From franco.picollo at fga.it Tue Jan 28 09:48:50 2014 From: franco.picollo at fga.it (Picollo Franco) Date: Tue, 28 Jan 2014 14:48:50 +0000 Subject: [KineJapan] R: 2013 industry stats In-Reply-To: <373369F4-D9B6-4A31-A083-36BCA2DC8EA2@yale.edu> References: <373369F4-D9B6-4A31-A083-36BCA2DC8EA2@yale.edu> Message-ID: Thank you so much as usual, Aaron. I didn't see the multi-awarded "The Great Passage". Are my tired years or is the list lacking of something? Da: kinejapan-bounces+franco.picollo=gmail.com at lists.service.ohio-state.edu [mailto:kinejapan-bounces+franco.picollo=gmail.com at lists.service.ohio-state.edu] Per conto di Gerow Aaron Inviato: marted? 28 gennaio 2014 15:40 A: Japanese Discussion Forum Cinema Oggetto: [KineJapan] 2013 industry stats For those interested, Eiren has released the officials stats for the film industry in 2013. http://www.eiren.org/toukei/index.html There's not much change: total BO is slightly down, total attendance is slightly up. The market share for Japanese films went down from 65.7% to 60.6%, but still remains strong. The number of screens increased slightly. The problem is that the number of films released increased yet again: 1117 total (up from 983), with 591 being Japanese films (up from 554). That's an average of 21 films opening each week. What that means, especially with a lower BO, is that each film is getting less money and publicity; and with the only marginal increase in screens, each film is getting less time on screen. And with Toho distributing 20 of the top 30 Japanese films (Toei had 5 and Shochiku only 1; Warners had 3), the fundamental imbalance of the industry continues. Kaze tachinu/The Wind Rises was the number one film, with animation dominating the top ten (6 of 10). Aaron Gerow Professor Film Studies Program/East Asian Languages and Literatures Yale University 320 York Street, Room 311 PO Box 208236 New Haven, CT 06520-8236 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- 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 Tue Jan 28 12:31:28 2014 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 28 Jan 2014 17:31:28 +0000 Subject: [KineJapan] 2013 industry stats In-Reply-To: References: <373369F4-D9B6-4A31-A083-36BCA2DC8EA2@yale.edu>, Message-ID: I'm not sure what the number of pink films currently being produced is - probably about half of the hundred when I was writing Behind the Pink Curtain. I think about 100 of these 591 "releases" consist of what is known as ODS ("other digital stuff") - in other words, broadcasts of live or prerecorded sports of musical events to theatres. You are right though, the artificially inflated 591 figure for no. of domestic releases actually exceed the oft-cited 1960 peak of 547. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them. Currently in production, directed by Tim Grabham and Jasper Sharp. The Historical Dictionary of Japanese Cinema (2011) is out now from Scarecrow Press Midnight Eye - Visions of Japanese cinema http://www.midnighteye.com Jasper Sharp, writer & film curatorhttp://jaspersharp.com/ Date: Tue, 28 Jan 2014 10:06:33 -0500 From: pslarson2 at gmail.com To: kinejapan at lists.service.ohio-state.edu Subject: Re: [KineJapan] 2013 industry stats Just a question, subtracting out anime and films aimed at children, how many films does Japan make per year? 591 seems like almost as many as the US produces on a yearly basis. Pete On Tue, Jan 28, 2014 at 9:39 AM, Gerow Aaron wrote: For those interested, Eiren has released the officials stats for the film industry in 2013. http://www.eiren.org/toukei/index.html There's not much change: total BO is slightly down, total attendance is slightly up. The market share for Japanese films went down from 65.7% to 60.6%, but still remains strong. The number of screens increased slightly. The problem is that the number of films released increased yet again: 1117 total (up from 983), with 591 being Japanese films (up from 554). That's an average of 21 films opening each week. What that means, especially with a lower BO, is that each film is getting less money and publicity; and with the only marginal increase in screens, each film is getting less time on screen. And with Toho distributing 20 of the top 30 Japanese films (Toei had 5 and Shochiku only 1; Warners had 3), the fundamental imbalance of the industry continues. Kaze tachinu/The Wind Rises was the number one film, with animation dominating the top ten (6 of 10). Aaron Gerow Professor Film Studies Program/East Asian Languages and Literatures Yale University 320 York Street, Room 311 PO Box 208236 New Haven, CT 06520-8236 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.eduwebsite: www.aarongerow.com _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- 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 Tue Jan 28 10:06:33 2014 From: pslarson2 at gmail.com (Peter Larson) Date: Tue, 28 Jan 2014 10:06:33 -0500 Subject: [KineJapan] 2013 industry stats In-Reply-To: <373369F4-D9B6-4A31-A083-36BCA2DC8EA2@yale.edu> References: <373369F4-D9B6-4A31-A083-36BCA2DC8EA2@yale.edu> Message-ID: Just a question, subtracting out anime and films aimed at children, how many films does Japan make per year? 591 seems like almost as many as the US produces on a yearly basis. Pete On Tue, Jan 28, 2014 at 9:39 AM, Gerow Aaron wrote: > For those interested, Eiren has released the officials stats for the film > industry in 2013. > > http://www.eiren.org/toukei/index.html > > There's not much change: total BO is slightly down, total attendance is > slightly up. The market share for Japanese films went down from 65.7% to > 60.6%, but still remains strong. The number of screens increased slightly. > > The problem is that the number of films released increased yet again: 1117 > total (up from 983), with 591 being Japanese films (up from 554). That's an > average of 21 films opening each week. What that means, especially with a > lower BO, is that each film is getting less money and publicity; and with > the only marginal increase in screens, each film is getting less time on > screen. And with Toho distributing 20 of the top 30 Japanese films (Toei > had 5 and Shochiku only 1; Warners had 3), the fundamental imbalance of the > industry continues. > > Kaze tachinu/The Wind Rises was the number one film, with animation > dominating the top ten (6 of 10). > > Aaron Gerow > Professor > Film Studies Program/East Asian Languages and Literatures > Yale University > 320 York Street, Room 311 > PO Box 208236 > New Haven, CT 06520-8236 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- 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 Jan 28 10:04:37 2014 From: amnornes at umich.edu (Markus Nornes) Date: Tue, 28 Jan 2014 10:04:37 -0500 Subject: [KineJapan] Nichiei films In-Reply-To: <1C988250-C443-499F-9C2B-2DA682988D71@martygrossfilms.com> References: <1C988250-C443-499F-9C2B-2DA682988D71@martygrossfilms.com> Message-ID: <200892BC-5AC6-4C15-8658-23E60B5EAE74@umich.edu> Thanks Marty, Can you tell is more about the contents? Are these clips or whole films? Dubbed or subbed? What films are they taken from? Markus > On Jan 28, 2014, at 12:54 PM, Marty Gross wrote: > > Hi Markus, > > We are also handling two other films by Nichiei. > > Japanese Army Aircraft in World War II > > http://www.amazon.com/Japanese-Army-Aircraft-World-War/dp/4990761715/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1390920689&sr=1-2&keywords=japanese+army+aircraft > > Japanese Navy Aircraft in World War II > > http://www.amazon.com/Japanese-Navy-Aircraft-World-War/dp/4990761723/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1390920735&sr=1-2&keywords=japanese+navy+aircraft > > for those who may be interested. > > Thanks, > > Marty > > >> On Jan 23, 2014, at 4:56 PM, Markus Nornes wrote: >> >> I am often asked how one can watch The Effects of the Atomic Bomb on Hiroshima and Nagasaki. Until now, it was impossible to see anything but a poor copy at Yamagata (the one I shot on Hi8 video off a flatbed screen at the National Archives in 1990). Thankfully, Nichiei has finally put out a DVD. And it's not even censored! It is bilingual (original English soundtrack with Japanese subtitles). The ISBN is 978-4-86308-282-3 and it costs ?4,800. By all means get it for your library! The digital conversion is not great. But it's certainly better than nothing. >> >> Markus >> >> -- >> Markus Nornes >> Chair, Department of Screen Arts and Cultures >> Professor of Asian Cinema, Department of Asian Languages and Cultures >> Professor, School of Art & Design >> >> Department of Screen Arts and Cultures >> 6348 North Quad >> 105 S. State Street >> Ann Arbor, MI 48109-1285 >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > ---------------------------------------------- > Marty Gross > Marty Gross Film Productions Inc. > 637 Davenport Road > Toronto, ON M5R 1L3 > Canada > +1-416-536-3355 > marty at martygrossfilms.com > http://www.martygrossfilms.com/ > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- 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 marty at martygrossfilms.com Tue Jan 28 12:54:00 2014 From: marty at martygrossfilms.com (Marty Gross) Date: Tue, 28 Jan 2014 09:54:00 -0800 Subject: [KineJapan] Nichiei films In-Reply-To: References: Message-ID: <1C988250-C443-499F-9C2B-2DA682988D71@martygrossfilms.com> Hi Markus, We are also handling two other films by Nichiei. Japanese Army Aircraft in World War II http://www.amazon.com/Japanese-Army-Aircraft-World-War/dp/4990761715/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1390920689&sr=1-2&keywords=japanese+army+aircraft Japanese Navy Aircraft in World War II http://www.amazon.com/Japanese-Navy-Aircraft-World-War/dp/4990761723/ref=sr_1_2?s=movies-tv&ie=UTF8&qid=1390920735&sr=1-2&keywords=japanese+navy+aircraft for those who may be interested. Thanks, Marty On Jan 23, 2014, at 4:56 PM, Markus Nornes wrote: > I am often asked how one can watch The Effects of the Atomic Bomb on Hiroshima and Nagasaki. Until now, it was impossible to see anything but a poor copy at Yamagata (the one I shot on Hi8 video off a flatbed screen at the National Archives in 1990). Thankfully, Nichiei has finally put out a DVD. And it's not even censored! It is bilingual (original English soundtrack with Japanese subtitles). The ISBN is 978-4-86308-282-3 and it costs ?4,800. By all means get it for your library! The digital conversion is not great. But it's certainly better than nothing. > > Markus > > -- > Markus Nornes > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > Department of Screen Arts and Cultures > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan ---------------------------------------------- Marty Gross Marty Gross Film Productions Inc. 637 Davenport Road Toronto, ON M5R 1L3 Canada +1-416-536-3355 marty at martygrossfilms.com http://www.martygrossfilms.com/ _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Fri Jan 24 13:46:30 2014 From: amnornes at umich.edu (Markus Nornes) Date: Fri, 24 Jan 2014 13:46:30 -0500 Subject: [KineJapan] Hara Kazuo's Cinema Juku Message-ID: Hara-san had a wonderful benkyokai called Cinema Juku for many years. They hadd amazing speakers, and also put out a nice dojinshi. It went fallow, but he is resurrecting it. Here's a message he posted to Facebook. Markus ++++++++++++++++ ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???????????????????????????new?CINEMA??????????????????????????????????????????????????????????????? ???????????CINEMA???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????=??????????????????????? ????????????????????????????????????????????????????????????????????????????????????????????????????FaceBook????????????????????????????????? ?????????????????????????????????????????????? ???? ? 2014.1.25? -- *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 marty at martygrossfilms.com Thu Jan 23 23:02:01 2014 From: marty at martygrossfilms.com (Marty Gross) Date: Thu, 23 Jan 2014 20:02:01 -0800 Subject: [KineJapan] Effects of the Atomic Bomb finally on DVD In-Reply-To: References: Message-ID: <066D534A-8170-4935-9064-AE86B4A078C0@martygrossfilms.com> Hi Markus, We are selling this DVD on Amazon.com Please pass the word. Best, Marty On Jan 23, 2014, at 4:56 PM, Markus Nornes wrote: > I am often asked how one can watch The Effects of the Atomic Bomb on Hiroshima and Nagasaki. Until now, it was impossible to see anything but a poor copy at Yamagata (the one I shot on Hi8 video off a flatbed screen at the National Archives in 1990). Thankfully, Nichiei has finally put out a DVD. And it's not even censored! It is bilingual (original English soundtrack with Japanese subtitles). The ISBN is 978-4-86308-282-3 and it costs ?4,800. By all means get it for your library! The digital conversion is not great. But it's certainly better than nothing. > > Markus > > -- > Markus Nornes > Chair, Department of Screen Arts and Cultures > Professor of Asian Cinema, Department of Asian Languages and Cultures > Professor, School of Art & Design > > Department of Screen Arts and Cultures > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan ---------------------------------------------- Marty Gross Marty Gross Film Productions Inc. 637 Davenport Road Toronto, ON M5R 1L3 Canada +1-416-536-3355 marty at martygrossfilms.com http://www.martygrossfilms.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 amnornes at umich.edu Thu Jan 23 19:56:09 2014 From: amnornes at umich.edu (Markus Nornes) Date: Thu, 23 Jan 2014 19:56:09 -0500 Subject: [KineJapan] Effects of the Atomic Bomb finally on DVD Message-ID: I am often asked how one can watch The Effects of the Atomic Bomb on Hiroshima and Nagasaki. Until now, it was impossible to see anything but a poor copy at Yamagata (the one I shot on Hi8 video off a flatbed screen at the National Archives in 1990). Thankfully, Nichiei has finally put out a DVD. And it's not even censored! It is bilingual (original English soundtrack with Japanese subtitles). The ISBN is 978-4-86308-282-3 and it costs ?4,800. By all means get it for your library! The digital conversion is not great. But it's certainly better than nothing. Markus -- *Markus Nornes* Chair, Department of Screen Arts and Cultures Professor of Asian Cinema, Department of Asian Languages and Cultures Professor, School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From macyroger at yahoo.co.uk Thu Jan 23 08:45:34 2014 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 23 Jan 2014 13:45:34 +0000 Subject: [KineJapan] Fw: Berlin Screenings In-Reply-To: References: Message-ID: <1390484734.74714.YahooMailNeo@web171406.mail.ir2.yahoo.com> Dear KineJapaners, Berlin has announced that it it is taking three of the films of Nakamura Nobuhiro from Tokyo Filmex - see bottom for details. Besides the 'Aesthetics of Shadow' retrospective, previously discussed, several strands have a single representative from Japan, as listed below :-Best First Feature Award Hitono Nozomino Yorokobiyo (Joy of Man's Desiring) Culinary Cinema Bushi No Kondate (A Tale of Samurai Cooking ? A True Love Story) By Yuzo Asahara With Aya Ueto, Kengo Kora German premiere Panorama Ieji (Homeland) By Nao Kubota With Kenichi Matsuyama, Yuko Tanaka, Sakura Ando, Takashi Yamanaka, Seiyo Uchino WP Forum Formaby Ayumi Sakamoto - IP Competition Chiisai Ouchi (The Little House) By Yoji Yamada With Takako Matsu, Haru Kuroki, Hidetaka Yoshioka, Satoshi Tsumabuki, Chieko Baisho International premiere (So someone is unfazed, or unaware, of the ranking of his previous film at Eiga geijutsu - see Aaron's posting) Roger ? ----- Forwarded Message ----- >From: "press at berlinale.de" >To: press at berlinale.de >Sent: Thursday, 23 January 2014, 10:20 >Subject: Pressemitteilung / Press Release Berlinale: Forum 2014 - Special Screenings > > > >64. Internationale Filmfestspiele Berlin (6. - 16. Februar 2014) >? >Pressemitteilung/Press Release >? >(for English?version see below)?Forum 2014: Special Screenings >? >Mit einer Reihe von Special Screenings, die sich historischen Filmen und? Wiederentdeckungen ebenso widmet wie thematisch und formal aus dem Rahmen fallenden aktuellen Werken, komplettiert das Forum sein Programm. >? >Als Bong Joon-ho den Comic ?Snowpiercer? von Jean-Marc Rochette in einem Buchladen in Seoul zum ersten Mal aufschlug, da soll er im Stehen gleich alle drei B?nde verschlungen haben. Acht Jahre sp?ter ist aus einem franz?sischen Comic der aufw?ndigste koreanische Film aller Zeiten geworden. Seolguk-yeolcha (Snowpiercer) beschreibt eine bevorstehende menschengemachte Eiszeit, deren letzte ?berlebende in einem Schnellzug ohne Halt um den Globus kreisen. Die reichen ?berlebenden reisen in den vorderen Waggons, die armen, aus deren Perspektive die Geschichte erz?hlt ist, in den hinteren. Zur Auff?hrung im Forum werden Produzent Park Chan-wook, Regisseur Bong Joon-ho, Darsteller Song Kang-ho, Ko Asung, John Hurt und Tilda Swinton sowie der Autor Jean-Marc Rochette erwartet. >? >Zwei aktuelle Dokumentarfilme besch?ftigen sich mit den Umbr?chen in ?gypten. In Viola Shafiks Arij (Scent of Revolution)f?gen sich die Erz?hlungen eines koptischen Aktivisten, eines sozialistischen Schriftstellers, einer jungen Cyberspace-Designerin und des gr??ten Sammlers von Fotonegativen im Lande zu einem komplexen Portr?t von Geschichte und Politik. Die Zerst?rung der Stadt Luxor durch die Korruption ist ebenso Thema wie der virtuelle M?glichkeitsraum in ?Second Life?, der ein Treffen von Avataren am Tahrir-Platz erm?glicht. >? >Dort spielt auch Jehane Noujaims soeben f?r den Oscar nominierter Dokumentarfilm Al midan (The Square), der ?ber die Dauer von mehr als zwei Jahren eine Gruppe von Aktivisten portr?tiert, denen die Revolution neuen Lebenssinn gegeben hat. Mit einer beeindruckenden Materialf?lle und einer entschlossen subjektiven Grenzg?ngerperspektive rekapituliert der Film die sich ?berst?rzenden Ereignisse. >? >DMD KIU LIDTvon Georg Tiller ist nach einem Song von ?Ja, Panik? benannt, der den Satz ?Die Manifestation des Kapitalismus in unserem Leben ist die Traurigkeit? abk?rzt. Der Anti-Musikfilm verweigert sich den Klischees des Musikfilmgenres. Nie sieht man die im Berliner Exil lebende ?sterreichische Gruppe spielen. Die Musiker h?ngen vor dem Auftritt in einer verrauchten Bar ab, packen ihre Instrumente nach einer Probe zusammen, trinken gem?chlich Kaffee oder rauchen eine Zigarette, w?hrend der Sommerwind das Schilfgras irgendwo neben verlassenen Bahngleisen streichelt. >? >Seit dem ersten Jahr seines Bestehens hat das Forum sich bem?ht, deutsch untertitelte Kopien der Festivalbeitr?ge herzustellen. Diese Praxis zahlt sich aus: Viele Filme haben so nur in Berlin ?berlebt, darunter der indische Filmklassiker Ghashiram Kotwal, der nun in neuer, digitaler Fassung zur Wiederauff?hrung gelangt. Das von einer Filmkooperative unter der Regie von K. Hariharan und Mani Kaul produzierte Werk beschreibt Entwicklung und Fall des Peshwa-Regimes in West-Indien vor dem Hintergrund einer Politik von Intrigen und Korruption. >? >Als perfekte Erg?nzung zu diesem historisch bedeutsamen Werk zeigen wir den indischen Dokumentarfilm Prabhat pheri (Journey with Prabhat)von Jessica Sadana und Samarth Dixit, die mit cineastischem Sp?rsinn die Geschichte des Gel?ndes in Pune erforschen, wo einst die legend?ren Studios der Prabhat Film Company standen. >? >In einer restaurierten digitalen Fassung bringt das Forum den 1981 dort selbst vorgestellten fast vierst?ndigen Dokumentarfilm Schamanen im Blinden Land von Michael Oppitz wieder zur Auff?hrung. Dreimal reiste der Ethnologe Ende der 1970er Jahre zu den Magar in Nepal, um deren Schamanismus zu erforschen. Nicht nur sein Sujet, auch seine Genauigkeit, sein Rhythmusgef?hl, sein sorgsamer Umgang mit Sprache machten den Film bald zu einem Klassiker der visuellen Anthropologie. >? >Einen Meilenstein des Dokumentarfilms konnte das Forum 1984 nur als Fragment auff?hren. Das unter dem damaligen Titel ?Memory of the Camps? gezeigte Werk ist nun im britischen Imperial War Museum unter der Leitung von Toby Haggith rekonstruiert und vervollst?ndigt worden und erlebt im diesj?hrigen Forum seine Urauff?hrung, fast sieben Jahrzehnte nach der Entstehung. German Concentration Camps Factual Survey entstand 1945 aus Aufnahmen, die die Briten bei der Befreiung des KZs Bergen-Belsen gemacht hatten, erg?nzt durch Aufnahmen der Amerikaner und Sowjets von Lagern im S?den Deutschlands und im besetzten Polen. Der Film war konzipiert, um die Deutschen mit ihrer Schuld zu konfrontieren; als Berater wurde niemand Geringeres als Alfred Hitchcock engagiert. Doch das Werk verschwand in den Archiven ? von den Umst?nden berichtet auch der als Berlinale Special gezeigte Dokumentarfilm Night Will Fall. >? >Beinahe unbekannt d?rfte dem westlichen Publikum die Kinematografie Burmas sein, die einmal zu den bedeutendsten der Welt z?hlte. Die meisten burmesischen Klassiker sind verloren und verschollen, die Negative und Kopien zerst?rt. Von einer analogen Videokopie ausgehend wurde j?ngst der 1972 entstandene Schwarzwei?film Ch? phawa daw nu nu (Tender are the Feet) von Maung Wunna restauriert, eine romantische Liebesgeschichte, die mit ?berlieferten Formen brach und f?r die j?nste Generation burmesischer Filmemacher als wichtige Referenz dient. >? >Auch der Name Noburo Nakamura d?rfte au?erhalb seiner Heimat nur wenigen ein Begriff sein. Der Sch?ler von Yasujiro Shimazu pr?gte mit seinen Familien-Melodramen das japanische Kino der 1940er bis 60er Jahre. In Zusammenarbeit mit dem japanischen Festival Tokyo FILMeX zeigt das Forum drei Werke des Regisseurs in neuen 35mm-Kopien. Die zwischen 1951 und 1964 gedrehten Filme handeln von zerfallenden Familienstrukturen, von rebellierenden T?chtern und demonstrieren in ihrer Gesamtheit eindrucksvoll den Wertewandel im Nachkriegsjapan. >? >Forum Special Screenings:? >Al midan (The Square)von Jehane Noujaim, USA / ?gypten >Arij (Scent of Revolution)von Viola Shafik, ?gypten / Deutschland - WP >Ch? phawa daw nu nu (Tender are the Feet)von Maung Wunna, Burma >DMD KIU LIDTvon Georg Tiller, ?sterreich / Deutschland ? WP >German Concentration Camps Factual Survey, Gro?britannien >Ghashiram Kotwalvon K. Hariharan, Mani Kaul, Indien >Prabhat pheri (Journey with Prabhat)von Jessica Sadana, Samarth Dixit, Indien - WP >Schamanen im Blinden Land (Shamans of the Blind Country) von Michael Oppitz, Nepal / Deutschland / USA >Seolguk-yeolcha (Snowpiercer)von Boong Joon-ho, Republik Korea >? >Wa ga ya ha tanoshi (Home Sweet Home)von Noboru Nakamura, Japan >Doshaburi (When It Rains, It Pours)von Noboru Nakamura, Japan >Yoru no henrin (The Shape of Night)von Noboru Nakamura, Japan >?(WP = Weltpremiere) >? >? >Presseabteilung >23. Januar 2014?? >Auf unserer Website k?nnen Sie die Pressemitteilung als PDF-Datei downloaden: >? >http://www.berlinale.de/de/presse/pressemitteilungen/alle/Alle-Detail_21844.html >? >Tipp: Durch die unterschiedlichen Acrobat Reader Versionen k?nnen Probleme mit dem PDF auftreten. In diesem Fall klicken Sie einfach die rechte Maustaste (Windows) bzw. halten Sie die Maustaste auf dem Link gedr?ckt (MacOS), bis ein Men? erscheint. W?hlen Sie dann "Speichern unter". >? >? >? >English Version: >?Forum2014: Special Screenings >? >The Forum has now finalized its 2014 programme with a series of special screenings dedicated to historical films and re-discoveries as well as current works of special formal and thematic interest. >? >When Bong Joon-ho first opened Jean-Marc Rochette?s comic ?Snowpiercer? in a Seoul bookshop, he supposedly devoured all three volumes on the spot. Eight years later, the French comic has been made into the most lavish Korean film of all time. Seolguk-yeolcha (Snowpiercer) describes an impending ice age caused by human hand, whose last survivors are left circling the earth in a non-stop express train. The rich are in the front carriages and the poor ?? from whose perspective the story is told ? at the back. Producer Park Chan-wook, director Bong Joon-ho, actors Song Kang-ho, Ko Asung, John Hurt and Tilda Swinton and comic author Jean-Marc Rochette will all be on hand at the Forum screening.?? >? >Two current documentaries explore the recent upheavals in Egypt. In Viola Shafik?s Arij (Scent of Revolution), the accounts of a Coptic activist, a socialist writer, a young cyberspace designer and the biggest collector of photo negatives in the country are combined to form a complex portrait of history and politics. The role of corruption in the destruction of the city of Luxor is one key theme, as is the virtual realm of possibility offered by ?Second Life?, where avatars can equally arrange to meet up in Tahrir Square. >? >The same location forms the setting for Jehane Noujaim?s recently Oscarnominated documentary Al midan (The Square), the portrait of a group of activists spanning a period of more than two years for whom the revolution provided new meaning in life. Drawing on an impressive wealth of material and a resolutely subjective perspective with little respect for boundaries, The Square recapitulates the rapid course of events. >? >Georg Tiller?s DMD KIU LIDT is named after a song by ?Ja, Panik?, whose German title is an acronym of ?The Manifestation of Capitalism in Our Life is Sadness?. This ?anti-music film? avoids the standard clich?s of the music film genre. We never see this group of Austrian expats living in Berlinexile actually play. The musicians hang out in a smoky bar before a show, pack up their instruments after a rehearsal, leisurely drink coffee or smoke cigarettes as a summer breeze caresses the reeds growing alongside a stretch of abandoned railroad track. >? >Since the very first year of its existence, the Forum has sought to produce German subtitled prints of films shown at the festival, a practice which is now paying off. Many films have thus only survived thanks to their being in Berlin, including Ghashiram Kotwal, which is now being shown again in a new digital print. Produced by the Yukt Film Co-operative under the direction of K. Hariharan and Mani Kaul, the film describes the development and fall of the Peshwa regime in western India before a backdrop of political intrigue and corruption. >? >As a suitable compliment to this historically significant work, we are showing the Indian documentary Prabhat pheri (Journey with Prabhat)by Jessica Sadana and Samarth Dixit. With the curiosity of a true cinephile, the film explores the history of the complex in Pune where the legendary studios of the Prabhat Film Company once stood. >? >The Forum is also bringing the restored digital print of the nearly four-hour documentary Schamanen im Blinden Land (Shamans of the Blind Country) by Michael Oppitz back to the big screen following its original screening at the 1981 Forum. Cultural anthropologist Michael Oppitz travelled to the Magar in Nepal three times in the late 1970s to research their specific form of shamanism.? It is not only the film?s unique subject matter that quickly elevated it to a classic of visual anthropology, but also its sense of precision and rhythm and diligent treatment of language. >? >One milestone of documentary cinema could only be screened as a fragment at the Forum 1984. The film shown back then under the title of Memory of the Camps has now been reconstructed and completed at the British Imperial War Museum under the direction of Toby Haggith and receives its premiere at this year?s Forum nearly seven decades after it was originally shot. German Concentration Camps Factual Survey was put together in 1945 from footage filmed by the British at the liberation of the Bergen-Belsen concentration camp, supplemented by scenes shot by the Americans and Soviets in camps in the south of Germany and occupied Poland. The film was intended to confront the Germans with their guilt, with none other than Alfred Hitchcock being employed as an advisor to the project. Yet the work ended up disappearing into the archives ? these circumstances surrounding the film and its story also form the focus of the documentary Night Will Fall showing in Berlinale Special. >? >The cinematography of Burma is little known among Western audiences, despite the fact that it used to be one of the most significant cinema nations in the world. Most of its classics have been lost or are missing, the negatives and prints destroyed. The 1972 black and white film Che? phawa daw nu nu (Tender are the Feet) by Maung Wunna has recently been restored from an analogue video tape, a romantic love story that broke with traditional forms and that serves as an important point of reference for the young generation of Burmese filmmakers.? >? >The name of Noboru Nakamura is also unlikely to ring many bells outside his home country, even though the family melodramas shot by this student of Yasujiro Shimazu left a lasting impression on Japanese cinema from the 1940s to the 60s. In collaboration with the Japanese festival Tokyo FILMeX, theForum is showing three of the director?s works in new 35mm prints. The films were shot between 1951 and 1964 and tell of brittle family structures and rebellious daughters, the trio demonstrating in impressive fashion how post-war Japanese values began to shift.?? >? >Forum SpecialScreenings: >? >Al midan (The Square)by Jehane Noujaim, USA / Egypt >Arij (Scent of Revolution)by Viola Shafik, Egpyt / Germany - WP >Ch? phawa daw nu nu (Tender are the Feet)by Maung Wunna, Burma >DMD KIU LIDTby Georg Tiller, Austria / Germany ? WP >German Concentration Camps Factual Survey, United Kingdom >Ghashiram Kotwalby K. Hariharan, Mani Kaul, India >Prabhat pheri (Journey with Prabhat)by Jessica Sadana, Samarth Dixit, India - WP >Schamanen im Blinden Land (Shamans of the Blind Country) by Michael Oppitz, Nepal / Germany / USA >Seolguk-yeolcha (Snowpiercer)by Boong Joon-ho, Republic of Korea >? >Wa ga ya ha tanoshi (Home Sweet Home)by Noboru Nakamura, Japan >Doshaburi (When It Rains, It Pours)by Noboru Nakamura, Japan >Yoru no henrin (The Shape of Night)by Noboru Nakamura, Japan >? >? >? >Press Office >January 23, 2014 >?as pdf-file download on our website: >? >http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_21844.html >? >Notice: Due to different versions of Acrobat Reader, problems with the PDF may occur. In the event of such a problem , just click the right mouse button (Windows) or keep mouse button pressed with the link clicked on (MacOS) until a menu appears. Then choose the "Save as" option. >? >Follow us on Twitter: >? >? >(WP=World Premiere)? >Folgen Sie uns auf Twitter: > > By Masakazu Sugita With Ayane Ohmori, Riku Ohishi, Naoko Yoshimoto, Koichiro Nishi -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Twitter_logo_blue final.jpg Type: image/jpeg Size: 868 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 amnornes at umich.edu Mon Jan 20 23:56:41 2014 From: amnornes at umich.edu (Markus Nornes) Date: Mon, 20 Jan 2014 22:56:41 -0600 Subject: [KineJapan] Kinema Club FB page In-Reply-To: <812C40D75616C2419AEB9A3418605CAA24C7AA03@athens-cour.sim.umontreal.ca> References: <812C40D75616C2419AEB9A3418605CAA24C7AA03@athens-cour.sim.umontreal.ca> Message-ID: Thanks David. Maybe we could put up some pix from previous editions as well! Markus > On Jan 20, 2014, at 10:25 PM, Lewis David wrote: > > a Kinema Club FB has been created today : > https://www.facebook.com/KineJapan > > It should be accessible whether you are on FB or not - let me know if it doesn't work > > I have just posted pics of Kinema Club XIII that I have taken - my apologies for having taken them quite passively rather than actively - and my apologies for not having been everywhere at the same time. Please identify yourself or our friends on the pics - and if you have some pics yourself (of Kinema Club XIII or of other KCs), feel free to ul them as well > > thanks to the organizing team and to all participants for a great event > > David Lewis > > _______________________________________________ > 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 david.lewis at umontreal.ca Mon Jan 20 23:25:55 2014 From: david.lewis at umontreal.ca (Lewis David) Date: Tue, 21 Jan 2014 04:25:55 +0000 Subject: [KineJapan] Kinema Club FB page Message-ID: <812C40D75616C2419AEB9A3418605CAA24C7AA03@athens-cour.sim.umontreal.ca> a Kinema Club FB has been created today : https://www.facebook.com/KineJapan It should be accessible whether you are on FB or not - let me know if it doesn't work I have just posted pics of Kinema Club XIII that I have taken - my apologies for having taken them quite passively rather than actively - and my apologies for not having been everywhere at the same time. Please identify yourself or our friends on the pics - and if you have some pics yourself (of Kinema Club XIII or of other KCs), feel free to ul them as well thanks to the organizing team and to all participants for a great event David Lewis _______________________________________________ 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 Jan 20 17:19:04 2014 From: amnornes at umich.edu (Markus Nornes) Date: Mon, 20 Jan 2014 17:19:04 -0500 Subject: [KineJapan] Fwd: FWD Temporary 18-month Appointment Project Archivist, Makino Collection References: <20140120112457.kxu4gv6gu840owwo@cubmail.cc.columbia.edu> Message-ID: > > The Columbia University C.V. Starr East Asian Library welcomes applications for the following position: > ---------------------------------------- > > Project Archivist, Makino Collection > > Temporary 18-month Appointment > > C. V. Starr East Asian Library > > > > The Columbia University Libraries seek a Project Archivist to archive film programs, and ephemera from the Makino Mamoru Collection on East Asian Film and to complete an online finding aid for the entire collection. > > > > Material processing will follow standard practice using the Society of American Archivists? Arranging and Describing Archives and Manuscripts (2005), Describing Archives: A Content Standard (2004), as well as Columbia?s local practices. The archivist will follow the arrangement of the collection drafted by the previous archivist who worked on the parts processed to date, will conduct relevant research on the programs, evaluate their organization in the arrangement, perform physical processing and preparation for our offsite storage facility by coordinating the transfer of boxes, provide reference services, and perform outreach, including writing blog posts, updating the web page, giving presentations, cooperating on public programs, train and supervise one or two graduate student helper(s), and create a standard MARC record and finding aid using EAD following the RLG Best Practice Guidelines for Encoded Archival Description (2002). > > > > This is a temporary grant-funded 18-month appointment with the possibility of extension with a proposed start date of April 1, 2014. The appointment can be for a 9, 10 or 11-month appointment but the project must be completed by the grant?s end date of December 31, 2016. > > > > Minimum qualifications: > > - MLS or MA in Archival Management or equivalent > > - Thorough knowledge of archival standards > > - Advanced ability to read and write Japanese and strong verbal skills in Japanese > > - Strong verbal and written communication skills > > - Ability to work efficiently and meet project goals and deadlines > > > > Preferred qualifications: > > - Advanced degree in an East Asian Studies discipline > > - Familiarity with Japanese and East Asian Film Studies > > - Experience managing archival digital projects > > - Knowledge of research processes in archival sources > > - Familiarity with cataloging principles > > > For immediate consideration please apply on-line at: > > https://academicjobs.columbia.edu/applicants/Central?quickFind=58762 > > > > > > 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/pieces of Chinese, Japanese, Korean, Tibetan, and Western language materials and over 8,500 periodical titles. > > > > One of the world's leading research universities, Columbia provides outstanding opportunities to work and grow in a unique intellectual community. Set in the Morningside Heights academic village, Columbia also presents the unmatched dynamism, diversity and cultural richness of New York City. The University Libraries, grounded in collections of remarkable depth and breadth, are also building extensive electronic resources and services. The Libraries at Columbia are committed to collegiality, professionalism, innovation and leadership. > > > > We offer a salary commensurate with qualifications and experience and excellent benefits. > > > > Columbia University is an Equal Opportunity/Affirmative Action Employer _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Mon Jan 20 08:22:22 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Mon, 20 Jan 2014 22:22:22 +0900 Subject: [KineJapan] Reminder: UTCP Screening of "No Man's Zone" Message-ID: Dear KineJapaners, Please join us at UTCP for a free screening of Fujiwara Toshi's No Man's Zone on Friday, January 24th at 18:00. Place: University of Tokyo, Center for Philosophy, Collaboration Room 3, Bldg. 18, 4F, The University of Tokyo, Komaba. Language: English | Admission Free | No registration required. Details: http://utcp.c.u-tokyo.ac.jp/events/2014/01/film_screening_no_mans_zone/index_en.php The screening will be followed by a public discussion with director Fujiwara Toshi, Mark Roberts and ?lise Domenach of UTCP. Description Following the Fukushima No.1 nuclear crisis of March 11th 2011, an evacuation order was proclaimed for the 20 km area surrounding the power station, making the costal region of Fukushima a vast abandoned no-man?s zone. On the eve of complete governmental restriction, the camera wanders to record the devastated landscapes as well as the beautiful spring flourishing. Nothing seems to have changed except that all humans have left, for radioactive contamination is invisible. No Man?s Zone is a record of these forbidden landscapes, a philosophical essay in images and sound meditating on the fundamental nature of visible and invisible destruction, a portrait of people never losing their dignity, and of the richness of their culture soon to be lost. After its premiere at the Berlin Film Festival, No Man?s Zone has screened at over forty international festivals including the Festival International Documentaire de Marseille, the Edinburgh International Film Festival, the 'Cinema Verite' Tehran International Documentary Film Festival, Amsterdam International Documentary Festival (IDFA), Bangkok World Film Festival, Cinema Digital Seoul Film Festival, Shanghai International Film Festival, and the Taipei Zero Nukes Film Festival. No Man?s Zone will open in theatrical release from Feb. 1st, at Eurospace in Shibuya. 2?1????????????????????????????? Fujiwara Toshi studied Film Studies at Waseda University, and in the School of Cinema and Television at the University of Southern California (USC). His films include: Independence: Around the Film ?Kedma? by Amos Gitai (2002), We Can?t Go Home Again (2006), Cinema is about Documenting Lives: the Works and Times of Noriaki Tsuchimoto (2007), and Fence (2008). Organized by The University of Tokyo Center for Philosophy (UTCP), Uehiro Research Division ---- Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mso1 at sfu.ca Sun Jan 19 02:33:36 2014 From: mso1 at sfu.ca (Melek Ortabasi) Date: Sat, 18 Jan 2014 23:33:36 -0800 Subject: [KineJapan] Call for Papers, MLA 2015 in Vancouver In-Reply-To: <2008681394.463823060.1390116802166.JavaMail.root@jaguar8.sfu.ca> Message-ID: <1231101939.463823088.1390116816919.JavaMail.root@jaguar8.sfu.ca> Hello everyone, I am writing on behalf of the MLA Division for East Asian Languages and Literatures after 1900. In the interests of promoting the participation of Asianists in the Modern Languages Association, we would like to pass on the MLA?s call for panel proposals to our colleagues in the field. While we cannot guarantee the acceptance of these proposals by the MLA, we on the committee (which comprises Japanologists, Sinologists and Koreanists) would like to offer our guidance in negotiating the MLA special session application process. You do have to be a member of the MLA to propose/participate. Interested parties should consult the following page for the basic guidelines: http://www.mla.org/ssp_main If you have additional questions or concerns, please feel free to email me personally at mso1 at sfu.ca. Cross-border and/interdisciplinary panels are likely to be of particular interest, but panels confined to a single national tradition are also welcome. MLA is also calling for other innovative formats: https://www.mla.org/innovative_proposals Exciting changes benefiting Asianists at the MLA are in the near future. We look forward to seeing you in Vancouver in January 2015! Apologies for cross-posting. Very best regards, Melek -- 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 "Be an international writer...your real home country will be that common ground your work plows between you and your reader...Quit hiding behind [y]our strengths and stand beside [y]our weaknesses and say, These are mine! These are what I'm working to fix! Learn to be completely honest. Then your work will transcend calendars and borders. Goethe called it World Literature...He said it's up to each of us to hasten this development." -Miguel Syjuco, _Ilustrado_ _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From ishii at jvtacademy.com Fri Jan 17 22:25:16 2014 From: ishii at jvtacademy.com (ISHII Kiyotake JVTA/MTC) Date: Sat, 18 Jan 2014 12:25:16 +0900 Subject: [KineJapan] Kimihiko Kimata's Special Seminar at JVTA, January 25 In-Reply-To: <20130911165957.55D2.5A45579C@jvtacademy.com> References: <20110222050950.2584.5A45579C@jvtacademy.com> <20130911165957.55D2.5A45579C@jvtacademy.com> Message-ID: <20140118122513.3986.5A45579C@jvtacademy.com> Dear KineJapaners, JVTA will host a special seminar on Saturday, January 25 by Mr. Kimihiko Kimata, renowned film critic and researcher who made an invited speech at XI. Kinema Club Conference in Vienna, 2011. 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. DATE & TIME: >>From 13:00, Saturday, January 25 WORKSHOP TITLE: ??????????????????????????????????? ??????????????? ???????????????????????? LECTURER: Kimihiko Kimata ???? ?????????????????????????? ??????? ????? ??????????101????????? web????????? http://www.eiganokuni.com/ ???????? OUTLINE: ???????????????????????????????????? ??????????????????????????????????? ?????????????????????? 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 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 thomaswvincent at hotmail.com Tue Jan 14 17:47:22 2014 From: thomaswvincent at hotmail.com (Thomas Vincent) Date: Tue, 14 Jan 2014 22:47:22 +0000 Subject: [KineJapan] =?utf-8?q?Nomura_Yoshitar=C3=B4_at_Bradford_Internati?= =?utf-8?q?onal_Film_Festival?= Message-ID: Hi all Just a note for you all - we will play the following films by Nomura Yoshitar? at Bradford International Film Festival between 1 and 5 April: ?????Stakeout (1958)??????Zero Focus (1961)????The Shadow Within (1970) ????The Castle of Sand (1974)???The Demon (1978) http://www.nationalmediamuseum.org.uk/BradfordInternationalFilmFestival/Promos/News/2014/BIFF2014SpecialProgrammes.aspx Please do let me know if you can make it to any of these shows. Best wishes Tom Tom VincentFilm Programme Manager, National Media Museum, Bradford -------------- 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 hfuji at lit.nagoya-u.ac.jp Tue Jan 14 04:00:40 2014 From: hfuji at lit.nagoya-u.ac.jp (Hideaki Fujiki) Date: Tue, 14 Jan 2014 18:00:40 +0900 Subject: [KineJapan] Assistant Professor Position, Nagoya University Message-ID: <832A226A-F4F4-4002-A530-DABB737D7C92@lit.nagoya-u.ac.jp> Assistant Professor Position Announcement (Japanese or East Asian culture) Nagoya University, Graduate School of Letters http://www.lit.nagoya-u.ac.jp/english/ http://en.nagoya-u.ac.jp/employment/index.html 1. Position title: Assistant professor 2. Number of positions: One position 3. Contract term: Until 31 March, 2017 (Reappointment for an additional two years may be allowed once only.) 4. Content of duties: (1) Supporting international projects and operations at the Undergraduate and Graduate School of Letters. (2) Particular contribution to the Japan-in-Asia Cultural Studies Program of the Undergraduate and Graduate School of Letters, which is offered in English to international students and returnee Japanese students. This includes teaching the courses ?Introduction to research methods for culture and history? (for undergraduate students), ?Introduction to thesis writing? (for undergraduate students), and ?Research methods for culture and history? (for graduate students). (3) Other administrative duties. 5. Qualifications: (1) Applicants must hold a Ph.D. or show evidence of an equivalent academic career. (2) Japanese language proficiency is required for handling administrative matters, as well as English for teaching. (3) Applicants who specialize in Japanese or Asian culture within the field of humanities are preferred. 6. Starting Date: 1 July, 2014 7. Application documents: (1) Curriculum vitae (with a passport-size identity photograph, email address, and a list of academic achievements included) (2) Copies of three key publications (Offprints and photocopies are acceptable. Mark these publications in the list of academic achievements.) (3) Statement of your aspirations and intentions regarding the duties of this assistant professor position if you are employed (up to two A4 pages) 8. Treatment All matters relating to employment by Nagoya University will be subject to the Nagoya University Employee Work Rules. See http://www.nagoya-u.ac.jp/extra/kisoku/act/frame/frame110000115.htm (English translation: http://nutriad.provost.nagoya-u.ac.jp/docs/detail/?re=01&id=1489) 9. Deadline for Applications: Application entries must arrive by 24 February, 2014. 10. Application documents should be sent, by registered mail, to: Prof. Motokazu KIMATA Dean, the Graduate School of Letters, Nagoya University Fur?-cho, Chikusa-ku, Nagoya, 464-8601, Japan (Application documents must be sent in an envelope marked in red with ?Application Documents for Assistant Professor Position.?) 11. Selection procedure: (1) First screening: Short-listing based on application documents. (2) Second screening: Interview with successful applicants of first screening. A short demonstration lecture in English may also be requested. For applicants living in Japan, the interview will be conducted at Nagoya University. For applicants living overseas, the interview will initially be conducted via Skype; applicants may then be requested to visit Nagoya University. (Please note that the Graduate School of Letters cannot bear the travel costs for interviews.) 12. Please note: (1) Further submission of copies of publications may be requested during the screening process. (2) We will use the application documents and personal information given for the purpose of this screening only. (3) For further information and inquiries, please contact: General Affairs Office of Humanities Graduate School of Letters, Nagoya University Fur?-cho, Chikusa-ku, Nagoya, 464-8601, Japan Fax: (81)52-789-2666 from overseas and (052)789-2666 from inside Japan 13. Other: Nagoya University is an Equal Opportunity/Affirmative Action employer. Applications from women and minorities are strongly encouraged. Further information can be found at: http://www.nagoya-u.ac.jp/about-nu/declaration/positive _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Mon Jan 13 01:48:57 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 13 Jan 2014 08:48:57 +0200 Subject: [KineJapan] FCCJ: Japanese-Indonesian KILLERS sneak preview Message-ID: Dear KineJapanners, The Foreign Correspondents' Club in Yurakucho will be screening the buzzed-about Japan-Indonesia coproduction "Killers," by the team behind "The Raid: Redemption" on Friday, January 24. Since FCCJ is a private club, you must reserve a seat through Karen Severns: kjs30 at gol.com. *SNEAK PREVIEW SCREENING * Followed by a Q&A session with director Timo Tjahjanto and stars Kazuki Kitamura and Rin Takanashi FRIDAY, JANUARY 24, 6:30 pm* *Please note early start time. *KILLERS* Japan-Indonesia, 2013 138 minutes In English, Japanese and Indonesian with English subtitles Marking a groundbreaking collaboration between Japan and Indonesia, the highly anticipated ?Killers? arrives at FCCJ fresh from its world premiere at the 2014 Sundance Film Festival. The pan-Asian thriller was coproduced by Nikkatsu Corp. (as part of its 100th anniversary celebration) and Indonesian production house Guerilla Merah Films. Shot in Tokyo and Jakarta, the film?s creative team boasts some of the hottest names in the business: The producer is Yoshinori Chiba (?Cold Fish?) and the executive producers include Gareth Evans (?The Raid: Redemption?). The directors are the acclaimed Mo Brothers (Timo Tjahjanto and Kimo Stamboel), who made a name for themselves with ?Macabre? (aka ?Rumah Darah?). ?Killers? is a character-driven psychological thriller that delves with dark intensity into the minds of two men with seemingly nothing in common: Nomura (Kitamura), a self-obsessed serial killer residing in Tokyo, and Bayu (Antara), a failing journalist and a struggling father in Jakarta. Connected online, the men become rivals, and inexplicably start to feed off each other. As their lives grow more uncontrollable, they each begin a journey into a maze of violent self-discovery. The film opens in Japan on February 1 and is scheduled for release around the globe. For more info, see: http://www.fccj.or.jp/eventscalendar/filmscreenings/icalrepeat.detail/2014/01/24/707/33/sneak-preview-screening-killers.html?filter_reset=1 -------------- 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 lce2 at case.edu Fri Jan 10 15:56:16 2014 From: lce2 at case.edu (Linda Ehrlich) Date: Fri, 10 Jan 2014 15:56:16 -0500 Subject: [KineJapan] The Beginning of the Road In-Reply-To: <1389373487.73689.YahooMailNeo@web171402.mail.ir2.yahoo.com> References: <1389373487.73689.YahooMailNeo@web171402.mail.ir2.yahoo.com> Message-ID: I also saw the Kinoshita film in Dec. on an Air France flight, returning from Paris. It was a lot better than the usual airplane offerings! In fact, it felt rather natsukashii (nostalgic). Linda Ehrlich On Fri, Jan 10, 2014 at 12:04 PM, Roger Macy wrote: > Dear KineJapaners, > *?The Keisuke Kinoshita Story?* > Quentin Turnour mentioned at the end of his post on the KineJun Best ten > 2013, on the 9th, that > (Just as last year the hard to see film was the #2 THE DRUDGERY > TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only > finally seen on the back of a JAL airline seat) > *Our Homeland*, together with Yang Yong-hi, at least made it to Frankfurtand a few other places but, I agree, not enough > . > But your comment, Quentin, did make me pay more attention to the back of > my American Airlines seat and what was listed under ?Japanese?. > Of the fifty, most were middling Hollywood (presumably available with > Japanese language). > The eight Japanese films among them (listed below) were, in my opinion, > mostly uninspiring with several low-budget made-for-tv movies. But one, > although feeling like a tv dorama-doc, had a subject matter of interest to > some KineJapan members, *Hajimari no michi*, 2013, by Hara Keiichi, > billed on the menu as ?The Keisuke Kinoshita Story ? Dawn of a Filmmaker?. > It was set in mid-1945 (opening with a clip of Kinoshita?s first film, *Hana > saku minato*, 1943) and substantially related the transporting of > Kinoshita?s mother by handcart along a mountain road in Shizuoka. You > would have to know what was coming to stay awake for the first fifty > minutes ? a four-hankie setting of the jewel of the last ten minutes Tanaka > Kinuyo in *Rikugun* / *Army*, 1944. At the end of the film, we also had > clips from :- > Waga koi seshi otome, 1946 > Oj?san kanpai`, 1949 > Yaburedaiko, 1949 > Karumen koky? ni kaeru, 1951 > Nihon no kigeki, 1953 > Nij?shino hitomi, 1954 > Nogiku no gotoki kimi nariki, 1955 > Yorokobi mo kanashimi mo ikutoshitsuki, 1957 > Narayama bushik?, 1958 > Fuefukigawa, 1960 > Eien no hito, 1961 > K?ge, 1964 > Shin yorokobi mo kanashimi mo ikutoshitsuki, 1986 > Some of these clips, at least, had been set up in the story by visual > quotes in the journey. > The clips had all been beautifully restored by this film?s producer, > Sh?chiku, and it looked like a show-case by them of Kinoshita?s work. But > this film was largely a trail of visual flourishes with next to no story; > and it was in danger of showing, unfairly, that Kinoshita?s work might be > similarly labelled . > (It was subtitled in english, if you had initially selected ?English? as > your language. There was no translation credit.) > > (The 8 Japanese films on American Airlines are :- > Keisuke Kinoshita Story, HARA Keiichi > Fruits of Faith, NAKAMURA Yoshihiro > Maruyama , the Middle Schooler, KUD? Kankur? > Midsummer?s Equation, NISHITANI Hiroshi - a Fuji TV movie, distributed by > T?h? > The After-Dinner Mysteries, HIJIKATA Masato - Hong Kong based heist caper > Boy called H, FURUHATA Yasuo > The Apology King, MIZUTA Nobuo > The Human Trust, SAKAMOTO Junji ) > > 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 hakutaku at kansaigaidai.ac.jp Sun Jan 12 19:37:30 2014 From: hakutaku at kansaigaidai.ac.jp (BERRY Paul) Date: Mon, 13 Jan 2014 09:37:30 +0900 Subject: [KineJapan] Kinema Junpo sales In-Reply-To: Message-ID: <1204187494.339385.1389573450194.JavaMail.root@kansaigaidai.ac.jp> Reading Aaron's comments about the shifting patterns of KineJun's selection of films for the their annual Best Ten lists, made me wonder if the "aging" critic base could somehow be related to what I see as a shocking decline in apparent sales of the magazine itself. For decades most bookstores, even small ones, tended to have a tall stack of monthly copies, but over the last few years that stack has dwindled and dwindled to a few copies. Most bookstores that I visit in Japan now do not display the cover of KineJun in the film sections (which are filled with large glossy "movie photo" magazines dealing with actors and promotional puff pieces on new films, etc), instead tucking a few copies edge outwards along with the few issues of Eiga Geijutsu they still sell. At first I thought this was a freakish temporary trend but over the last several years it has gotten worse and worse. If this display pattern really reflects their sales it looks like the magazine could be in deep trou ble. Anyone have any insider information about this situation? It seems to reflect various disturbing trends in the Japanese cinema world. Paul Berry Kyoto ----- Original Message ----- From: "Gerow Aaron" To: "Japanese Cinema Discussion Forum" Sent: Monday, January 13, 2014 8:51:16 AM Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 One opinion on the presumption some have had that the KineJun list represents "mainstream" cinema. Actually, looking at the list over time, that has rarely if ever been the case. It is shaped by business and politics, but in the 50s and 60s it supported independent films and in the 70s roman poruno. For much of the 90s and naughts, it represented a somewhat staid, if not conservative perspective that supported art films or socially conscious films, one that often was reflected in the fact the critics themselves were somewhat old. One could often contrast its list to that of Eiga geijutsu, which could be more eclectic and radical. But KineJun rarely supported box office hits and did not always match the very mainstream Japan Academy Prize. But this year's list struck me as different. First, Pekorosu is very much "indies", distributed by the small company Tongpoo, which usually distributes documentary films. Its seisaku iinkai includes not a single TV station, which is the norm for mainstream films. That's one reason it was so surprising that it won Best One, though I suspect some of the support came from critics giving a cheer to Morisaki, a master director who has been basically shut out of the mainstream industry over the last couple of decades. Some other films on the list, like Matsue-san's, are also far from mainstream. So when it comes to asking which of these will be released abroad, either in theaters or on DVD, it is not a simple question of mainstream versus indies. Aaron Gerow Professor Film Studies Program/East Asian Languages and Literatures Yale University 320 York Street, Room 311 PO Box 208236 New Haven, CT 06520-8236 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Sat Jan 11 20:03:50 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Sun, 12 Jan 2014 10:03:50 +0900 Subject: [KineJapan] UTCP Screening: "No Man's Zone" Message-ID: <7ADC518B-85A7-4368-AAEA-60E5C63719DB@mail-central.com> Dear KineJapaners, Please join us at UTCP for a free screening of Fujiwara Toshi's No Man's Zone on Friday, January 24th at 18:00. Place: University of Tokyo, Center for Philosophy, Collaboration Room 3, Bldg. 18, 4F, The University of Tokyo, Komaba. Language: English | Admission Free | No registration required. Details: http://utcp.c.u-tokyo.ac.jp/events/2014/01/film_screening_no_mans_zone/index_en.php The screening will be following by a public discussion with director Fujiwara Toshi, Mark Roberts and ?lise Domenach of UTCP. Description Following the Fukushima No.1 nuclear crisis of March 11th 2011, an evacuation order was proclaimed for the 20 km area surrounding the power station, making the costal region of Fukushima a vast abandoned no-man?s zone. On the eve of complete governmental restriction, the camera wanders to record the devastated landscapes as well as the beautiful spring flourishing. Nothing seems to have changed except that all humans have left, for radioactive contamination is invisible. No Man?s Zone is a record of these forbidden landscapes, a philosophical essay in images and sound meditating on the fundamental nature of visible and invisible destruction, a portrait of people never losing their dignity, and of the richness of their culture soon to be lost. After its premiere at the Berlin Film Festival, No Man?s Zone has screened at over forty international festivals including the Festival International Documentaire de Marseille, the Edinburgh International Film Festival, the 'Cinema Verite' Tehran International Documentary Film Festival, Amsterdam International Documentary Festival (IDFA), Bangkok World Film Festival, Cinema Digital Seoul Film Festival, Shanghai International Film Festival, and the Taipei Zero Nukes Film Festival. No Man?s Zone will open in theatrical release from Feb. 1st, at Eurospace in Shibuya. 2?1????????????????????????????? Fujiwara Toshi studied Film Studies at Waseda University, and in the School of Cinema and Television at the University of Southern California (USC). His films include: Independence: Around the Film ?Kedma? by Amos Gitai (2002), We Can?t Go Home Again (2006), Cinema is about Documenting Lives: the Works and Times of Noriaki Tsuchimoto (2007), and Fence (2008). Organized by The University of Tokyo Center for Philosophy (UTCP), Uehiro Research Division ---- Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From Alex.Zahlten at gmx.de Fri Jan 10 17:59:52 2014 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Fri, 10 Jan 2014 23:59:52 +0100 Subject: [KineJapan] Kinema Club XIII Schedule In-Reply-To: <9F88BF4C-496D-4407-B381-50A3B0D6F91F@wpunj.edu> References: <1389373487.73689.YahooMailNeo@web171402.mail.ir2.yahoo.com>, <9F88BF4C-496D-4407-B381-50A3B0D6F91F@wpunj.edu> Message-ID: An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From CookT at wpunj.edu Fri Jan 10 12:55:29 2014 From: CookT at wpunj.edu (Cook, Theodore) Date: Fri, 10 Jan 2014 17:55:29 +0000 Subject: [KineJapan] The Beginning of the Road In-Reply-To: <1389373487.73689.YahooMailNeo@web171402.mail.ir2.yahoo.com> References: <1389373487.73689.YahooMailNeo@web171402.mail.ir2.yahoo.com> Message-ID: <9F88BF4C-496D-4407-B381-50A3B0D6F91F@wpunj.edu> Roger, FANTASTIC! Haruko Taya Cook and I interviewed Kinoshita Keishke about those war- and immediate postwar-years. The interview could not be squeezed into JAPAN AT WAR: AN ORAL HISTORY but informs our next project. I would welcome any news on the Hara Keichi film! Ted Cook Sent from my iPhone On Jan 10, 2014, at 12:08 PM, "Roger Macy" > wrote: Dear KineJapaners, ?The Keisuke Kinoshita Story? Quentin Turnour mentioned at the end of his post on the KineJun Best ten 2013, on the 9th, that (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat) Our Homeland, together with Yang Yong-hi, at least made it to Frankfurt and a few other places but, I agree, not enough. But your comment, Quentin, did make me pay more attention to the back of my American Airlines seat and what was listed under ?Japanese?. Of the fifty, most were middling Hollywood (presumably available with Japanese language). The eight Japanese films among them (listed below) were, in my opinion, mostly uninspiring with several low-budget made-for-tv movies. But one, although feeling like a tv dorama-doc, had a subject matter of interest to some KineJapan members, Hajimari no michi, 2013, by Hara Keiichi, billed on the menu as ?The Keisuke Kinoshita Story ? Dawn of a Filmmaker?. It was set in mid-1945 (opening with a clip of Kinoshita?s first film, Hana saku minato, 1943) and substantially related the transporting of Kinoshita?s mother by handcart along a mountain road in Shizuoka. You would have to know what was coming to stay awake for the first fifty minutes ? a four-hankie setting of the jewel of the last ten minutes Tanaka Kinuyo in Rikugun / Army, 1944. At the end of the film, we also had clips from :- Waga koi seshi otome, 1946 Oj?san kanpai`, 1949 Yaburedaiko, 1949 Karumen koky? ni kaeru, 1951 Nihon no kigeki, 1953 Nij?shino hitomi, 1954 Nogiku no gotoki kimi nariki, 1955 Yorokobi mo kanashimi mo ikutoshitsuki, 1957 Narayama bushik?, 1958 Fuefukigawa, 1960 Eien no hito, 1961 K?ge, 1964 Shin yorokobi mo kanashimi mo ikutoshitsuki, 1986 Some of these clips, at least, had been set up in the story by visual quotes in the journey. The clips had all been beautifully restored by this film?s producer, Sh?chiku, and it looked like a show-case by them of Kinoshita?s work. But this film was largely a trail of visual flourishes with next to no story; and it was in danger of showing, unfairly, that Kinoshita?s work might be similarly labelled . (It was subtitled in english, if you had initially selected ?English? as your language. There was no translation credit.) (The 8 Japanese films on American Airlines are :- Keisuke Kinoshita Story, HARA Keiichi Fruits of Faith, NAKAMURA Yoshihiro Maruyama , the Middle Schooler, KUD? Kankur? Midsummer?s Equation, NISHITANI Hiroshi - a Fuji TV movie, distributed by T?h? The After-Dinner Mysteries, HIJIKATA Masato - Hong Kong based heist caper Boy called H, FURUHATA Yasuo The Apology King, MIZUTA Nobuo The Human Trust, SAKAMOTO Junji ) 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 macyroger at yahoo.co.uk Fri Jan 10 12:04:47 2014 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 10 Jan 2014 17:04:47 +0000 Subject: [KineJapan] The Beginning of the Road Message-ID: <1389373487.73689.YahooMailNeo@web171402.mail.ir2.yahoo.com> Dear KineJapaners, ?The Keisuke Kinoshita Story? Quentin Turnour mentioned at the end of his post on the KineJun Best ten 2013, on the 9th, that ????? (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant?? ?OUR?HOMELAND - was only finally seen on the back of a JAL airline seat) Our Homeland, together with Yang Yong-hi, at least made it to Frankfurt and a few other places but, I agree, not enough. But your comment, Quentin, did make me pay more attention to the back of my American Airlines seat and what was listed under ?Japanese?. Of the fifty, most were middling Hollywood (presumably available with Japanese language).? The eight Japanese films among them (listed below) were, in my opinion, mostly uninspiring with several low-budget made-for-tv movies.? But one, although feeling like a tv dorama-doc, had a subject matter of interest to some KineJapan members, Hajimari no michi, 2013, by Hara Keiichi, billed on the menu as ?The Keisuke Kinoshita Story ? Dawn of a Filmmaker?. It was set in mid-1945 (opening with a clip of Kinoshita?s first film, Hana saku minato, 1943) and substantially related the transporting of Kinoshita?s mother by handcart along a mountain road in Shizuoka.? You would have to know what was coming to stay awake for the first fifty minutes ? a four-hankie setting of the jewel of the last ten minutes Tanaka Kinuyo in Rikugun / Army, 1944.? At the end of the film, we also had clips from :- Waga koi seshi otome, 1946 Oj?san kanpai`, 1949 Yaburedaiko, 1949 Karumen koky? ni kaeru, 1951 Nihon no kigeki, 1953 Nij?shino hitomi, 1954 Nogiku no gotoki kimi nariki, 1955 Yorokobi mo kanashimi mo ikutoshitsuki, 1957 Narayama bushik?, 1958 Fuefukigawa, 1960 Eien no hito, 1961 K?ge, 1964 Shin yorokobi mo kanashimi mo ikutoshitsuki, 1986 Some of these clips, at least, had been set up in the story by visual quotes in the journey. The clips had all been beautifully restored by this film?s producer, Sh?chiku, and it looked like a show-case by them of Kinoshita?s work.? But this film was largely a trail of visual flourishes with next to no story; and it was in danger of showing, unfairly, that Kinoshita?s work might be similarly labelled . (It was subtitled in english, if you had initially selected ?English? as your language.? There was no translation credit.) ?(The 8 Japanese films on American Airlines are :- Keisuke Kinoshita Story, HARA Keiichi Fruits of Faith, NAKAMURA Yoshihiro Maruyama , the Middle Schooler, KUD? Kankur? Midsummer?s Equation, NISHITANI Hiroshi - a Fuji TV movie, distributed by T?h? The After-Dinner Mysteries, HIJIKATA Masato - Hong Kong based heist caper Boy called H, FURUHATA Yasuo The Apology King, MIZUTA Nobuo The Human Trust, SAKAMOTO Junji? ) 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 stephen at asianfilm.info Thu Jan 9 04:20:17 2014 From: stephen at asianfilm.info (Stephen Cremin) Date: Thu, 9 Jan 2014 17:20:17 +0800 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428BB4@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> <0C1B0776F73740408427FF290C97926CC9428BB4@EXCHANGE10.campus.pomona.edu> Message-ID: Distributors in Taiwan, for example, are very very smart and ahead of the curve. They not only don't depend on film festivals, they also don't depend on the international trade press in the same manner that they did a decade ago. They're aware of Japanese films while in production and usually buy them sight-unseen based on the cast, some teaser footage and perhaps the script. I went to the American Film Market in Santa Monica for the first time in November and would ask Asian buyers what they were watching on the shuttles to the cinemas. They were usually seeing films (including non-Asian films) that they had bought six months before in Cannes. And the Asian films I did watch were very poorly attended, with perhaps a dozen people in screenings. In South Korea, the Korean Film Council keeps a record of the prices that local films sell abroad. The exact prices of individual films are kept confidential but they know if the sales to, for example, Germany are up or down 3.5%. I don't know if that happens anywhere else in the world, but it's the kind of information - like transparent box office - that helps make a professional film industry. I'd like to think that Hollywood is getting its comeuppance at the box office in Japan, China and South Korea because of its lack of reciprocity when it comes to "film flow". Big film industries, like those just mentioned, can more afford to be inward looking because they have a large local audience. But that doesn't work so well in smaller industries like Taiwan, Singapore, Philippines, etc, where Hollywood dominates. Stephen On Thursday, 9 January 2014 at 16:52, Jonathan M. Hall wrote: > Stephen, > > Your comments on festivals (and their irrelevance for some distributors) are interesting. Thank you. > > Concerning film flow, I completely agree with the ethics of your position. Of course, history shows us that there are many cultural imbalances when it comes to film distribution. But what interests me about your post to this thread is the implication that such an ethics might also be good business practice these days. > > Jonathan > From: kinejapan-bounces+jmhall=pomona.edu at lists.service.ohio-state.edu (mailto:pomona.edu at lists.service.ohio-state.edu) [kinejapan-bounces+jmhall=pomona.edu at lists.service.ohio-state.edu (mailto:pomona.edu at lists.service.ohio-state.edu)] on behalf of Stephen Cremin [stephen at asianfilm.info (mailto:stephen at asianfilm.info)] > Sent: Thursday, January 09, 2014 12:37 AM > To: Japanese Cinema Discussion Forum > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > > Asian buyers do come to TIFFCOM/Tokyo IFF for a subsidised business trip to Japan. But now they're stranded out in Odaiba, far from the festival in Roppongi. There was a bit of business done last year. Nikkatsu, for example, closed deals but chose not to announce during the market. In all, I count 23 Japanese films opening theatrically in Asia this month. About a third of those are being released in Taiwan alone. If that's representative, and it probably isn't, that would mean 250-300 Japanese films per year opening in Asia. Distributors are buying films before they go to festivals based on the cast. Only a handful of distributors pay attention to festival programming. > > (On release in Taiwan this month are Kanai Junichi's AGAIN (??????????) Hiroki Ryuichi's CRYING 100 TIMES: EVERY RAINDROP FALLS (????????), Yoshida Yasuhiro's LEAVING ON THE 15TH SPRING (?????????????), Ishikawa Hiroshi's PETAL DANCE (??? ???), Furusawa Takeshi's ROOMMATE (??????), Sudo Tomonori's THE GARDEN OF SINNERS: RECALLED OUT SUMMER (?????????????), Yamashita Nobuhiro's TAMAKO IN MORATORIUM (?????????) and Uchida Kenji's KEY OF LIFE (????????). Six of the Kinema Junpo Best Ten have been, or are scheduled to be, released in Taipei. > > Looking elsewhere, just one Japanese live action film opens in South Korea this month, Sabu's MISS ZOMBIE, together with five anime. Hong Kong gets Miki Takahiro's GIRL IN THE SUNNY PLACE (???????), Kumazawa Naoto's JINX!!! (???????) and Mitani Koki's THE KIYOSU CONFERENCE (????). Thailand gets Ochiai Ken's TIGER MASK (???????) and Abe Yuichi'S ULTRAMAN ZERO: THE REVENGE OF BELIAL (?????????????????????). Indonesia gets Togashi Shin's OSHIN (???). No Japanese films are currently scheduled to open this month in China, India, Malaysia, Philippines or Vietnam.) > > In contrast, I count just eight non-Japanese Asian films opening in Tokyo this month, including co-production GENOME HAZARD. I believe that if a country wants an export market to a region, then it has to import films from those territories also. For example, how can Taiwan film-makers expect to understand the market in China when only ten Mainland films are permitted to be imported each year. Similarly, why does Japan "deserve" an export market to Asia when its distributors and festivals (such as Tokyo IFF) are cutting the number of Asian films that they're importing. Perhaps some of that Cool Japan money should be spent subsidising the releasing costs of other Asian films in Japan. > > I think Mark is correct that Japan's "inward-facing business practices" will continue to limit the potential of the film industry. Google the Taiwan release title of Miki Satoshi's IT'S ME IT'S ME (??) and you won't find a single still of leading actor Kamenashi Kazuya who played 30+ characters in the film. If as a foreign distributor I can't promote Japanese films properly because of the power of the talent agencies, why should I buy them. And don't forget that time that a major festival in Japan blocked foreign press from the SP: THE MOTION PICTURE (??????) press conference because they couldn't trust the Chinese not to take photographers of the stars... at a press conference. > > Stephen Cremin > Taipei/Beijing > > > On Thursday, 9 January 2014 at 14:44, Jonathan M. Hall wrote: > > > Some festivals are important for distributors, but the vast majority are not. I think we need to distinguish here. Is there a festival in Japan that regularly draws representatives of major distributors of Japanese/Asian film? Or do those distributors look to other festivals overseas? Of course, festival-to-festival distribution is itself a vital link, and serves as another channel to audiences and distributors overseas. My comments are speculative as I am not in the festival industry. > > > > jmh > > > > From: kinejapan-bounces at lists.service.ohio-state.edu (mailto:kinejapan-bounces at lists.service.ohio-state.edu) [kinejapan-bounces at lists.service.ohio-state.edu (mailto:kinejapan-bounces at lists.service.ohio-state.edu)] on behalf of Mark Roberts [mroberts37 at mail-central.com (mailto:mroberts37 at mail-central.com)] > > Sent: Wednesday, January 08, 2014 10:28 PM > > To: Japanese Cinema Discussion Forum > > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > > > > I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. > > > > After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD. > > > > VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong. > > > > M. > > > > On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: > > > Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) > > > > > > The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. > > > > > > This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). > > > > > > Best wishes > > > > > > Quentin Turnour, Manager, Arc Canberra Cinema Programs, > > > National Film and Sound Archive of Australia, > > > quentin.turnour at nfsa.gov.au (mailto:quentin.turnour at nfsa.gov.au) > > > Fax: +61 2 6249 8159 > > > Ph +61 2 6248 2054 > > > Mob: + 61 4 428 368908 > > > [Please note that I am often absent Mondays] > > > > > > All mail and freight shipments to: > > > att: Cinema Programming (Quentin Turnour), > > > Loading Dock, National Film and Sound Archive of Australia, > > > McCoy Cct, Acton, Canberra, > > > ACT 2601, AUSTRALIA. > > > Freight shipment inquiries to Cynthia Piromalli: > > > cynthia.piromalli at nfsa.gov.au (mailto:cynthia.piromalli at nfsa.gov.au) > > > ph +61 2 628 2289 > > > > > > > > > > > > > > > > > > From: Mark Roberts > > > To: Japanese Cinema Discussion Forum , > > > Date: 09/01/2014 04:50 PM > > > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > > > Sent by: kinejapan-bounces at lists.service.ohio-state.edu (mailto:kinejapan-bounces at lists.service.ohio-state.edu) > > > > > > > > > > > > Hi Jonathan, > > > > > > The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. > > > > > > My report on TIFF has more details about patterns of international distribution: > > > > > > http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html > > > > > > For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. > > > > > > Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. > > > > > > Best, > > > > > > Mark > > > > > > > > > On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: > > > > > > Mark, > > > Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? > > > Jonathan > > > > > > For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > > > > > > _______________________________________________ > > > KineJapan mailing list > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > > > KineJapan mailing list > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > > _______________________________________________ > > > KineJapan mailing list > > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Thu Jan 9 04:06:39 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Thu, 9 Jan 2014 11:06:39 +0200 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428BB4@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> <0C1B0776F73740408427FF290C97926CC9428BB4@EXCHANGE10.campus.pomona.edu> Message-ID: There was a time, back in the 90s, when a couple of Finnish distributors bought Japanese films to distribution (Kitano, Tsukamoto, Ishii Takashi's Gonin), but nowadays one of these distributors only buys Ghibli, with the exception of buying Kore-eda's Like Father Like Son now. This distributor switched from Japanese to Korean films (Kim Ki-duk) around the first half of the 2000s, and now they do mostly French, Spanish and East European (Romanian) films. East Europe seems to be the new "East Asia" for many distributors now, meaning interesting art house films. Eija 2014/1/9 Jonathan M. Hall > Stephen, > > Your comments on festivals (and their irrelevance for some distributors) > are interesting. Thank you. > > Concerning film flow, I completely agree with the ethics of your > position. Of course, history shows us that there are many cultural > imbalances when it comes to film distribution. But what interests me about > your post to this thread is the implication that such an ethics might also > be good business practice these days. > > Jonathan > ------------------------------ > *From:* kinejapan-bounces+jmhall=pomona.edu at lists.service.ohio-state.edu[kinejapan-bounces+jmhall= > pomona.edu at lists.service.ohio-state.edu] on behalf of Stephen Cremin [ > stephen at asianfilm.info] > *Sent:* Thursday, January 09, 2014 12:37 AM > > *To:* Japanese Cinema Discussion Forum > *Subject:* Re: [KineJapan] Kinema Junpo Best Ten 2013 > > Asian buyers do come to TIFFCOM/Tokyo IFF for a subsidised business > trip to Japan. But now they're stranded out in Odaiba, far from the > festival in Roppongi. There was a bit of business done last year. Nikkatsu, > for example, closed deals but chose not to announce during the market. In > all, I count 23 Japanese films opening theatrically in Asia this month. > About a third of those are being released in Taiwan alone. If that's > representative, and it probably isn't, that would mean 250-300 Japanese > films per year opening in Asia. Distributors are buying films before they > go to festivals based on the cast. Only a handful of distributors pay > attention to festival programming. > > (On release in Taiwan this month are Kanai Junichi's AGAIN (??????????) > Hiroki Ryuichi's CRYING 100 TIMES: EVERY RAINDROP FALLS (????????), Yoshida > Yasuhiro's LEAVING ON THE 15TH SPRING (?????? ??????), Ishikawa > Hiroshi's PETAL DANCE (??? ???), Furusawa Takeshi's ROOMMATE (??????), Sudo > Tomonori's THE GARDEN OF SINNERS: RECALLED OUT SUMMER (??? ?????????), > Yamashita Nobuhiro's TAMAKO IN MORATORIUM (?????????) and Uchida > Kenji's KEY OF LIFE (????????). Six of the Kinema Junpo Best Ten have been, > or are scheduled to be, released in Taipei. > > Looking elsewhere, just one Japanese live action film opens in South > Korea this month, Sabu's MISS ZOMBIE, together with five anime. Hong Kong > gets Miki Takahiro's GIRL IN THE SUNNY PLACE (???????), Kumazawa > Naoto's JINX!!! (???????) and Mitani Koki's THE KIYOSU CONFERENCE (????). > Thailand gets Ochiai Ken's TIGER MASK (???????) and Abe Yuichi'S ULTRAMAN > ZERO: THE REVENGE OF BELIAL (???????? ????????????). Indonesia gets Togashi > Shin's OSHIN (???). No Japanese films are currently scheduled to open this > month in China, India, Malaysia, Philippines or Vietnam.) > > In contrast, I count just eight non-Japanese Asian films opening in > Tokyo this month, including co-production GENOME HAZARD. I believe that if > a country wants an export market to a region, then it has to import films > from those territories also. For example, how can Taiwan film-makers expect > to understand the market in China when only ten Mainland films are > permitted to be imported each year. Similarly, why does Japan "deserve" an > export market to Asia when its distributors and festivals (such as Tokyo > IFF) are cutting the number of Asian films that they're importing. Perhaps > some of that Cool Japan money should be spent subsidising the releasing > costs of other Asian films in Japan. > > I think Mark is correct that Japan's "inward-facing business practices" > will continue to limit the potential of the film industry. Google the > Taiwan release title of Miki Satoshi's IT'S ME IT'S ME (??) and you won't > find a single still of leading actor Kamenashi Kazuya who played 30+ > characters in the film. If as a foreign distributor I can't promote > Japanese films properly because of the power of the talent agencies, why > should I buy them. And don't forget that time that a major festival in > Japan blocked foreign press from the SP: THE MOTION PICTURE (?? ???) press > conference because they couldn't trust the Chinese not to take > photographers of the stars... at a press conference. > > Stephen Cremin > Taipei/Beijing > > On Thursday, 9 January 2014 at 14:44, Jonathan M. Hall wrote: > > Some festivals are important for distributors, but the vast majority > are not. I think we need to distinguish here. Is there a festival in > Japan that regularly draws representatives of major distributors of > Japanese/Asian film? Or do those distributors look to other festivals > overseas? Of course, festival-to-festival distribution is itself a vital > link, and serves as another channel to audiences and distributors overseas. > My comments are speculative as I am not in the festival industry. > > jmh > > ------------------------------ > *From:* kinejapan-bounces at lists.service.ohio-state.edu [ > kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Mark Roberts > [mroberts37 at mail-central.com] > *Sent:* Wednesday, January 08, 2014 10:28 PM > *To:* Japanese Cinema Discussion Forum > *Subject:* Re: [KineJapan] Kinema Junpo Best Ten 2013 > > I second Quentin's observation about the split between the values of > festival programmers and more "mainstream" critics. > > After looking at the festival numbers more closely, what really jumped > out at me was how much they reflect an almost separate ecosystem. Festivals > are markets for distributors, but a surprising number of films don't get > sold. Many titles circulate through festivals but never make it to DVD. > > VOD is of course the big hope, but I predict that Japan is going to lag > here because the money and power are very centralized. My suspicion is that > the same inward-facing business practices will likely replicate themselves > under new market conditions. Hope I'm wrong. > > M. > > On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: > > Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S > PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been > getting some touring festival life and have been seen in both English > subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope > site for example, for those who can access it) > > The frustration often seems to be the odd film that Japanese critics > really go for in the poll, but which don't seem to make it even out in > international film festival circulation - perhaps because of the split > between titles that get championed by festival programmers and those that > have mainstream Japanese studio release. > > This is re Arron's comments; I suspect the one film I won't get to see on > this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film > such as ANATOMY OF A PAPERCLIP will probably make it to many a film > festival near you, because a number of influential western programmers have > got behind it (Just as last year the hard to see film was the #2 THE > DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was > only finally seen on the back of a JAL airline seat). > > Best wishes > > Quentin Turnour, Manager, Arc Canberra Cinema Programs, > National Film and Sound Archive of Australia, > quentin.turnour at nfsa.gov.au > Fax: +61 2 6249 8159 > Ph +61 2 6248 2054 > Mob: + 61 4 428 368908 > [Please note that I am often absent Mondays] > > All mail and freight shipments to: > att: Cinema Programming (Quentin Turnour), > Loading Dock, National Film and Sound Archive of Australia, > McCoy Cct, Acton, Canberra, > ACT 2601, AUSTRALIA. > Freight shipment inquiries to Cynthia Piromalli: > cynthia.piromalli at nfsa.gov.au > ph +61 2 628 2289 > > > > > > From: Mark Roberts > To: Japanese Cinema Discussion Forum < > kinejapan at lists.service.ohio-state.edu>, > Date: 09/01/2014 04:50 PM > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > Sent by: kinejapan-bounces at lists.service.ohio-state.edu > ------------------------------ > > > > Hi Jonathan, > > The 5% number is based upon me having checked the 90 new Japanese films > screened at TIFF from 2007 to 2012, as well as all of the Japanese films > screened at FILMeX since its inception, putting all of these titles into a > database, and then checking them on IMDB and Amazon for distribution and > availability. I am not trying to count fan-subbed versions of films because > I assume they are all illegal. > > My report on TIFF has more details about patterns of international > distribution: > > > *http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html* > > For FILMeX, the details are in my report for forthcoming Directory of > World Cinema: Japan 3 from Intellect Books. > > Of course, IMDB and Amazon are not perfect data sources. If anybody has > suggestions about more comprehensive online sources, I'm all ears. > > Best, > > Mark > > > On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: > > Mark, > Regrettably, this doesn't surprise me. Is your 5% figure one you're > estimating? Or is there some research or official figure you're referring > to? > Jonathan > > For reference, only about 5% of the new Japanese films screening in > festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > > _______________________________________________ > KineJapan mailing list > *KineJapan at lists.service.ohio-state.edu* > *https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan* > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > 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 jmhall at pomona.edu Thu Jan 9 03:52:12 2014 From: jmhall at pomona.edu (Jonathan M. Hall) Date: Thu, 9 Jan 2014 08:52:12 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu>, Message-ID: <0C1B0776F73740408427FF290C97926CC9428BB4@EXCHANGE10.campus.pomona.edu> Stephen, Your comments on festivals (and their irrelevance for some distributors) are interesting. Thank you. Concerning film flow, I completely agree with the ethics of your position. Of course, history shows us that there are many cultural imbalances when it comes to film distribution. But what interests me about your post to this thread is the implication that such an ethics might also be good business practice these days. Jonathan ________________________________ From: kinejapan-bounces+jmhall=pomona.edu at lists.service.ohio-state.edu [kinejapan-bounces+jmhall=pomona.edu at lists.service.ohio-state.edu] on behalf of Stephen Cremin [stephen at asianfilm.info] Sent: Thursday, January 09, 2014 12:37 AM To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 Asian buyers do come to TIFFCOM/Tokyo IFF for a subsidised business trip to Japan. But now they're stranded out in Odaiba, far from the festival in Roppongi. There was a bit of business done last year. Nikkatsu, for example, closed deals but chose not to announce during the market. In all, I count 23 Japanese films opening theatrically in Asia this month. About a third of those are being released in Taiwan alone. If that's representative, and it probably isn't, that would mean 250-300 Japanese films per year opening in Asia. Distributors are buying films before they go to festivals based on the cast. Only a handful of distributors pay attention to festival programming. (On release in Taiwan this month are Kanai Junichi's AGAIN (??????????) Hiroki Ryuichi's CRYING 100 TIMES: EVERY RAINDROP FALLS (????????), Yoshida Yasuhiro's LEAVING ON THE 15TH SPRING (?????????????), Ishikawa Hiroshi's PETAL DANCE (??? ???), Furusawa Takeshi's ROOMMATE (??????), Sudo Tomonori's THE GARDEN OF SINNERS: RECALLED OUT SUMMER (?????????????), Yamashita Nobuhiro's TAMAKO IN MORATORIUM (?????????) and Uchida Kenji's KEY OF LIFE (????????). Six of the Kinema Junpo Best Ten have been, or are scheduled to be, released in Taipei. Looking elsewhere, just one Japanese live action film opens in South Korea this month, Sabu's MISS ZOMBIE, together with five anime. Hong Kong gets Miki Takahiro's GIRL IN THE SUNNY PLACE (???????), Kumazawa Naoto's JINX!!! (???????) and Mitani Koki's THE KIYOSU CONFERENCE (????). Thailand gets Ochiai Ken's TIGER MASK (???????) and Abe Yuichi'S ULTRAMAN ZERO: THE REVENGE OF BELIAL (?????????????????????). Indonesia gets Togashi Shin's OSHIN (???). No Japanese films are currently scheduled to open this month in China, India, Malaysia, Philippines or Vietnam.) In contrast, I count just eight non-Japanese Asian films opening in Tokyo this month, including co-production GENOME HAZARD. I believe that if a country wants an export market to a region, then it has to import films from those territories also. For example, how can Taiwan film-makers expect to understand the market in China when only ten Mainland films are permitted to be imported each year. Similarly, why does Japan "deserve" an export market to Asia when its distributors and festivals (such as Tokyo IFF) are cutting the number of Asian films that they're importing. Perhaps some of that Cool Japan money should be spent subsidising the releasing costs of other Asian films in Japan. I think Mark is correct that Japan's "inward-facing business practices" will continue to limit the potential of the film industry. Google the Taiwan release title of Miki Satoshi's IT'S ME IT'S ME (??) and you won't find a single still of leading actor Kamenashi Kazuya who played 30+ characters in the film. If as a foreign distributor I can't promote Japanese films properly because of the power of the talent agencies, why should I buy them. And don't forget that time that a major festival in Japan blocked foreign press from the SP: THE MOTION PICTURE (??????) press conference because they couldn't trust the Chinese not to take photographers of the stars... at a press conference. Stephen Cremin Taipei/Beijing On Thursday, 9 January 2014 at 14:44, Jonathan M. Hall wrote: Some festivals are important for distributors, but the vast majority are not. I think we need to distinguish here. Is there a festival in Japan that regularly draws representatives of major distributors of Japanese/Asian film? Or do those distributors look to other festivals overseas? Of course, festival-to-festival distribution is itself a vital link, and serves as another channel to audiences and distributors overseas. My comments are speculative as I am not in the festival industry. jmh ________________________________ From: kinejapan-bounces at lists.service.ohio-state.edu [kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Mark Roberts [mroberts37 at mail-central.com] Sent: Wednesday, January 08, 2014 10:28 PM To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD. VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong. M. On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). Best wishes Quentin Turnour, Manager, Arc Canberra Cinema Programs, National Film and Sound Archive of Australia, quentin.turnour at nfsa.gov.au Fax: +61 2 6249 8159 Ph +61 2 6248 2054 Mob: + 61 4 428 368908 [Please note that I am often absent Mondays] All mail and freight shipments to: att: Cinema Programming (Quentin Turnour), Loading Dock, National Film and Sound Archive of Australia, McCoy Cct, Acton, Canberra, ACT 2601, AUSTRALIA. Freight shipment inquiries to Cynthia Piromalli: cynthia.piromalli at nfsa.gov.au ph +61 2 628 2289 From: Mark Roberts > To: Japanese Cinema Discussion Forum >, Date: 09/01/2014 04:50 PM Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 Sent by: kinejapan-bounces at lists.service.ohio-state.edu ________________________________ Hi Jonathan, The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. My report on TIFF has more details about patterns of international distribution: http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. Best, Mark On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: Mark, Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? Jonathan For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jasper_sharp at hotmail.com Thu Jan 9 03:49:13 2014 From: jasper_sharp at hotmail.com (Jasper) Date: Thu, 9 Jan 2014 08:49:13 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> Message-ID: In the UK, Soshite chichi ni naru was released back in November while the two Ghibli films are pretty much guaranteed a release here next year. I think 3/10 isn't bad. Meanwhile, there are two distributors in the UK who specialise in Asian films ? neither of which tend to release the kind of films that appear on such top 10 lists. However, the bottom line is, when you speak to distributors who deal with the more classic directors of Japanese cinema over here and listen to their woeful sales figures, and from my own experience in trying to get even self-professed Japanese film fans or scholars to see films at film festivals or events in the UK, it is hardly surprising that Japanese film is not well served in international markets - And this is before one factors in the difficulties in dealing with Japanese sales agents or producers. Best, Jasper On 9 Jan 2014, at 06:28, Mark Roberts wrote: > I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. > > After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD. > > VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong. > > M. > > On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: > >> Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) >> >> The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. >> >> This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). >> >> Best wishes >> >> Quentin Turnour, Manager, Arc Canberra Cinema Programs, >> National Film and Sound Archive of Australia, >> quentin.turnour at nfsa.gov.au >> Fax: +61 2 6249 8159 >> Ph +61 2 6248 2054 >> Mob: + 61 4 428 368908 >> [Please note that I am often absent Mondays] >> >> All mail and freight shipments to: >> att: Cinema Programming (Quentin Turnour), >> Loading Dock, National Film and Sound Archive of Australia, >> McCoy Cct, Acton, Canberra, >> ACT 2601, AUSTRALIA. >> Freight shipment inquiries to Cynthia Piromalli: >> cynthia.piromalli at nfsa.gov.au >> ph +61 2 628 2289 >> >> >> >> >> >> From: Mark Roberts >> To: Japanese Cinema Discussion Forum , >> Date: 09/01/2014 04:50 PM >> Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 >> Sent by: kinejapan-bounces at lists.service.ohio-state.edu >> >> >> >> Hi Jonathan, >> >> The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. >> >> My report on TIFF has more details about patterns of international distribution: >> >> http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html >> >> For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. >> >> Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. >> >> Best, >> >> Mark >> >> >> On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: >> >> Mark, >> Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? >> Jonathan >> >> For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From rwdavisjr at ca.rr.com Thu Jan 9 03:38:12 2014 From: rwdavisjr at ca.rr.com (Bob Davis) Date: Thu, 9 Jan 2014 08:38:12 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> Message-ID: <20140109083812.YV99E.75811.root@cdptpa-web16-z02> The Ishii Yuya dictionary movie, number 2 on the list, is available on DVD with English subs in Hong Kong, where iirc it, like several other of his films, had its premiere. ---- "Jonathan M. Hall" wrote: > Mark, > Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? > Jonathan > > For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From stephen at asianfilm.info Thu Jan 9 03:37:28 2014 From: stephen at asianfilm.info (Stephen Cremin) Date: Thu, 9 Jan 2014 16:37:28 +0800 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> Message-ID: Asian buyers do come to TIFFCOM/Tokyo IFF for a subsidised business trip to Japan. But now they're stranded out in Odaiba, far from the festival in Roppongi. There was a bit of business done last year. Nikkatsu, for example, closed deals but chose not to announce during the market. In all, I count 23 Japanese films opening theatrically in Asia this month. About a third of those are being released in Taiwan alone. If that's representative, and it probably isn't, that would mean 250-300 Japanese films per year opening in Asia. Distributors are buying films before they go to festivals based on the cast. Only a handful of distributors pay attention to festival programming. (On release in Taiwan this month are Kanai Junichi's AGAIN (??????????) Hiroki Ryuichi's CRYING 100 TIMES: EVERY RAINDROP FALLS (????????), Yoshida Yasuhiro's LEAVING ON THE 15TH SPRING (?????????????), Ishikawa Hiroshi's PETAL DANCE (??? ???), Furusawa Takeshi's ROOMMATE (??????), Sudo Tomonori's THE GARDEN OF SINNERS: RECALLED OUT SUMMER (?????????????), Yamashita Nobuhiro's TAMAKO IN MORATORIUM (?????????) and Uchida Kenji's KEY OF LIFE (????????). Six of the Kinema Junpo Best Ten have been, or are scheduled to be, released in Taipei. Looking elsewhere, just one Japanese live action film opens in South Korea this month, Sabu's MISS ZOMBIE, together with five anime. Hong Kong gets Miki Takahiro's GIRL IN THE SUNNY PLACE (???????), Kumazawa Naoto's JINX!!! (???????) and Mitani Koki's THE KIYOSU CONFERENCE (????). Thailand gets Ochiai Ken's TIGER MASK (???????) and Abe Yuichi'S ULTRAMAN ZERO: THE REVENGE OF BELIAL (?????????????????????). Indonesia gets Togashi Shin's OSHIN (???). No Japanese films are currently scheduled to open this month in China, India, Malaysia, Philippines or Vietnam.) In contrast, I count just eight non-Japanese Asian films opening in Tokyo this month, including co-production GENOME HAZARD. I believe that if a country wants an export market to a region, then it has to import films from those territories also. For example, how can Taiwan film-makers expect to understand the market in China when only ten Mainland films are permitted to be imported each year. Similarly, why does Japan "deserve" an export market to Asia when its distributors and festivals (such as Tokyo IFF) are cutting the number of Asian films that they're importing. Perhaps some of that Cool Japan money should be spent subsidising the releasing costs of other Asian films in Japan. I think Mark is correct that Japan's "inward-facing business practices" will continue to limit the potential of the film industry. Google the Taiwan release title of Miki Satoshi's IT'S ME IT'S ME (??) and you won't find a single still of leading actor Kamenashi Kazuya who played 30+ characters in the film. If as a foreign distributor I can't promote Japanese films properly because of the power of the talent agencies, why should I buy them. And don't forget that time that a major festival in Japan blocked foreign press from the SP: THE MOTION PICTURE (??????) press conference because they couldn't trust the Chinese not to take photographers of the stars... at a press conference. Stephen Cremin Taipei/Beijing On Thursday, 9 January 2014 at 14:44, Jonathan M. Hall wrote: > Some festivals are important for distributors, but the vast majority are not. I think we need to distinguish here. Is there a festival in Japan that regularly draws representatives of major distributors of Japanese/Asian film? Or do those distributors look to other festivals overseas? Of course, festival-to-festival distribution is itself a vital link, and serves as another channel to audiences and distributors overseas. My comments are speculative as I am not in the festival industry. > > jmh > > From: kinejapan-bounces at lists.service.ohio-state.edu (mailto:kinejapan-bounces at lists.service.ohio-state.edu) [kinejapan-bounces at lists.service.ohio-state.edu (mailto:kinejapan-bounces at lists.service.ohio-state.edu)] on behalf of Mark Roberts [mroberts37 at mail-central.com (mailto:mroberts37 at mail-central.com)] > Sent: Wednesday, January 08, 2014 10:28 PM > To: Japanese Cinema Discussion Forum > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > > I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. > > After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD. > > VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong. > > M. > > On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: > > Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) > > > > The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. > > > > This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). > > > > Best wishes > > > > Quentin Turnour, Manager, Arc Canberra Cinema Programs, > > National Film and Sound Archive of Australia, > > quentin.turnour at nfsa.gov.au (mailto:quentin.turnour at nfsa.gov.au) > > Fax: +61 2 6249 8159 > > Ph +61 2 6248 2054 > > Mob: + 61 4 428 368908 > > [Please note that I am often absent Mondays] > > > > All mail and freight shipments to: > > att: Cinema Programming (Quentin Turnour), > > Loading Dock, National Film and Sound Archive of Australia, > > McCoy Cct, Acton, Canberra, > > ACT 2601, AUSTRALIA. > > Freight shipment inquiries to Cynthia Piromalli: > > cynthia.piromalli at nfsa.gov.au (mailto:cynthia.piromalli at nfsa.gov.au) > > ph +61 2 628 2289 > > > > > > > > > > > > From: Mark Roberts > > To: Japanese Cinema Discussion Forum , > > Date: 09/01/2014 04:50 PM > > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > > Sent by: kinejapan-bounces at lists.service.ohio-state.edu (mailto:kinejapan-bounces at lists.service.ohio-state.edu) > > > > > > > > Hi Jonathan, > > > > The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. > > > > My report on TIFF has more details about patterns of international distribution: > > > > http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html > > > > For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. > > > > Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. > > > > Best, > > > > Mark > > > > > > On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: > > > > Mark, > > Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? > > Jonathan > > > > For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > > KineJapan mailing list > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu (mailto:KineJapan at lists.service.ohio-state.edu) > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From dm6 at soas.ac.uk Thu Jan 9 03:29:48 2014 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Thu, 9 Jan 2014 08:29:48 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> Message-ID: Having taught mature students who were actually independent film distributors, I can say that they struggle if they specialise in 'foreign' films but haven't the cash to go right to the source (Japan) and thus they rely on getting to film festivals to see what's available. Some obvious filtering has already taken place: what will do well on the festival circuit being question number one. AND what will foreigners 'understand' being the second. I remember Donald Richie telling me how this second question made it hard for him to organise foreign Ozu screenings and, in the late 80s when I briefly worked for television, it was a battle to get Japanese broadcasters to send us the programmes we wanted for a Japan Season, again because they were selecting programmes they thought were of an international calibre AND they were 'censoring' stuff they thought inappropriate by saying British audiences wouldn't understand it. More stuff gets out now, with the Internet, YouTube, etc. but fan subbing can be awful, painful for those of us who understand Japanese, and/or the picture quality can be poor. You can buy the DVDs, of course, but as a colleague recently complained, they can be difficult to use for teaching since they often do not have English or other European language subtitles. But I too have managed to enjoy the odd title or two whilst flying. I always assume its because of Japanese businessmen that the films are included on flights! Lola On Thursday, 9 January 2014, Jonathan M. Hall wrote: > Some festivals are important for distributors, but the vast majority are > not. I think we need to distinguish here. Is there a festival in Japan > that regularly draws representatives of major distributors of > Japanese/Asian film? Or do those distributors look to other festivals > overseas? Of course, festival-to-festival distribution is itself a vital > link, and serves as another channel to audiences and distributors overseas. > My comments are speculative as I am not in the festival industry. > > jmh > > ------------------------------ > *From:* kinejapan-bounces at lists.service.ohio-state.edu 'cvml', 'kinejapan-bounces at lists.service.ohio-state.edu');> [ > kinejapan-bounces at lists.service.ohio-state.edu 'kinejapan-bounces at lists.service.ohio-state.edu');>] on behalf of Mark > Roberts [mroberts37 at mail-central.com 'mroberts37 at mail-central.com');>] > *Sent:* Wednesday, January 08, 2014 10:28 PM > *To:* Japanese Cinema Discussion Forum > *Subject:* Re: [KineJapan] Kinema Junpo Best Ten 2013 > > I second Quentin's observation about the split between the values of > festival programmers and more "mainstream" critics. > > After looking at the festival numbers more closely, what really jumped > out at me was how much they reflect an almost separate ecosystem. Festivals > are markets for distributors, but a surprising number of films don't get > sold. Many titles circulate through festivals but never make it to DVD. > > VOD is of course the big hope, but I predict that Japan is going to lag > here because the money and power are very centralized. My suspicion is that > the same inward-facing business practices will likely replicate themselves > under new market conditions. Hope I'm wrong. > > M. > > On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: > > Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S > PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been > getting some touring festival life and have been seen in both English > subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope > site for example, for those who can access it) > > The frustration often seems to be the odd film that Japanese critics > really go for in the poll, but which don't seem to make it even out in > international film festival circulation - perhaps because of the split > between titles that get championed by festival programmers and those that > have mainstream Japanese studio release. > > This is re Arron's comments; I suspect the one film I won't get to see on > this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film > such as ANATOMY OF A PAPERCLIP will probably make it to many a film > festival near you, because a number of influential western programmers have > got behind it (Just as last year the hard to see film was the #2 THE > DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was > only finally seen on the back of a JAL airline seat). > > Best wishes > > Quentin Turnour, Manager, Arc Canberra Cinema Programs, > National Film and Sound Archive of Australia, > quentin.turnour at nfsa.gov.au > Fax: +61 2 6249 8159 > Ph +61 2 6248 2054 > Mob: + 61 4 428 368908 > [Please note that I am often absent Mondays] > > All mail and freight shipments to: > att: Cinema Programming (Quentin Turnour), > Loading Dock, National Film and Sound Archive of Australia, > McCoy Cct, Acton, Canberra, > ACT 2601, AUSTRALIA. > Freight shipment inquiries to Cynthia Piromalli: > cynthia.piromalli at nfsa.gov.au > ph +61 2 628 2289 > > > > > > From: Mark Roberts > To: Japanese Cinema Discussion Forum < > kinejapan at lists.service.ohio-state.edu>, > Date: 09/01/2014 04:50 PM > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > Sent by: kinejapan-bounces at lists.service.ohio-state.edu > ------------------------------ > > > > Hi Jonathan, > > The 5% number is based upon me having checked the 90 new Japanese films > screened at TIFF from 2007 to 2012 > > -------------- 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 jmhall at pomona.edu Thu Jan 9 01:44:09 2014 From: jmhall at pomona.edu (Jonathan M. Hall) Date: Thu, 9 Jan 2014 06:44:09 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com>, <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> , <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> Message-ID: <0C1B0776F73740408427FF290C97926CC9428B87@EXCHANGE10.campus.pomona.edu> Some festivals are important for distributors, but the vast majority are not. I think we need to distinguish here. Is there a festival in Japan that regularly draws representatives of major distributors of Japanese/Asian film? Or do those distributors look to other festivals overseas? Of course, festival-to-festival distribution is itself a vital link, and serves as another channel to audiences and distributors overseas. My comments are speculative as I am not in the festival industry. jmh ________________________________ From: kinejapan-bounces at lists.service.ohio-state.edu [kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Mark Roberts [mroberts37 at mail-central.com] Sent: Wednesday, January 08, 2014 10:28 PM To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD. VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong. M. On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). Best wishes Quentin Turnour, Manager, Arc Canberra Cinema Programs, National Film and Sound Archive of Australia, quentin.turnour at nfsa.gov.au Fax: +61 2 6249 8159 Ph +61 2 6248 2054 Mob: + 61 4 428 368908 [Please note that I am often absent Mondays] All mail and freight shipments to: att: Cinema Programming (Quentin Turnour), Loading Dock, National Film and Sound Archive of Australia, McCoy Cct, Acton, Canberra, ACT 2601, AUSTRALIA. Freight shipment inquiries to Cynthia Piromalli: cynthia.piromalli at nfsa.gov.au ph +61 2 628 2289 From: Mark Roberts > To: Japanese Cinema Discussion Forum >, Date: 09/01/2014 04:50 PM Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 Sent by: kinejapan-bounces at lists.service.ohio-state.edu ________________________________ Hi Jonathan, The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. My report on TIFF has more details about patterns of international distribution: http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. Best, Mark On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: Mark, Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? Jonathan For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Thu Jan 9 01:28:08 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Thu, 9 Jan 2014 15:28:08 +0900 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com>, <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> Message-ID: <5E8BF213-756C-4945-B47C-82BF28476C4E@mail-central.com> I second Quentin's observation about the split between the values of festival programmers and more "mainstream" critics. After looking at the festival numbers more closely, what really jumped out at me was how much they reflect an almost separate ecosystem. Festivals are markets for distributors, but a surprising number of films don't get sold. Many titles circulate through festivals but never make it to DVD. VOD is of course the big hope, but I predict that Japan is going to lag here because the money and power are very centralized. My suspicion is that the same inward-facing business practices will likely replicate themselves under new market conditions. Hope I'm wrong. M. On Jan 9, 2014, at 3:09 PM, Quentin Turnour wrote: > Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) > > The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. > > This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). > > Best wishes > > Quentin Turnour, Manager, Arc Canberra Cinema Programs, > National Film and Sound Archive of Australia, > quentin.turnour at nfsa.gov.au > Fax: +61 2 6249 8159 > Ph +61 2 6248 2054 > Mob: + 61 4 428 368908 > [Please note that I am often absent Mondays] > > All mail and freight shipments to: > att: Cinema Programming (Quentin Turnour), > Loading Dock, National Film and Sound Archive of Australia, > McCoy Cct, Acton, Canberra, > ACT 2601, AUSTRALIA. > Freight shipment inquiries to Cynthia Piromalli: > cynthia.piromalli at nfsa.gov.au > ph +61 2 628 2289 > > > > > > From: Mark Roberts > To: Japanese Cinema Discussion Forum , > Date: 09/01/2014 04:50 PM > Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 > Sent by: kinejapan-bounces at lists.service.ohio-state.edu > > > > Hi Jonathan, > > The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. > > My report on TIFF has more details about patterns of international distribution: > > http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html > > For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. > > Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. > > Best, > > Mark > > > On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: > > Mark, > Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? > Jonathan > > For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > > _______________________________________________ > 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 Quentin.Turnour at nfsa.gov.au Thu Jan 9 01:09:38 2014 From: Quentin.Turnour at nfsa.gov.au (Quentin Turnour) Date: Thu, 9 Jan 2014 17:09:38 +1100 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com>, <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> Message-ID: Apart from the animes and the Kore-ada, THE GREAT PASSAGE, THE DEVIL'S PATH, BACKWATER and TAMAKO IN MORATORIUM are all titles that have been getting some touring festival life and have been seen in both English subbed theatrical copies and screeners. (BACKWATER is on the Festivalscope site for example, for those who can access it) The frustration often seems to be the odd film that Japanese critics really go for in the poll, but which don't seem to make it even out in international film festival circulation - perhaps because of the split between titles that get championed by festival programmers and those that have mainstream Japanese studio release. This is re Arron's comments; I suspect the one film I won't get to see on this year's list is PEKOROSU NO HAHA NI AI NI IKU, - whilst an indie film such as ANATOMY OF A PAPERCLIP will probably make it to many a film festival near you, because a number of influential western programmers have got behind it (Just as last year the hard to see film was the #2 THE DRUDGERY TRAIN and the #1 - Yang Yong-hi's brilliant OUR HOMELAND - was only finally seen on the back of a JAL airline seat). Best wishes Quentin Turnour, Manager, Arc Canberra Cinema Programs, National Film and Sound Archive of Australia, quentin.turnour at nfsa.gov.au Fax: +61 2 6249 8159 Ph +61 2 6248 2054 Mob: + 61 4 428 368908 [Please note that I am often absent Mondays] All mail and freight shipments to: att: Cinema Programming (Quentin Turnour), Loading Dock, National Film and Sound Archive of Australia, McCoy Cct, Acton, Canberra, ACT 2601, AUSTRALIA. Freight shipment inquiries to Cynthia Piromalli: cynthia.piromalli at nfsa.gov.au ph +61 2 628 2289 From: Mark Roberts To: Japanese Cinema Discussion Forum , Date: 09/01/2014 04:50 PM Subject: Re: [KineJapan] Kinema Junpo Best Ten 2013 Sent by: kinejapan-bounces at lists.service.ohio-state.edu Hi Jonathan, The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. My report on TIFF has more details about patterns of international distribution: http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. Best, Mark On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: Mark, Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? Jonathan For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Thu Jan 9 00:49:53 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Thu, 9 Jan 2014 14:49:53 +0900 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com>, <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> Message-ID: <360D7F4F-E35D-4C9A-8FD2-5461130E5A98@mail-central.com> Hi Jonathan, The 5% number is based upon me having checked the 90 new Japanese films screened at TIFF from 2007 to 2012, as well as all of the Japanese films screened at FILMeX since its inception, putting all of these titles into a database, and then checking them on IMDB and Amazon for distribution and availability. I am not trying to count fan-subbed versions of films because I assume they are all illegal. My report on TIFF has more details about patterns of international distribution: http://www.tokyoartbeat.com/tablog/entries.en/2013/11/tiff-2013-a-change-of-course.html For FILMeX, the details are in my report for forthcoming Directory of World Cinema: Japan 3 from Intellect Books. Of course, IMDB and Amazon are not perfect data sources. If anybody has suggestions about more comprehensive online sources, I'm all ears. Best, Mark On Jan 9, 2014, at 2:14 PM, Jonathan M. Hall wrote: > Mark, > Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? > Jonathan > > For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > > _______________________________________________ > 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 robixsmash at gmail.com Thu Jan 9 00:43:52 2014 From: robixsmash at gmail.com (Rob Smith) Date: Thu, 9 Jan 2014 00:43:52 -0500 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> Message-ID: Like Father Like Son, The Wind Rises and Princess Kaguya will certainly be released with subtitles (The Wind Rises already has been released in the US, though they're dubbing it for the major release), and The Great Passage was fansubbed after it was announced as Japan's Oscar entry. Tomogui will probably be fansubbed if it doesn't get professional subs because Shinji Aoyama is pretty popular with Japanese film fans. Seeing half with subs would an excellent ratio for this list, even if two are fansubs. On Thu, Jan 9, 2014 at 12:14 AM, Jonathan M. Hall wrote: > Mark, > Regrettably, this doesn't surprise me. Is your 5% figure one you're > estimating? Or is there some research or official figure you're referring > to? > Jonathan > > > For reference, only about 5% of the new Japanese films screening in > festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. > > > _______________________________________________ > 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 jmhall at pomona.edu Thu Jan 9 00:14:33 2014 From: jmhall at pomona.edu (Jonathan M. Hall) Date: Thu, 9 Jan 2014 05:14:33 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com>, Message-ID: <0C1B0776F73740408427FF290C97926CC9428B5B@EXCHANGE10.campus.pomona.edu> Mark, Regrettably, this doesn't surprise me. Is your 5% figure one you're estimating? Or is there some research or official figure you're referring to? Jonathan For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Wed Jan 8 23:50:16 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Thu, 9 Jan 2014 13:50:16 +0900 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> Message-ID: On Jan 9, 2014, at 1:33 PM, Michael Kerpan wrote: > I wonder how many of these films (other than Miyazaki's) will ever make it to the US -- or get subbed DVDs (or even unsubbed DVDs)? There are several I know I would really like to see. Kore-eda, for sure, but beyond him and Miyazaki, not many, I'd guess. As far as distributors are concerned, there just doesn't seem to be that much interest in new Japanese cinema. For reference, only about 5% of the new Japanese films screening in festivals here appear to be making it onto DVD, BR, or VOD outside of Japan. M. > On Wednesday, January 8, 2014 11:22 PM, Jonathan M. Hall wrote: > So delighted to see Matsue Tetsuaki's Flashback Memories (3D--which is much more interesting than 2D) on the KJ Best 10. (not Fishback) > > JMH > > From: kinejapan-bounces at lists.service.ohio-state.edu [kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Gerow Aaron [aaron.gerow at yale.edu] > Sent: Wednesday, January 08, 2014 8:17 PM > To: Japanese Discussion Forum Cinema > Subject: [KineJapan] Kinema Junpo Best Ten 2013 > > The Kinema Junpo Best Ten for 2013 was just announced and 86-year-old Morisaki Azuma's Pekorosu no haha ni ai ni iku was voted the number one film. I hope this finally earns Morisaki some well-earned attention. > > http://www.kinenote.com/main/kinejun_best10/2013/award/index.aspx#japan > > The full list: > 1) Pekorosu no haha ni ai ni iku > 2) Fune o amu > 3) Kyoaku > 4) Kaguyahime no monogatari > 5) Tomogui > 6) Soshite chichi ni naru > 7) Kaze tachinu > 8) Sayonara keikoku > 9) Moratoriamu Tamako > 10 Fish Back Memories 3D > > > Aaron Gerow > Professor > Film Studies Program/East Asian Languages and Literatures > Yale University > 320 York Street, Room 311 > PO Box 208236 > New Haven, CT 06520-8236 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > 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 mekerpan at verizon.net Wed Jan 8 23:33:19 2014 From: mekerpan at verizon.net (Michael Kerpan) Date: Wed, 8 Jan 2014 20:33:19 -0800 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> Message-ID: <1389241999.95481.YahooMailNeo@web121406.mail.ne1.yahoo.com> I wonder how many of these films (other than Miyazaki's) will ever make it to the US -- or get subbed DVDs (or even unsubbed DVDs)?? There are several I know I would really like to see. On Wednesday, January 8, 2014 11:22 PM, Jonathan M. Hall wrote: So delighted to see Matsue Tetsuaki's Flashback Memories (3D--which is much more interesting than 2D) on the KJ Best 10. ?(not Fishback) JMH ________________________________ From: kinejapan-bounces at lists.service.ohio-state.edu [kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Gerow Aaron [aaron.gerow at yale.edu] Sent: Wednesday, January 08, 2014 8:17 PM To: Japanese Discussion Forum Cinema Subject: [KineJapan] Kinema Junpo Best Ten 2013 The Kinema Junpo Best Ten for 2013 was just announced and 86-year-old Morisaki Azuma's Pekorosu no haha ni ai ni iku was voted the number one film. I hope this finally earns Morisaki some well-earned attention. http://www.kinenote.com/main/kinejun_best10/2013/award/index.aspx#japan The full list: 1)?Pekorosu no haha ni ai ni iku 2) Fune o amu 3) Kyoaku 4) Kaguyahime no monogatari 5) Tomogui 6) Soshite chichi ni naru 7) Kaze tachinu 8) Sayonara keikoku 9) Moratoriamu Tamako 10 Fish Back Memories 3D Aaron Gerow Professor Film Studies Program/East Asian Languages and Literatures Yale University 320 York Street, Room 311 PO Box 208236 New Haven, CT 06520-8236 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail:?aaron.gerow at yale.edu website: www.aarongerow.com _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- 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 jmhall at pomona.edu Wed Jan 8 23:21:44 2014 From: jmhall at pomona.edu (Jonathan M. Hall) Date: Thu, 9 Jan 2014 04:21:44 +0000 Subject: [KineJapan] Kinema Junpo Best Ten 2013 In-Reply-To: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> References: <339CB501-C06C-4E83-AE41-5310928F3A21@yale.edu> Message-ID: <0C1B0776F73740408427FF290C97926CC9428B3A@EXCHANGE10.campus.pomona.edu> So delighted to see Matsue Tetsuaki's Flashback Memories (3D--which is much more interesting than 2D) on the KJ Best 10. (not Fishback) JMH ________________________________ From: kinejapan-bounces at lists.service.ohio-state.edu [kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Gerow Aaron [aaron.gerow at yale.edu] Sent: Wednesday, January 08, 2014 8:17 PM To: Japanese Discussion Forum Cinema Subject: [KineJapan] Kinema Junpo Best Ten 2013 The Kinema Junpo Best Ten for 2013 was just announced and 86-year-old Morisaki Azuma's Pekorosu no haha ni ai ni iku was voted the number one film. I hope this finally earns Morisaki some well-earned attention. http://www.kinenote.com/main/kinejun_best10/2013/award/index.aspx#japan The full list: 1) Pekorosu no haha ni ai ni iku 2) Fune o amu 3) Kyoaku 4) Kaguyahime no monogatari 5) Tomogui 6) Soshite chichi ni naru 7) Kaze tachinu 8) Sayonara keikoku 9) Moratoriamu Tamako 10 Fish Back Memories 3D Aaron Gerow Professor Film Studies Program/East Asian Languages and Literatures Yale University 320 York Street, Room 311 PO Box 208236 New Haven, CT 06520-8236 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- 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 Tue Jan 7 09:09:53 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Tue, 7 Jan 2014 16:09:53 +0200 Subject: [Kinema Club] [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: References: <1384086694.61623.YahooMailNeo@web171403.mail.ir2.yahoo.com> Message-ID: Acccommodation? Eija 2014/1/7 Zahlten, Alexander > Hi Eija, > > Sorry for the late reply, you caught me between flights. Happy new year > of the horse! > > We?re planning a very informal screening for Thursday evening, around > 6:30, but we still have to decide? The finalized schedule will go out in > two days (nothing has basically changed). > > Let me know if you have any other questions! > > Best, > Alex > > > > From: Eija Niskanen > Reply-To: Mailing list for managing Kinema Club < > kinemaclub at mailman.yale.edu> > Date: Monday, January 6, 2014 at 6:17 AM > > To: Roger Macy , Mailing list for managing Kinema > Club > Subject: Re: [Kinema Club] [KineJapan] "The Aesthetics of Shadow" > Retrospective @ Berlin International Film Festival > > Around what time are the screenings and your introductions? > Eija > > > 2013/11/10 Roger Macy > >> New York in January? That's also interesting. >> Given what they seem to have in the pipeline, already, I would take it >> that screenings are more likely to be after Kineclub on January 17-8, >> rather than before ? I'm just thinking about my plane tickets, as must >> others, if you have any further guidance, Daisuke. >> best, >> Roger >> ----- Original Message ----- >> From: "Daisuke Miyao" >> To: "Japanese Cinema Discussion Forum" < >> kinejapan at lists.service.ohio-state.edu> >> Sent: Friday, November 08, 2013 6:11 PM >> Subject: Re: [KineJapan] "The Aesthetics of Shadow" Retrospective @ >> Berlin International Film Festival >> >> > Dear all, >> > >> > Thank you very much for your interests in the retrospective. Answering >> > Alex's question, here is the tentative list of films (not only >> > Japanese). In addition to Berlin International Film Festival, I am >> > collaborating with MoMA of New York, and they will have its own "The >> > Aesthetics of Shadow" series in January. More information to come.... >> > >> > Best, >> > Daisuke >> > >> > A) LIGHTING STYLES FOR GENRES: >> > 1) Street films: ?City as protagonist? >> > JUJIRO (Crossways/Im Schatten des Yoshiwara), Teinosuke Kinugasa, 1928 >> > (silent, engl. subt.) >> > SONO YO NO TSUMA (That Night?s Wife), Yasujiro Ozu, 1930 (silent, engl. >> > subt.) >> > NINJO KAMIFUSEN (Humanity and Paper Balloon), Yamanaka Sadao, 1937 >> > (engl. subt.) >> > SUNRISE, F.W. Murnau, 1927 (silent) >> > QUAI DES BRUMES, Marcel Carn?, F 1938 (Eugen Sch?fftan) >> > UNTER DER LATERNE, Gerhard Lamprecht, G 1926 (silent, digital >> > restoration, Deutsche Kinemathek) >> > DIRNENTRAG?DIE, Bruno Rahn, 1927 (Guido Seeber) or >> > MINATO NO NIHON MUSUME (Japanese Girls at the Harbor), Hiroshi Shimizu, >> > 1933 >> > >> > 2) jidaigeki: ?Flash of the sword? >> > YUKINOJO HENGE (An Actor?s Revenge), Teinosuke Kinugasa, 1935/1952 >> > (engl. subt.) >> > THE MARK OF ZORRO, Fred Niblo, 1920 (silent) >> > RASHOMON, Akira Kurosawa, 1950 >> > THE IRON MASK, Allan Dwan, 1929 (silent)or >> > SCARAMOUCHE, Rex Ingram, 1924 (silent) >> > >> > 3) ?War films? >> > GONIN NO SEKKOHEI (Five Scouts), Tomotaka Tasaka, 1938 (live subt. >> > engl.) >> > HAWAI MARE OKI KAISEN (The War at Sea from Hawaii to Malaya), Kajiro >> > Yamamoto, 1944 (live subt. engl.) >> > DAWN PATROL, Howard Hawks, 1930 >> > AIR FORCE, Howard Hawks, 1943 >> > >> > B) LIGHTING STYLES FOR STARS: >> > Marlene Dietrich, Greta Garbo, Kazuo Hasegawa/Hayashi Chojiro, Sessue >> > Hayakawa etc. >> > 4) Lighting styles for stars >> > TSURUHACHI TSURUJIRO (Tsuruhachi and Tsurujiro), Mikio Naruse, 1938 >> > (engl. subt.) >> > THE TYPHOON, Reginald Barker, (withHenry Kotani), 1914 (silent) >> > THE CHEAT, Cecil B. DeMille, 1915 (silent) >> > SHANGHAI EXPRESS, Josef von Sternberg, 1932 (Lee Garmes) and/or >> > FLESH AND THE DEVIL, Clarence Brown, 1926 (William Daniels) and/or >> > >> > C) THEMES: >> > 5) Light and Rhythm >> > KURUTTA IPPEJI (A Page of Madness), Teinosuke Kinugasa, 1926 (silent, >> > engl. subt.) >> > OSHIDORI UTAGASSEN (Singing Lovebirds), Makino Masahiro, 1939 (engl. >> > subt.) >> > BERLIN. DIE SINFONIE DER GRO?STADT (Berlin. Symphony of a Great City), >> > Walther Ruttmann, 1927 >> > 1 Short film program: >> > OPUS I-IV, Walther Ruttmann, 1921-25 >> > Lichtspiel Schwarz Weiss Grau, L?szl? Moholy-Nagy, 1930 >> > Grossstadtzigeuner, L?szl? Moholy-Nagy, 1932 >> > >> > 6) Painting with shadows >> > UGETSU (Tales of the Rain and Moon), Kenji Mizoguchi, 1953 (engl. >> > subt.) >> > FAUST, F.W. Murnau, 1926 (silent) >> > LA BELLE ET LA BETE, Jean Cocteau, F 1945 (Henri Alekan) >> > STAGECOACH, John Ford, 1939 (Bert Glennon) >> > and possibly F?HRMANN MARIA, Frank Wysbar, G 1936 >> > >> > 7) Towards Realism (6 films) >> > DOCKS OF NEW YORK, Josef von Sternberg, 1926 (engl. subt.) >> > NASAKE NO HIKARI (Light of Compassion), Henri Kotani, 1926 (silent, >> > engl. live subt.) >> > TOKYO NO EIYU (A Hero of Tokyo), Hiroshi Shimizu, 1935 (engl. subt.) >> > THE GRAPES OF WRATH, John Ford, 1940 >> > CITIZEN KANE, Orson Welles, 1941 >> > NAKED CITY Jules Dassin, 1948 (restoration LoC) or >> > BERLIN EXPRESS, Jacques Tourneur, 1948 (restoration LoC) >> > >> > Additional title: >> > Benjamin Christensen: H?VNENS NAT or HEMMELIGHEDSFULDE X (or less known >> > title ? Thomas Christensen) (silent) >> > >> > >> > >> > On 2013/11/08 06:52, Alex Zahlten wrote: >> >> This looks amazing, Daisuke. In the press release no specific films >> >> seem to be mentioned- are you allowed to give us an idea of which >> >> Japanese films will be playing there? >> >> >> >> Best >> >> >> >> Alex >> >> >> >> GESENDET: Donnerstag, 07. November 2013 um 22:50 Uhr >> >> VON: "Daisuke Miyao" >> >> AN: "Japanese Cinema Discussion Forum" >> >> >> >> BETREFF: [KineJapan] "The Aesthetics of Shadow" Retrospective @ >> >> Berlin International Film Festival >> >> Dear All, >> >> >> >> I would like to let you know that my book, The Aesthetics of Shadow: >> >> Lighting and Japanese Cinema (Duke University Press, 2013), is >> >> invited >> >> to the 64th Berlin International Film Festival. There will be a >> >> retrospective based on the book and beyond. Here is the link to the >> >> festival website. >> >> >> >> >> >> >> http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html >> >> [1] >> >> >> >> I am going to introduce some films. If you are in Berlin in February, >> >> see you there! >> >> >> >> Best, >> >> Daisuke >> >> >> >> Daisuke Miyao >> >> Associate Professor of Japanese Film and Cinema Studies >> >> University of Oregon >> >> >> >> > >> >> >> _______________________________________________ >> Kinemaclub mailing list >> Kinemaclub at mailman.yale.edu >> http://mailman.yale.edu/mailman/listinfo/kinemaclub >> >> > > _______________________________________________ > Kinemaclub mailing list > Kinemaclub at mailman.yale.edu > http://mailman.yale.edu/mailman/listinfo/kinemaclub > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ Kinemaclub mailing list Kinemaclub at mailman.yale.edu http://mailman.yale.edu/mailman/listinfo/kinemaclub From azahlten at fas.harvard.edu Tue Jan 7 09:02:26 2014 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Tue, 7 Jan 2014 14:02:26 +0000 Subject: [Kinema Club] [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: References: <1384086694.61623.YahooMailNeo@web171403.mail.ir2.yahoo.com> Message-ID: Hi Eija, Sorry for the late reply, you caught me between flights. Happy new year of the horse! We?re planning a very informal screening for Thursday evening, around 6:30, but we still have to decide? The finalized schedule will go out in two days (nothing has basically changed). Let me know if you have any other questions! Best, Alex From: Eija Niskanen > Reply-To: Mailing list for managing Kinema Club > Date: Monday, January 6, 2014 at 6:17 AM To: Roger Macy >, Mailing list for managing Kinema Club > Subject: Re: [Kinema Club] [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival Around what time are the screenings and your introductions? Eija 2013/11/10 Roger Macy > New York in January? That's also interesting. Given what they seem to have in the pipeline, already, I would take it that screenings are more likely to be after Kineclub on January 17-8, rather than before ? I'm just thinking about my plane tickets, as must others, if you have any further guidance, Daisuke. best, Roger ----- Original Message ----- From: "Daisuke Miyao" > To: "Japanese Cinema Discussion Forum" > Sent: Friday, November 08, 2013 6:11 PM Subject: Re: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival > Dear all, > > Thank you very much for your interests in the retrospective. Answering > Alex's question, here is the tentative list of films (not only > Japanese). In addition to Berlin International Film Festival, I am > collaborating with MoMA of New York, and they will have its own "The > Aesthetics of Shadow" series in January. More information to come.... > > Best, > Daisuke > > A) LIGHTING STYLES FOR GENRES: > 1) Street films: ?City as protagonist? > JUJIRO (Crossways/Im Schatten des Yoshiwara), Teinosuke Kinugasa, 1928 > (silent, engl. subt.) > SONO YO NO TSUMA (That Night?s Wife), Yasujiro Ozu, 1930 (silent, engl. > subt.) > NINJO KAMIFUSEN (Humanity and Paper Balloon), Yamanaka Sadao, 1937 > (engl. subt.) > SUNRISE, F.W. Murnau, 1927 (silent) > QUAI DES BRUMES, Marcel Carn?, F 1938 (Eugen Sch?fftan) > UNTER DER LATERNE, Gerhard Lamprecht, G 1926 (silent, digital > restoration, Deutsche Kinemathek) > DIRNENTRAG?DIE, Bruno Rahn, 1927 (Guido Seeber) or > MINATO NO NIHON MUSUME (Japanese Girls at the Harbor), Hiroshi Shimizu, > 1933 > > 2) jidaigeki: ?Flash of the sword? > YUKINOJO HENGE (An Actor?s Revenge), Teinosuke Kinugasa, 1935/1952 > (engl. subt.) > THE MARK OF ZORRO, Fred Niblo, 1920 (silent) > RASHOMON, Akira Kurosawa, 1950 > THE IRON MASK, Allan Dwan, 1929 (silent)or > SCARAMOUCHE, Rex Ingram, 1924 (silent) > > 3) ?War films? > GONIN NO SEKKOHEI (Five Scouts), Tomotaka Tasaka, 1938 (live subt. > engl.) > HAWAI MARE OKI KAISEN (The War at Sea from Hawaii to Malaya), Kajiro > Yamamoto, 1944 (live subt. engl.) > DAWN PATROL, Howard Hawks, 1930 > AIR FORCE, Howard Hawks, 1943 > > B) LIGHTING STYLES FOR STARS: > Marlene Dietrich, Greta Garbo, Kazuo Hasegawa/Hayashi Chojiro, Sessue > Hayakawa etc. > 4) Lighting styles for stars > TSURUHACHI TSURUJIRO (Tsuruhachi and Tsurujiro), Mikio Naruse, 1938 > (engl. subt.) > THE TYPHOON, Reginald Barker, (withHenry Kotani), 1914 (silent) > THE CHEAT, Cecil B. DeMille, 1915 (silent) > SHANGHAI EXPRESS, Josef von Sternberg, 1932 (Lee Garmes) and/or > FLESH AND THE DEVIL, Clarence Brown, 1926 (William Daniels) and/or > > C) THEMES: > 5) Light and Rhythm > KURUTTA IPPEJI (A Page of Madness), Teinosuke Kinugasa, 1926 (silent, > engl. subt.) > OSHIDORI UTAGASSEN (Singing Lovebirds), Makino Masahiro, 1939 (engl. > subt.) > BERLIN. DIE SINFONIE DER GRO?STADT (Berlin. Symphony of a Great City), > Walther Ruttmann, 1927 > 1 Short film program: > OPUS I-IV, Walther Ruttmann, 1921-25 > Lichtspiel Schwarz Weiss Grau, L?szl? Moholy-Nagy, 1930 > Grossstadtzigeuner, L?szl? Moholy-Nagy, 1932 > > 6) Painting with shadows > UGETSU (Tales of the Rain and Moon), Kenji Mizoguchi, 1953 (engl. > subt.) > FAUST, F.W. Murnau, 1926 (silent) > LA BELLE ET LA BETE, Jean Cocteau, F 1945 (Henri Alekan) > STAGECOACH, John Ford, 1939 (Bert Glennon) > and possibly F?HRMANN MARIA, Frank Wysbar, G 1936 > > 7) Towards Realism (6 films) > DOCKS OF NEW YORK, Josef von Sternberg, 1926 (engl. subt.) > NASAKE NO HIKARI (Light of Compassion), Henri Kotani, 1926 (silent, > engl. live subt.) > TOKYO NO EIYU (A Hero of Tokyo), Hiroshi Shimizu, 1935 (engl. subt.) > THE GRAPES OF WRATH, John Ford, 1940 > CITIZEN KANE, Orson Welles, 1941 > NAKED CITY Jules Dassin, 1948 (restoration LoC) or > BERLIN EXPRESS, Jacques Tourneur, 1948 (restoration LoC) > > Additional title: > Benjamin Christensen: H?VNENS NAT or HEMMELIGHEDSFULDE X (or less known > title ? Thomas Christensen) (silent) > > > > On 2013/11/08 06:52, Alex Zahlten wrote: >> This looks amazing, Daisuke. In the press release no specific films >> seem to be mentioned- are you allowed to give us an idea of which >> Japanese films will be playing there? >> >> Best >> >> Alex >> >> GESENDET: Donnerstag, 07. November 2013 um 22:50 Uhr >> VON: "Daisuke Miyao" > >> AN: "Japanese Cinema Discussion Forum" >> > >> BETREFF: [KineJapan] "The Aesthetics of Shadow" Retrospective @ >> Berlin International Film Festival >> Dear All, >> >> I would like to let you know that my book, The Aesthetics of Shadow: >> Lighting and Japanese Cinema (Duke University Press, 2013), is >> invited >> to the 64th Berlin International Film Festival. There will be a >> retrospective based on the book and beyond. Here is the link to the >> festival website. >> >> >> http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html >> [1] >> >> I am going to introduce some films. If you are in Berlin in February, >> see you there! >> >> Best, >> Daisuke >> >> Daisuke Miyao >> Associate Professor of Japanese Film and Cinema Studies >> University of Oregon >> > _______________________________________________ Kinemaclub mailing list Kinemaclub at mailman.yale.edu http://mailman.yale.edu/mailman/listinfo/kinemaclub -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ Kinemaclub mailing list Kinemaclub at mailman.yale.edu http://mailman.yale.edu/mailman/listinfo/kinemaclub From Alex.Zahlten at gmx.de Tue Jan 7 07:08:57 2014 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Tue, 7 Jan 2014 13:08:57 +0100 Subject: [KineJapan] Kinema Club In-Reply-To: References: Message-ID: An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From robbuscher at hotmail.com Tue Jan 7 02:11:11 2014 From: robbuscher at hotmail.com (Rob Buscher) Date: Tue, 7 Jan 2014 02:11:11 -0500 Subject: [KineJapan] Kinema Club Message-ID: Hello All, I had marked my calendar for a January 17 conference at Harvard for the next installation of Kinema Club, but have not seen any info posted on the list about it. Is the conference still happening, and if so can anyone provide registration info? Best, Rob Buscher Programming Director Philadelphia Asian American Film Festival www.paaff.org Sent from my iPad _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Sun Jan 5 16:17:38 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Sun, 5 Jan 2014 23:17:38 +0200 Subject: [Kinema Club] [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin International Film Festival In-Reply-To: <1384086694.61623.YahooMailNeo@web171403.mail.ir2.yahoo.com> References: <1384086694.61623.YahooMailNeo@web171403.mail.ir2.yahoo.com> Message-ID: Around what time are the screenings and your introductions? Eija 2013/11/10 Roger Macy > New York in January? That's also interesting. > Given what they seem to have in the pipeline, already, I would take it > that screenings are more likely to be after Kineclub on January 17-8, > rather than before ? I'm just thinking about my plane tickets, as must > others, if you have any further guidance, Daisuke. > best, > Roger > ----- Original Message ----- > From: "Daisuke Miyao" > To: "Japanese Cinema Discussion Forum" < > kinejapan at lists.service.ohio-state.edu> > Sent: Friday, November 08, 2013 6:11 PM > Subject: Re: [KineJapan] "The Aesthetics of Shadow" Retrospective @ Berlin > International Film Festival > > > Dear all, > > > > Thank you very much for your interests in the retrospective. Answering > > Alex's question, here is the tentative list of films (not only > > Japanese). In addition to Berlin International Film Festival, I am > > collaborating with MoMA of New York, and they will have its own "The > > Aesthetics of Shadow" series in January. More information to come.... > > > > Best, > > Daisuke > > > > A) LIGHTING STYLES FOR GENRES: > > 1) Street films: ?City as protagonist? > > JUJIRO (Crossways/Im Schatten des Yoshiwara), Teinosuke Kinugasa, 1928 > > (silent, engl. subt.) > > SONO YO NO TSUMA (That Night?s Wife), Yasujiro Ozu, 1930 (silent, engl. > > subt.) > > NINJO KAMIFUSEN (Humanity and Paper Balloon), Yamanaka Sadao, 1937 > > (engl. subt.) > > SUNRISE, F.W. Murnau, 1927 (silent) > > QUAI DES BRUMES, Marcel Carn?, F 1938 (Eugen Sch?fftan) > > UNTER DER LATERNE, Gerhard Lamprecht, G 1926 (silent, digital > > restoration, Deutsche Kinemathek) > > DIRNENTRAG?DIE, Bruno Rahn, 1927 (Guido Seeber) or > > MINATO NO NIHON MUSUME (Japanese Girls at the Harbor), Hiroshi Shimizu, > > 1933 > > > > 2) jidaigeki: ?Flash of the sword? > > YUKINOJO HENGE (An Actor?s Revenge), Teinosuke Kinugasa, 1935/1952 > > (engl. subt.) > > THE MARK OF ZORRO, Fred Niblo, 1920 (silent) > > RASHOMON, Akira Kurosawa, 1950 > > THE IRON MASK, Allan Dwan, 1929 (silent)or > > SCARAMOUCHE, Rex Ingram, 1924 (silent) > > > > 3) ?War films? > > GONIN NO SEKKOHEI (Five Scouts), Tomotaka Tasaka, 1938 (live subt. > > engl.) > > HAWAI MARE OKI KAISEN (The War at Sea from Hawaii to Malaya), Kajiro > > Yamamoto, 1944 (live subt. engl.) > > DAWN PATROL, Howard Hawks, 1930 > > AIR FORCE, Howard Hawks, 1943 > > > > B) LIGHTING STYLES FOR STARS: > > Marlene Dietrich, Greta Garbo, Kazuo Hasegawa/Hayashi Chojiro, Sessue > > Hayakawa etc. > > 4) Lighting styles for stars > > TSURUHACHI TSURUJIRO (Tsuruhachi and Tsurujiro), Mikio Naruse, 1938 > > (engl. subt.) > > THE TYPHOON, Reginald Barker, (withHenry Kotani), 1914 (silent) > > THE CHEAT, Cecil B. DeMille, 1915 (silent) > > SHANGHAI EXPRESS, Josef von Sternberg, 1932 (Lee Garmes) and/or > > FLESH AND THE DEVIL, Clarence Brown, 1926 (William Daniels) and/or > > > > C) THEMES: > > 5) Light and Rhythm > > KURUTTA IPPEJI (A Page of Madness), Teinosuke Kinugasa, 1926 (silent, > > engl. subt.) > > OSHIDORI UTAGASSEN (Singing Lovebirds), Makino Masahiro, 1939 (engl. > > subt.) > > BERLIN. DIE SINFONIE DER GRO?STADT (Berlin. Symphony of a Great City), > > Walther Ruttmann, 1927 > > 1 Short film program: > > OPUS I-IV, Walther Ruttmann, 1921-25 > > Lichtspiel Schwarz Weiss Grau, L?szl? Moholy-Nagy, 1930 > > Grossstadtzigeuner, L?szl? Moholy-Nagy, 1932 > > > > 6) Painting with shadows > > UGETSU (Tales of the Rain and Moon), Kenji Mizoguchi, 1953 (engl. > > subt.) > > FAUST, F.W. Murnau, 1926 (silent) > > LA BELLE ET LA BETE, Jean Cocteau, F 1945 (Henri Alekan) > > STAGECOACH, John Ford, 1939 (Bert Glennon) > > and possibly F?HRMANN MARIA, Frank Wysbar, G 1936 > > > > 7) Towards Realism (6 films) > > DOCKS OF NEW YORK, Josef von Sternberg, 1926 (engl. subt.) > > NASAKE NO HIKARI (Light of Compassion), Henri Kotani, 1926 (silent, > > engl. live subt.) > > TOKYO NO EIYU (A Hero of Tokyo), Hiroshi Shimizu, 1935 (engl. subt.) > > THE GRAPES OF WRATH, John Ford, 1940 > > CITIZEN KANE, Orson Welles, 1941 > > NAKED CITY Jules Dassin, 1948 (restoration LoC) or > > BERLIN EXPRESS, Jacques Tourneur, 1948 (restoration LoC) > > > > Additional title: > > Benjamin Christensen: H?VNENS NAT or HEMMELIGHEDSFULDE X (or less known > > title ? Thomas Christensen) (silent) > > > > > > > > On 2013/11/08 06:52, Alex Zahlten wrote: > >> This looks amazing, Daisuke. In the press release no specific films > >> seem to be mentioned- are you allowed to give us an idea of which > >> Japanese films will be playing there? > >> > >> Best > >> > >> Alex > >> > >> GESENDET: Donnerstag, 07. November 2013 um 22:50 Uhr > >> VON: "Daisuke Miyao" > >> AN: "Japanese Cinema Discussion Forum" > >> > >> BETREFF: [KineJapan] "The Aesthetics of Shadow" Retrospective @ > >> Berlin International Film Festival > >> Dear All, > >> > >> I would like to let you know that my book, The Aesthetics of Shadow: > >> Lighting and Japanese Cinema (Duke University Press, 2013), is > >> invited > >> to the 64th Berlin International Film Festival. There will be a > >> retrospective based on the book and beyond. Here is the link to the > >> festival website. > >> > >> > >> > http://www.berlinale.de/en/presse/pressemitteilungen/alle/Alle-Detail_19796.html > >> [1] > >> > >> I am going to introduce some films. If you are in Berlin in February, > >> see you there! > >> > >> Best, > >> Daisuke > >> > >> Daisuke Miyao > >> Associate Professor of Japanese Film and Cinema Studies > >> University of Oregon > >> > > > > > > _______________________________________________ > Kinemaclub mailing list > Kinemaclub at mailman.yale.edu > http://mailman.yale.edu/mailman/listinfo/kinemaclub > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ Kinemaclub mailing list Kinemaclub at mailman.yale.edu http://mailman.yale.edu/mailman/listinfo/kinemaclub From sissu at basicray.org Wed Jan 1 07:23:32 2014 From: sissu at basicray.org (sissu tarka) Date: Wed, 1 Jan 2014 12:23:32 +0000 Subject: [KineJapan] OrnAmenT Epiphanies: Tokyo at Cafe Oto Message-ID: <20140101122332.108468gykujl0x8o@webmail.servus.at> HAPPY NEW YEAR! Dear all, If any of you are in London next Monday, 6 January 2014, please do pop by /OrnAmenT Epiphanies: Tokyo[1]/ event at Cafe Oto. ... including sound performance by Rie Nakajima, presentations by Emiko Kato, Merce Rodrigo Garcia and Verina Gfader, and screening of Hikaru Fujii's /PROJECT FUKUSHIMA/! Many thanks, Verina ************************************************************************************************************* Links: ------ [1] http://www.cafeoto.co.uk/ornament-epiphanies-tokyo-rie-nakajima.shtm -------------- 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