no sekk?hei / Five Scouts got patriotic noises of approval from some of the audience that upset others.? In contrast, Yamada has gone out of his way in an interview in the Hollywood Reporter to criticise the current drift of Japanese foreign policy. The film, for a prime Saturday night slot at the Berlinale, looked decidedly low budget.? The only street scene I recall was stock film.? There simply wasn?t enough dirt, or wear on these fine, war-time clothes, which looked like they had to go back to the hire-company totally unblemished.? A little weathering of the digital red roof of the house wouldn?t have broken the bank.? Although I couldn?t relate the interior sets to the digital exterior, neither seemed very little, to me.? The careful showing of a copy of Japanese ?Gone With the Wind? did not, in the end, lead me anywhere.? We get a brief modelling of Tokyo fire-bombing but no mention of fire-storms. There was a point where the writers seemed to have set up two interesting and interlocking love-triangles of crossed gender but the tide abated with most feelings still well damned up, or at least, unrevealed.? This should have an opportunity for a Berlin audience to relate to a tale of city-dwellers sleep-walking to their destruction but I thought the reception was muted. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From ishii at jvtacademy.com Thu Feb 13 19:44:39 2014 From: ishii at jvtacademy.com (ISHII Kiyotake JVTA/MTC) Date: Fri, 14 Feb 2014 09:44:39 +0900 Subject: [KineJapan] Ichiro Kataoka's Special Seminar & Live at JVTA, February 23 In-Reply-To: <20130911165957.55D2.5A45579C@jvtacademy.com> References: <20110222050950.2584.5A45579C@jvtacademy.com> <20130911165957.55D2.5A45579C@jvtacademy.com> Message-ID: <20140214094436.CE98.5A45579C@jvtacademy.com> Dear KineJapaners, JVTA will host a special seminar & live performance on Sunday, February 23 by Mr. Ichiro Kataoka, one of the foremost katsudoshashin-benshi, silent film narrator, today. He will talk about his fascination with silent films and his unique view on the role of benshi in modern Japan along side with live performance for two classic films from Japan and abroad. All KineJapaners are invited, so those who are interested please write to me off the list to: ishii at jvtacademy.com. You can view a trailer on YouTube: http://www.youtube.com/watch?v=1M_bhyRNWhw DATE & TIME: >>From 11:00, Sunday, February 23 VENUE: Japan Visualmedia Translation Academy 2F Kyodo Bldg, 3-2-4 NihonbashiHongoku-cho Chuo-ku, Tokyo, 103-0021 03-3517-5550 http://www.jvtacademy.com/school/access.php *The seminar will be conducted in Japanese. I look forward to seeing many of you. Warm regards, Ishii +++++++++++++++++++++++++++++++++++++++ Kiyotake Ishii Media Translation Center/ Japan Visualmedia Translation Academy http://www.jvtacademy.com Tokyo Office: 2F Kyodo Bldg, 3-2-4 NihonbashiHongoku-cho Chuo-ku, Tokyo, 103-0021 Ph: +81-3-3517-5550 Fax: +81-3-3272-5057 LA Office: 3510 Torrance Blvd., Suite 219, Torrance, CA 90503 TEL:310-316-3121 / FAX:310-316-2411 +++++++++++++++++++++++++++++++++++++++ _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From yuki.nakayama at gmail.com Tue Feb 4 23:56:43 2014 From: yuki.nakayama at gmail.com (Yuki Nakayama) Date: Tue, 4 Feb 2014 23:56:43 -0500 Subject: [KineJapan] films sponsoring Japanese tv shows Message-ID: I noticed a film that has nothing to do with the drama listed as a sponsor on a show called S-Saigo no Keikan. I've seen "episode 0" or "prequel" type tv dramas being sponsored by the films they are prequels of, but not something like this. I'm sure the station is involved in the producing of the film, but I wonder if anyone else have noticed other tv shows where this happens. Below is the screen shot of it. Eien no zero is a film based on a novel about zero sen pilots, but S - saigo no keikan is a cop show based on a novel about a special squad of the police. they are both based on novels by different authors. Yuki [image: Inline image 1] -- Yuki Nakayama University of Michigan Screen Arts and Cultures Department PhD Student -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: tv show sponsored by a film.jpg Type: image/jpeg Size: 90907 bytes Desc: not available URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From joel.neville.anderson at rochester.edu Sun Feb 2 13:19:47 2014 From: joel.neville.anderson at rochester.edu (Joel Neville Anderson) Date: Sun, 2 Feb 2014 13:19:47 -0500 Subject: [KineJapan] Call for Papers and Creative Works: InVisible Culture, Issue 22: "Opacity" Message-ID: Dear KineJapan subscribers, While not directly related to Japanese cinema, this CFP for my graduate program's journal (InVisible Culture: An Electronic Journal for Visual Culture) should be relevant for those working in postcolonialism and diaspora studies engaging with visual media. Attached as a PDF and pasted below. Please don't hesitate to contact me with any questions. Best regards, Joel Neville Anderson Managing Editor InVisible Culture 503A Morey Hall University of Rochester Rochester, NY 14627 Website: http://ivc.lib.rochester.edu/cfp-invisible-culture-issue-22-opacity Facebook: https://www.facebook.com/invisibleculturejournal Twitter: https://twitter.com/IVCjournal ?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 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 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. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: IVC_Issue_22_CFP.pdf Type: application/pdf Size: 105612 bytes Desc: not available URL: -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From CookT at wpunj.edu Sat Feb 1 14:22:47 2014 From: CookT at wpunj.edu (Cook, Theodore) Date: Sat, 1 Feb 2014 19:22:47 +0000 Subject: [KineJapan] Good news re Makino Collection In-Reply-To: <8FEA005C-5A13-4D6F-A119-35D805D71240@umich.edu> References: <8FEA005C-5A13-4D6F-A119-35D805D71240@umich.edu> Message-ID: This is fabulous news and a very important step forward in cinema studies. Congratulations to all. Ted Sent from my iPhone On Feb 1, 2014, at 8:24 AM, "Markus Nornes" > wrote: Wonderful news to report. The Starr Library has received a major grant to catalogue the Makino Collection. http://library.columbia.edu/news/libraries/2014/2014-1-26_Starr_Library_Receives_CLIR_Grant_For_Makino_Collection.html Markus ######################################################### C.V. Starr East Asian Library Receives CLIR Hidden Collections Grant for Makino Mamoru Collection ________________________________ NEW YORK, January 27, 2014 ?C Columbia University Libraries/Information Services?? C.V. Starr East Asian Library is pleased to announce the receipt of a 33-month $380,500 Council on Library and Information Resources (CLIR) Hidden Collections grant to support processing and cataloging of the Makino Mamoru Collection on the History of East Asian Film. [Makino]Japanese Postwar Film program: Jo??bachi/??????/Queen Bee, directed by Ichikawa Kon, 1978 The collection contains over 80,000 items chronicling the history of Japanese and East Asian film from the earliest moving pictures in Japan from the 1870s through 2006, including the unique and extensive materials of 9,500 Japanese film programs and fliers, 450 volumes of Japanese rare books from the early era of film, Japanese film periodicals both commercially published and self-published by student clubs at university campuses, and film studio archival materials. The grant will enable the Starr Library to recruit a Japanese cataloger and an archivist to perform original cataloging and archiving of rare books, early film magazines, internal film studio documents, film programs, and ephemera, a significant portion of which are unavailable in the U.S. or Japan. Online finding aids that include Japanese characters will be published to help scholars around the world access materials independently. Few actual Japanese films from prior to 1920 exist for research purposes. Thus, movie-related print materials such as programs, fliers, company newsletters, and books are an important scholarly element to the research and teaching of early Japanese film. The Makino collection contains 9,500 printed cinema programs, the largest outside of Japan, spanning from the earliest years of Japanese film to the present. "For someone who sets off to explore the history of Japanese film, the Makino Collection is the really indispensable guide,?? said Paul Anderer, Mack Professor of Humanities at Columbia University. "The CLIR grant arrives at just the right time, to help us make these materials all the easier to navigate." Cataloging the rare film book titles and film magazines will also improve access to the research materials related to the proletarian film movement (Prokino), amateur film magazines, and print materials published by cinema clubs in various university campuses. The collection contains the only original copy of an 1880 Japanese book on magic lantern slides and the first Japanese translation in 1891 of the book ??Modern Magic?? by Louis Hoffman. ??This grant will certainly further our outreach efforts to expand access to the collection in the same vein as our 2011 international symposium ??The Makino Collection at Columbia??,?? said Jim Cheng, Director of the C.V. Starr East Asian Library. ??Our goal is to continue to increase awareness of and access to the unique materials from the Makino Collection for scholars around the world.?? The C.V. Starr East Asian Library is one of the major collections for the study of East Asia in the United States, with over 1 million volumes of Chinese, Japanese, Korean, Tibetan, and Western language materials, as well as some holdings in Mongol and Manchu, over 8,500 periodical titles, 4.5 million e-books, and many archival and special collections. The collection, established in 1902, is particularly strong in Chinese history, literature, and social sciences; Japanese literature, history, and religion, particularly Buddhism; and Korean history. For more information, please visit:/content/libraryweb/indiv/eastasian.html _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Sat Feb 1 08:23:35 2014 From: amnornes at umich.edu (Markus Nornes) Date: Sat, 1 Feb 2014 08:23:35 -0500 Subject: [KineJapan] Good news re Makino Collection Message-ID: <8FEA005C-5A13-4D6F-A119-35D805D71240@umich.edu> Wonderful news to report. The Starr Library has received a major grant to catalogue the Makino Collection. http://library.columbia.edu/news/libraries/2014/2014-1-26_Starr_Library_Receives_CLIR_Grant_For_Makino_Collection.html Markus ######################################################### C.V. Starr East Asian Library Receives CLIR Hidden Collections Grant for Makino Mamoru Collection NEW YORK, January 27, 2014 ? Columbia University Libraries/Information Services? C.V. Starr East Asian Library is pleased to announce the receipt of a 33-month $380,500 Council on Library and Information Resources (CLIR) Hidden Collections grant to support processing and cataloging of the Makino Mamoru Collection on the History of East Asian Film. Japanese Postwar Film program: Jo?bachi/???/Queen Bee, directed by Ichikawa Kon, 1978 The collection contains over 80,000 items chronicling the history of Japanese and East Asian film from the earliest moving pictures in Japan from the 1870s through 2006, including the unique and extensive materials of 9,500 Japanese film programs and fliers, 450 volumes of Japanese rare books from the early era of film, Japanese film periodicals both commercially published and self-published by student clubs at university campuses, and film studio archival materials. The grant will enable the Starr Library to recruit a Japanese cataloger and an archivist to perform original cataloging and archiving of rare books, early film magazines, internal film studio documents, film programs, and ephemera, a significant portion of which are unavailable in the U.S. or Japan. Online finding aids that include Japanese characters will be published to help scholars around the world access materials independently. Few actual Japanese films from prior to 1920 exist for research purposes. Thus, movie-related print materials such as programs, fliers, company newsletters, and books are an important scholarly element to the research and teaching of early Japanese film. The Makino collection contains 9,500 printed cinema programs, the largest outside of Japan, spanning from the earliest years of Japanese film to the present. "For someone who sets off to explore the history of Japanese film, the Makino Collection is the really indispensable guide,? said Paul Anderer, Mack Professor of Humanities at Columbia University. "The CLIR grant arrives at just the right time, to help us make these materials all the easier to navigate." Cataloging the rare film book titles and film magazines will also improve access to the research materials related to the proletarian film movement (Prokino), amateur film magazines, and print materials published by cinema clubs in various university campuses. The collection contains the only original copy of an 1880 Japanese book on magic lantern slides and the first Japanese translation in 1891 of the book ?Modern Magic? by Louis Hoffman. ?This grant will certainly further our outreach efforts to expand access to the collection in the same vein as our 2011 international symposium ?The Makino Collection at Columbia?,? said Jim Cheng, Director of the C.V. Starr East Asian Library. ?Our goal is to continue to increase awareness of and access to the unique materials from the Makino Collection for scholars around the world.? The C.V. Starr East Asian Library is one of the major collections for the study of East Asia in the United States, with over 1 million volumes of Chinese, Japanese, Korean, Tibetan, and Western language materials, as well as some holdings in Mongol and Manchu, over 8,500 periodical titles, 4.5 million e-books, and many archival and special collections. The collection, established in 1902, is particularly strong in Chinese history, literature, and social sciences; Japanese literature, history, and religion, particularly Buddhism; and Korean history. For more information, please visit:/content/libraryweb/indiv/eastasian.html -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan