From mroberts37 at mail-central.com Wed Jun 25 04:41:11 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Wed, 25 Jun 2014 17:41:11 +0900 Subject: [KineJapan] Reminder: UTCP Workshop: "Perspectives on Oshima Nagisa" Message-ID: Dear KineJapaners, Please join us at UTCP for a special workshop on Sunday, June 29th at 13:00. Perspectives on Oshima Nagisa Date: June 29th, 2014, 13:00-18:00 Venue: Collaboration Room 2, Bldg. 18 (4F), The University of Tokyo Komaba Campus Language: English | No Registration Required | Admission Free http://utcp.c.u-tokyo.ac.jp/events/2014/06/workshop_perspectives_on_oshim/index_en.php Abstract Variously described as a leader of the new wave, a traditionalist, or a political modernist, on closer scrutiny Oshima Nagisa seems to defy all of these categories. It is striking that today, fifty-five years after his d?but as a director, there is only a nebulous sense of agreement about the significance of his films. Oshima is widely regarded as one of the most important directors of his generation, but if his films have remained some of the most unusual and discussable productions of the postwar Japanese cinema, it is not only due to their daring themes and unusual approach to formal experimentation, but equally because they remain deeply ambiguous works that compel us to think beyond their limits as individual films. While Oshima has been frequently characterized as a "radical iconoclast" or member of the postwar avant-garde, this interpretation has equally tended to simplify our understanding of his multifarious interests and their complex engagement with Japanese cinema, society, and history. It seems fair to say that the experience of viewing Oshima's films prompts us not only to question the specific historical and social forms which they depict, but to similarly question the received image of Oshima himself. As we trace his career from the studio system to a quasi-independent and finally independent director, we find ourselves asking: what are the limits or possibilities of a production system, of a mode of film production? How might we think about Oshima's relationship to Japanese cinema outside of an auteurist frame? Extant writing on his works in English has left much of this terrain under-explored, and there is today a marked discrepancy between it and a significant body of more recent criticism in Japanese. This afternoon workshop will explore some of these questions concerning Oshima, and his relationship with Japanese cinema in the 1960s and 70s. The participants will offer a broad spectrum of conceptual approaches, drawing on historical and theoretical modes of analysis. We propose to both reconsider familiar problems, and to explore new ones. We will examine, among other topics, Oshima's significance for the culture of film retrospectives, his role in the expression of some of the key theories of ideology in film studies, his visualization of state power, his relationship with popular cinema, and his perspectives on political cinema. Through this exploration, we seek to gain a richer understanding of these singular films, of new interpretive approaches, and of some of the critical possibilities of cinema itself. We invite you to join us on Sunday, June 29th, for an afternoon of presentation and lively discussion. Program 13:00 Oshima Nagisa ? Retrospective Ogawa Shota (University of Rochester) 14:00 The Effective Presence of a New Reality: Ideology and Subjection in Oshima?s K?shikei (1968) Max Ward (Middlebury College) 15:00 Proxy Wars: Oshima/Yakuza Phil Kaffen (New York University) 16:00 Oshima Nagisa on Responsibility and Premonition: Shiiku (1961) and Amakusa Shir? Tokisada (1962) M. Downing Roberts (UTCP) 17:00 The Voice of the Dead: The Image of the State and Postwar Democracy in Oshima Nagisa?s The Ceremony (1971) Misono Ryoko (University of Tsukuba) Organizer: M. Downing Roberts, UTCP. Supported by: The University of Tokyo Center for Philosophy (UTCP) and the Uehiro Research Division for Philosophy of Coexistence. ---- 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 johan.nord at gmail.com Fri Jun 20 02:30:12 2014 From: johan.nord at gmail.com (Johan Nordstrom) Date: Fri, 20 Jun 2014 15:30:12 +0900 Subject: [KineJapan] How to record of NHK world in HD Message-ID: Hi Everyone, This is slightly of topic but I was wondering if any one knows a way to make a HD recording of programs that are shown on the NHK world? There is a documentary shown this Sunday called "Real Samurai" about the the teacher Otake Risuke of the kobudo school Tenshin Shoden Katori Shinto Ryu, that I would very much like to have recorded. Since I am in Japan, this is proving a bit more difficult than I had first imagined. If anyone out there knows a way, or perhaps has a means of doing an HD recording, and would be willing to help me, I would be extremely grateful if they could contact me of list! Very best, Johan Nordstrom -------------- 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 kthouny at gmail.com Thu Jun 19 23:39:10 2014 From: kthouny at gmail.com (Christophe Thouny) Date: Fri, 20 Jun 2014 12:39:10 +0900 Subject: [KineJapan] Workshop on Love and the Planetary - Tokyo University June 26th 6pm Message-ID: <3F20952D-B884-4A71-A603-A78296502313@gmail.com> Dear colleagues, We are organizing a workshop on the theme of Love and the Planetary next week on Thursday 26th, 6pm. For those of you in town please joins us. The workshop builds up on a first series of workshops last year on Fukushima Japan. It is open to anybody and mostly based on discussions, with short presentations. Best regards, Christophe ********************************************************** Christophe Thouny, PhD University of Tokyo Global Communication Research Center email : ct843 at nyu.edu ********************************************************** Atmospheres of the Planetary - Love Phil Kaffen (New York University), Thomas Looser (New York University), Kimura Saeko (Tsuda College), Christophe Thouny (The University of Tokyo), Ueno Toshiya (Wak? University), Yoshimoto Mitsuhiro (Waseda University) Thursday, June 26th, 2014 at 6pm The University of Tokyo, Komaba / Bld. 18 / Collaboration Room 2 The current project of the Abe government to arbitrarily redefine the legal interpretation of the Japanese constitution has led recent protests to reluctantly adopt the slogan "Protect the [our?my?] Constitution". As in the desire to "Protect the [our?my?] Planet", the bracketed possessive marks the acknowledgement in disavowal of the non-sovereignty that grounds our affective attachment to a common space of dwelling. What matters is the constitution as constitution, the planet as planet, in a non-sovereign love relation that relies on the desire for this adorable thing to become mine, while remaining essentially alien. In this first workshop on the Planetary and Love, we will discuss how an imperative non-sovereign relation, love as atmosphere, stages our attachment to the national, the human and the planetary in Fukushima Japan. Looking at a variety of texts from movies to the Oshinbo comic, we will attempt to understand how a planetary love can allow us to perform in our everyday academic practices what Lauren Berlant terms ?a shift in attachment style.? English and Japanese?Free Admission ?No Registration Required Organized by Christophe Thouny email: ct843 at nyu.edu -------------- 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 Tue Jun 17 19:51:23 2014 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 18 Jun 2014 00:51:23 +0100 Subject: [KineJapan] Early Mizoguchi film enquiry In-Reply-To: <1403029675.21905.YahooMailBasic@web173101.mail.ir2.yahoo.com> References: <1403029675.21905.YahooMailBasic@web173101.mail.ir2.yahoo.com> Message-ID: <1403049083.31147.YahooMailNeo@web171403.mail.ir2.yahoo.com> To attempt to clarify, The 'Film Society' of London, I agree, did not show any film by Mizoguchi, and neither did the english-language journal published in Switzerland from 1927-1933, 'Close Up' feature his films.? I've seen correspondence to the Close Up publishers, reporting that many 'Film Society' members turned up with a copy of the orange-covered journal under their arms, but they had not formal connection. In Kawakita Nagamasa's 'Recollections', his future wife, Kashiko's first job was to translate 'Love Mad Music Teacher' into german (english version, page 9).? At page 11 Kawakita Nagamasa recalls taking the film to Germany. But It then suggests it was also used in the ?omnibus? with the components of what came to be called Nippon.? But the preserved films in Europe apparently don?t support this. Actually, I never pinned down a French exhibition and I'd appreciate any details that people have. Roger >________________________________ > From: Jim Harper >To: Japanese Cinema Discussion Forum >Sent: Tuesday, 17 June 2014, 19:27 >Subject: Re: [KineJapan] Early Mizoguchi film enquiry > > >Cheers Jasper. > >For some reason it never occurred to me to check Aurum, and you're right, they've included it but obviously couldn't see it. I was interested in it because I know it's a version of the Kaidan Kasane-ga-fuchi, and having watched Nakagawa, Yasuda and Hase adaptations I was curious to see what Mizoguchi brought to his version, although I'm guessing it wasn't as gruesome as the others or as utterly misanthropic and cynical as the Kazuo Hase version. I know few of the pre-war kaidan/horror films have survived. > >Right, thanks for your assistance! > >Jim. > >-------------------------------------------- >On Tue, 17/6/14, Jasper Sharp wrote: > >Subject: Re: [KineJapan] Early Mizoguchi film enquiry >To: "kinejapan" >Date: Tuesday, 17 June, 2014, 18:55 > >? It is lost >I am pretty sure. I know probably the reason you are asking >about it is because it was included as an early proto-horror >in the Aurum Encyclopeda of Horror, and this was precisely >because it was released in Europe (because the authors of >Aurum would not have been able to see it and there are quite >a few other titles that would fit the bill too).From my >research a few years back, I know this film was released in >France, but no in the UK, I think - there were simply no >places that would show this kind of thing except Close Up >film club, and from my consultation of their catalogues, >there's no mention of this particular film - although a >few other Japanese films from this period did play at Close >Up. So best to consult french sources, but its worth >remembering that the kind of film culture we are used to >today did not exist so probably it screened a few times and >no one even bothered to so much as register its presence in >any language.This is all from memory, so forgive >my lack of precision. I'm sure there's info out >there, but you might have to head to Paris to find it. > > > > > >The >Creeping Garden - A Real-Life Science-Fiction Story >about Slime Moulds and the People Who Work With >them.?Currently in production, >directed by Tim Grabham and Jasper >Sharp.? >The?Historical Dictionary of Japanese >Cinema (2011)?is out now from?Scarecrow >Press >Midnight Eye - Visions of >Japanese cinema >http://www.midnighteye.com > > > >> Date: Tue, 17 Jun >2014 15:36:35 +0100 >> From: >jimharper666 at yahoo.co.uk >> To: >kinejapan at lists.service.ohio-state.edu >> >Subject: [KineJapan] Early Mizoguchi film enquiry >> >> Afternoon all >> >> I'm not terribly >familiar with Kenji Mizoguchi's early films, so I wanted >to check a couple of things. Is Kyoren no onna shisho (1926) >a lost film, or do prints (wholly or in part) still >exist? >> >> If it is >lost, was their much written about the film (reviews, >publicity etc) at the time of its release? >> >> Any help would be >much appreciated! >> >> >Thanks, >> >> Jim >Harper. >> >> >_______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> >https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >? ??? ??? ??? ? ??? ??? > >-----Inline Attachment Follows----- > > >_______________________________________________ >KineJapan mailing list >KineJapan at lists.service.ohio-state.edu >https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > >_______________________________________________ >KineJapan mailing list >KineJapan at lists.service.ohio-state.edu >https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jimharper666 at yahoo.co.uk Tue Jun 17 14:27:55 2014 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Tue, 17 Jun 2014 19:27:55 +0100 Subject: [KineJapan] Early Mizoguchi film enquiry In-Reply-To: Message-ID: <1403029675.21905.YahooMailBasic@web173101.mail.ir2.yahoo.com> Cheers Jasper. For some reason it never occurred to me to check Aurum, and you're right, they've included it but obviously couldn't see it. I was interested in it because I know it's a version of the Kaidan Kasane-ga-fuchi, and having watched Nakagawa, Yasuda and Hase adaptations I was curious to see what Mizoguchi brought to his version, although I'm guessing it wasn't as gruesome as the others or as utterly misanthropic and cynical as the Kazuo Hase version. I know few of the pre-war kaidan/horror films have survived. Right, thanks for your assistance! Jim. -------------------------------------------- On Tue, 17/6/14, Jasper Sharp wrote: Subject: Re: [KineJapan] Early Mizoguchi film enquiry To: "kinejapan" Date: Tuesday, 17 June, 2014, 18:55 It is lost I am pretty sure. I know probably the reason you are asking about it is because it was included as an early proto-horror in the Aurum Encyclopeda of Horror, and this was precisely because it was released in Europe (because the authors of Aurum would not have been able to see it and there are quite a few other titles that would fit the bill too).From my research a few years back, I know this film was released in France, but no in the UK, I think - there were simply no places that would show this kind of thing except Close Up film club, and from my consultation of their catalogues, there's no mention of this particular film - although a few other Japanese films from this period did play at Close Up. So best to consult french sources, but its worth remembering that the kind of film culture we are used to today did not exist so probably it screened a few times and no one even bothered to so much as register its presence in any language.This is all from memory, so forgive my lack of precision. I'm sure there's info out there, but you might have to head to Paris to find it. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them.?Currently in production, directed by Tim Grabham and Jasper Sharp.? The?Historical Dictionary of Japanese Cinema (2011)?is out now from?Scarecrow Press Midnight Eye - Visions of Japanese cinema http://www.midnighteye.com > Date: Tue, 17 Jun 2014 15:36:35 +0100 > From: jimharper666 at yahoo.co.uk > To: kinejapan at lists.service.ohio-state.edu > Subject: [KineJapan] Early Mizoguchi film enquiry > > Afternoon all > > I'm not terribly familiar with Kenji Mizoguchi's early films, so I wanted to check a couple of things. Is Kyoren no onna shisho (1926) a lost film, or do prints (wholly or in part) still exist? > > If it is lost, was their much written about the film (reviews, publicity etc) at the time of its release? > > Any help would be much appreciated! > > Thanks, > > Jim Harper. > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -----Inline Attachment Follows----- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jasper_sharp at hotmail.com Tue Jun 17 13:55:14 2014 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 17 Jun 2014 17:55:14 +0000 Subject: [KineJapan] Early Mizoguchi film enquiry In-Reply-To: <1403015795.84550.YahooMailBasic@web173102.mail.ir2.yahoo.com> References: , <1403015795.84550.YahooMailBasic@web173102.mail.ir2.yahoo.com> Message-ID: It is lost I am pretty sure. I know probably the reason you are asking about it is because it was included as an early proto-horror in the Aurum Encyclopeda of Horror, and this was precisely because it was released in Europe (because the authors of Aurum would not have been able to see it and there are quite a few other titles that would fit the bill too).From my research a few years back, I know this film was released in France, but no in the UK, I think - there were simply no places that would show this kind of thing except Close Up film club, and from my consultation of their catalogues, there's no mention of this particular film - although a few other Japanese films from this period did play at Close Up. So best to consult french sources, but its worth remembering that the kind of film culture we are used to today did not exist so probably it screened a few times and no one even bothered to so much as register its presence in any language.This is all from memory, so forgive my lack of precision. I'm sure there's info out there, but you might have to head to Paris to find it. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them. Currently in production, directed by Tim Grabham and Jasper Sharp. The Historical Dictionary of Japanese Cinema (2011) is out now from Scarecrow Press Midnight Eye - Visions of Japanese cinema http://www.midnighteye.com > Date: Tue, 17 Jun 2014 15:36:35 +0100 > From: jimharper666 at yahoo.co.uk > To: kinejapan at lists.service.ohio-state.edu > Subject: [KineJapan] Early Mizoguchi film enquiry > > Afternoon all > > I'm not terribly familiar with Kenji Mizoguchi's early films, so I wanted to check a couple of things. Is Kyoren no onna shisho (1926) a lost film, or do prints (wholly or in part) still exist? > > If it is lost, was their much written about the film (reviews, publicity etc) at the time of its release? > > Any help would be much appreciated! > > Thanks, > > Jim Harper. > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From jimharper666 at yahoo.co.uk Tue Jun 17 10:36:35 2014 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Tue, 17 Jun 2014 15:36:35 +0100 Subject: [KineJapan] Early Mizoguchi film enquiry In-Reply-To: Message-ID: <1403015795.84550.YahooMailBasic@web173102.mail.ir2.yahoo.com> Afternoon all I'm not terribly familiar with Kenji Mizoguchi's early films, so I wanted to check a couple of things. Is Kyoren no onna shisho (1926) a lost film, or do prints (wholly or in part) still exist? If it is lost, was their much written about the film (reviews, publicity etc) at the time of its release? Any help would be much appreciated! Thanks, Jim Harper. _______________________________________________ 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 Jun 16 07:05:43 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 16 Jun 2014 14:05:43 +0300 Subject: [KineJapan] Asian film festivals in Europe Message-ID: Hi! I sent all you festivals happening in Europe and with your program consisting either of Asian or Japanese films mail. As some of you have yet not replied, I would like you to email me off-list to eija.niskanen at helsinki.fi Best, Eija/University of Helsinki -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From frako at well.com Sun Jun 15 17:24:52 2014 From: frako at well.com (Frances Loden) Date: Sun, 15 Jun 2014 14:24:52 -0700 Subject: [KineJapan] Recent Mizoguchi retrospectives in Japan In-Reply-To: References: Message-ID: Thanks very much, Alo! Frako Loden On Sat, Jun 14, 2014 at 6:37 PM, Alo J?ekalda wrote: > Franko, > > Cinemavera did a Mizoguchi retrospective a year ago, I don't believe there > have been any since, at least in the Tokyo area: > http://www.cinemavera.com/backnumber.php?mode=detail&no=120 > As you can see, with some 20 films screened (including Sugawa Eizo's > remake on *Naniwa erej?*) it was hardly conclusive. > > NFC apparently held a complete retrospective on the 50th anniversary of > Mizoguchi's death: > http://www.momat.go.jp/FC/NFC_Calendar/2006-11-12/kaisetsu.html > > Kind regards, > Alo > > > On 15 June 2014 03:33, Frances Loden wrote: > >> I have a question about Mizoguchi retrospectives *in Japan*. What was >> the most recent one and did it screen all the extant films? >> >> Also, is there an online source that keeps track of such retrospectives >> in Japan? I don't see such a link for, e.g., the National Film Center. >> >> Thank you! >> >> Frako Loden >> Berkeley, California >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Sun Jun 15 02:08:34 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Sun, 15 Jun 2014 15:08:34 +0900 Subject: [KineJapan] UTCP Workshop: "Perspectives on Oshima Nagisa" Message-ID: <2494E2AA-2D66-49D4-A101-191DD58EFD3A@mail-central.com> Dear KineJapaners, Please join us at UTCP for a special workshop on Sunday, June 29th at 13:00. Perspectives on Oshima Nagisa Date: June 29th, 2014, 13:00-18:00 Venue: Collaboration Room 2, Bldg. 18 (4F), The University of Tokyo Komaba Campus Language: English | No Registration Required | Admission Free http://utcp.c.u-tokyo.ac.jp/events/2014/06/workshop_perspectives_on_oshim/index_en.php Abstract Variously described as a leader of the new wave, a traditionalist, or a political modernist, on closer scrutiny Oshima Nagisa seems to defy all of these categories. It is striking that today, fifty-five years after his d?but as a director, there is only a nebulous sense of agreement about the significance of his films. Oshima is of course widely regarded as one the most important directors of his generation, but if his films have remained some of the most unusual and discussable productions of the postwar Japanese cinema, it is not only due to their daring themes and unusual approach to formal experimentation, but equally because they remain deeply ambiguous works that compel us to think beyond their limits as individual films. While Oshima has been frequently characterized as a "radical iconoclast" or member of the postwar avant-garde, this interpretation has equally tended to simplify our understanding of his multifarious interests and their complex engagement with Japanese cinema, society, and history. It seems fair to say that the experience of viewing Oshima's films prompts us not only to question the specific historical and social forms which they depict, but to similarly question the received image of Oshima himself. As we trace his career from the studio system to a quasi-independent and finally independent director, we find ourselves asking: what are the limits or possibilities of a production system, of a mode of film production? How might we think about Oshima's relationship to Japanese cinema outside of an auteurist frame? Extant writing on his works in English has left much of this terrain under-explored, and there is today a marked discrepancy between it and a significant body of more recent criticism in Japanese. This afternoon workshop will explore some of these questions concerning Oshima, and his relationship with Japanese cinema in the 1960s and 70s. The participants will offer a broad spectrum of conceptual approaches, drawing on historical and theoretical modes of analysis. We propose to both reconsider familiar problems, and to explore new ones. We will examine, among other topics, Oshima's significance for the culture of film retrospectives, his role in the expression of some of the key theories of ideology in film studies, his visualization of state power, his relationship with popular cinema, and his perspectives on political cinema. Through this exploration, we seek to gain a richer understanding of these singular films, of new interpretive approaches, and of some of the critical possibilities of cinema itself. We invite you to join us on Sunday, June 29th, for an afternoon of presentation and lively discussion. Program 13:00 Oshima Nagisa ? Retrospective Ogawa Shota (University of Rochester) 14:00 The Effective Presence of a New Reality: Ideology and Subjection in Oshima?s K?shikei (1968) Max Ward (Middlebury College) 15:00 Proxy Wars: Oshima/Yakuza Phil Kaffen (New York University) 16:00 Oshima Nagisa on Responsibility and Premonition: Shiiku (1961) and Amakusa Shir? Tokisada (1962) M. Downing Roberts (UTCP) 17:00 The Voice of the Dead: The Image of the State and Postwar Democracy in Oshima Nagisa?s The Ceremony (1971) Misono Ryoko (University of Tsukuba) Organizer: M. Downing Roberts, UTCP. Supported by: The University of Tokyo Center for Philosophy (UTCP) and the Uehiro Research Division for Philosophy of Coexistence. ---- 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 alojoekalda at gmail.com Sat Jun 14 21:37:48 2014 From: alojoekalda at gmail.com (=?UTF-8?Q?Alo_J=C3=B5ekalda?=) Date: Sun, 15 Jun 2014 10:37:48 +0900 Subject: [KineJapan] Recent Mizoguchi retrospectives in Japan In-Reply-To: References: Message-ID: Franko, Cinemavera did a Mizoguchi retrospective a year ago, I don't believe there have been any since, at least in the Tokyo area: http://www.cinemavera.com/backnumber.php?mode=detail&no=120 As you can see, with some 20 films screened (including Sugawa Eizo's remake on *Naniwa erej?*) it was hardly conclusive. NFC apparently held a complete retrospective on the 50th anniversary of Mizoguchi's death: http://www.momat.go.jp/FC/NFC_Calendar/2006-11-12/kaisetsu.html Kind regards, Alo On 15 June 2014 03:33, Frances Loden wrote: > I have a question about Mizoguchi retrospectives *in Japan*. What was the > most recent one and did it screen all the extant films? > > Also, is there an online source that keeps track of such retrospectives in > Japan? I don't see such a link for, e.g., the National Film Center. > > Thank you! > > Frako Loden > Berkeley, California > > _______________________________________________ > 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 frako at well.com Sat Jun 14 14:33:54 2014 From: frako at well.com (Frances Loden) Date: Sat, 14 Jun 2014 11:33:54 -0700 Subject: [KineJapan] Recent Mizoguchi retrospectives in Japan Message-ID: I have a question about Mizoguchi retrospectives *in Japan*. What was the most recent one and did it screen all the extant films? Also, is there an online source that keeps track of such retrospectives in Japan? I don't see such a link for, e.g., the National Film Center. Thank you! Frako Loden Berkeley, California -------------- 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 reavolution at gmail.com Wed Jun 11 19:24:02 2014 From: reavolution at gmail.com (Rea Amit) Date: Thu, 12 Jun 2014 08:24:02 +0900 Subject: [KineJapan] Iwanami Nihon Hakken Series Message-ID: Dear Kinejapaners, If you are in Tokyo, please check out this wonderful screening series of Iwanami (mainly PR) films at the Tokyo University Museum near Tokyo station. Here is the information regarding this week`s screenings: ?Coming Soon?Documentary Film Screening ?Japan Rediscovered? ? Hiroshima & Nagasaki Date & Time: Friday, June 13, 2014?6:30 p.m. (expected to end at 7:20 p.m.) Place: Intermediatheque 2F Lecture Theatre ACADEMIA http://www.intermediatheque.jp/en/schedule/view/id/IMT0032 ???????????????????????????? ???2014?6?13????18?30? ??????19?20? ?????????????2?ACADEMIA??????????? http://www.intermediatheque.jp/ja/schedule/view/id/IMT0032 Best, Rea _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From ukarlin at mail.ecc.u-tokyo.ac.jp Wed Jun 11 07:00:43 2014 From: ukarlin at mail.ecc.u-tokyo.ac.jp (Jason G. Karlin) Date: Wed, 11 Jun 2014 20:00:43 +0900 Subject: [KineJapan] Media, Gender and Sexualities Study Group, U of Tokyo (19 June) Message-ID: Since our study group presentation this month partly relates to film, I thought I might share the announcement with the members of the list. If you are in Tokyo, please feel free to join us. Media, Gender and Sexualities Study Group, University of Tokyo Date: Thursday, June 19, 2014 Time: 6:30 ? 8:00 PM Place: University of Tokyo, Hongo Campus, iii Main Bldg, 6th Floor, Conference Room Language: English http://www.iii.u-tokyo.ac.jp/en/access Title: When Women Watch: The Subversive Feminist Potential of Female-Friendly Pornography in Japan Presenter: Alexandra Hambleton (Ph.D. Candidate, Graduate School of Interdisciplinary Studies, University of Tokyo) Abstract: Populated with good-looking men and romantic storylines more often seen in trendy dramas than adult films, female-friendly pornography has graduated from the realm of alternative productions to being celebrated in the online and mainstream press as a ?quiet boom? among Japanese women. Central to the phenomenon has been the work of porn production company Silk Labo which draws upon affective elements of Japanese popular culture, idol fandom, meet the (erotic) idol events, and online technology to encourage consumption of a genre that has traditionally overlooked female audiences, and expanded the market for pornography at a time when sales of mainstream adult films are falling. This presentation draws on ethnographic fieldwork, interviews, and critical analysis of Silk Labo films to investigate the phenomenon of increasing consumption of pornographic content by women in contemporary Japan. I examine the reasons for the success of Silk Labo and ask whether the consumption of female-friendly pornography can be considered a form of subversive feminism. Finally, I consider what the rising popularity of adult movies for women and inherently contradictory nature of their production reveal about attitudes towards sexuality and pleasure in Japan today. -- Jason G. Karlin, Ph.D. Associate Professor The University of Tokyo Interfaculty Initiative in Information Studies 7-3-1 Hongo, Bunkyo-ku Tokyo 113-0033 JAPAN Email: ukarlin at mail.ecc.u-tokyo.ac.jp URL: http://individuals.iii.u-tokyo.ac.jp/~karlin/ Twitter: http://twitter.com/jgkarlin -------------- 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 twkang at hotmail.com Wed Jun 11 02:12:18 2014 From: twkang at hotmail.com (Kang TaeWoong) Date: Wed, 11 Jun 2014 15:12:18 +0900 Subject: [KineJapan] Japanese Film position at Univ. of Oregon In-Reply-To: <89a9f8f0f8f0dd910335bd43a3d87eaa@uoregon.edu> References: <89a9f8f0f8f0dd910335bd43a3d87eaa@uoregon.edu> Message-ID: 2014. 6. 5. ?? 6:55 "Daisuke Miyao" ??: > Dear all, > > Please circulate this among any people who might be interested. Thank you. > > Best, > Daisuke > > > Japanese Film > > The Department of East Asian Languages and Literatures at the University of Oregon seeks applicants for Visiting Assistant Professor in Japanese film. The appointment will begin on September 16, 2014. > > Minimum Qualifications: Ph.D. degree in Japanese studies or related fields in hand at the time of the appointment. ABDs are also encouraged to apply. > > Preferred Qualifications: Expertise in Japanese film. Interests in films of other East Asian regions and transnational aspects of film history and theory are also preferable. > > Interested candidates should email the following items to Professor Daisuke Miyao (dmiyao at uoregon.edu), Chair, Department of East Asian Languages and Literatures, University of Oregon: > > *completed application form (?Application, Unclassified ? Short Form,? download here: http://ups.uoregon.edu/content/forms) > *current CV with names and contact information for three references > *a short statement of research and teaching interests > *up to two sample syllabi > > The review will begin immediately. All applications will be kept on file until 3/31/2015. > > The University of Oregon is an AA/EO/ADA employer committed to cultural diversity. > > > _______________________________________________ > 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 takuya.tsunoda at yale.edu Thu Jun 5 08:03:35 2014 From: takuya.tsunoda at yale.edu (Takuya Tsunoda) Date: Thu, 5 Jun 2014 08:03:35 -0400 Subject: [KineJapan] Japanese Film position at Univ. of Oregon In-Reply-To: <82B7070E-BF7F-483F-BF63-01BAE6702B5A@yale.edu> References: <89a9f8f0f8f0dd910335bd43a3d87eaa@uoregon.edu> <82B7070E-BF7F-483F-BF63-01BAE6702B5A@yale.edu> Message-ID: Dear Gerow Sensei, Thank you for your email. I was also reading the posting carefully. As you mentioned, there are some ambiguous (flexible?) aspects in the posting, but that makes me feel that the search might take place the following year as well. I did not know that Daisuke was moving to UCSD! Is the Oregon campus close to your home? I will talk to you soon. Best, Takuya On Jun 4, 2014, at 10:37 PM, Gerow Aaron wrote: > Takuya, > > You might have seen this. Obviously, this is not for you, but as you might have heard, this position is opening up because Miyao is moving to UCSD. So there is a possibility Oregon will run the search to replace him next year. (Unfortunately, this post does not state the length of the visiting position.) So keep your eyes out for that. > > Aaron > > Begin forwarded message: > >> ???: Daisuke Miyao >> ??: June 4, 2014 5:55:17 PM EDT >> ??: >> ??: [KineJapan] Japanese Film position at Univ. of Oregon >> ???: Japanese Cinema Discussion Forum >> >> Dear all, >> >> Please circulate this among any people who might be interested. Thank you. >> >> Best, >> Daisuke >> >> >> Japanese Film >> >> The Department of East Asian Languages and Literatures at the University of Oregon seeks applicants for Visiting Assistant Professor in Japanese film. The appointment will begin on September 16, 2014. >> >> Minimum Qualifications: Ph.D. degree in Japanese studies or related fields in hand at the time of the appointment. ABDs are also encouraged to apply. >> >> Preferred Qualifications: Expertise in Japanese film. Interests in films of other East Asian regions and transnational aspects of film history and theory are also preferable. >> >> Interested candidates should email the following items to Professor Daisuke Miyao (dmiyao at uoregon.edu), Chair, Department of East Asian Languages and Literatures, University of Oregon: >> >> *completed application form (?Application, Unclassified ? Short Form,? download here: http://ups.uoregon.edu/content/forms) >> *current CV with names and contact information for three references >> *a short statement of research and teaching interests >> *up to two sample syllabi >> >> The review will begin immediately. All applications will be kept on file until 3/31/2015. >> >> The University of Oregon is an AA/EO/ADA employer committed to cultural diversity. >> >> >> _______________________________________________ >> 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: From dmiyao at uoregon.edu Wed Jun 4 17:55:17 2014 From: dmiyao at uoregon.edu (Daisuke Miyao) Date: Wed, 4 Jun 2014 14:55:17 -0700 Subject: [KineJapan] Japanese Film position at Univ. of Oregon Message-ID: <89a9f8f0f8f0dd910335bd43a3d87eaa@uoregon.edu> Dear all, Please circulate this among any people who might be interested. Thank you. Best, Daisuke Japanese Film The Department of East Asian Languages and Literatures at the University of Oregon seeks applicants for Visiting Assistant Professor in Japanese film. The appointment will begin on September 16, 2014. Minimum Qualifications: Ph.D. degree in Japanese studies or related fields in hand at the time of the appointment. ABDs are also encouraged to apply. Preferred Qualifications: Expertise in Japanese film. Interests in films of other East Asian regions and transnational aspects of film history and theory are also preferable. Interested candidates should email the following items to Professor Daisuke Miyao (dmiyao at uoregon.edu), Chair, Department of East Asian Languages and Literatures, University of Oregon: *completed application form (?Application, Unclassified ? Short Form,? download here: http://ups.uoregon.edu/content/forms) *current CV with names and contact information for three references *a short statement of research and teaching interests *up to two sample syllabi The review will begin immediately. All applications will be kept on file until 3/31/2015. The University of Oregon is an AA/EO/ADA employer committed to cultural diversity. _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From joel.neville.anderson at rochester.edu Mon Jun 2 19:31:34 2014 From: joel.neville.anderson at rochester.edu (Anderson, Joel Neville) Date: Mon, 2 Jun 2014 23:31:34 +0000 Subject: [KineJapan] JAPAN CUTS 2014 Lineup Announcement Message-ID: Dear KineJapan subscribers, I?m happy to share the lineup for the eighth edition of JAPAN CUTS: The New York Festival of Contemporary Japanese Cinema (July 10-20, 2014). Japan Society will be screening 27 titles across 10 days, all of which are new to NYC, including many International, North American, U.S., and East Coast Premieres, plus one World Premiere. The events will feature numerous special guests flying in from Japan and around the world, introductions and Q&As, intimate receptions, and two big parties in JS?s landmark building. As in past years, the festival dovetails with the thirteenth New York Asian Film Festival (NYAFF), co-presenting 13 titles in the JAPAN CUTS lineup July 10-13. Please check out the full lineup here: http://www.japansociety.org/japancuts JAPAN CUTS 2014?s Opening Film is the U.S. Premiere of Takashi Miike?s undercover cop saga The Mole Song: Undercover Agent Reiji, followed by the NYC Premiere of Sion Sono?s yakuza-turned-filmmaker genre pleaser Why Don't You Play in Hell?, joined by actress Fumi Nikaido and followed by the Let?s Play in Hell! Opening Night Party. The festival?s Centerpiece Presentation will be Momoko Ando?s epic black comedy 0.5mm in its World Premiere, followed by a reception with the director. JAPAN CUTS? Closing Film is the North American Premiere of The Tale of Iya, joined by director Tetsuichiro Tsuta to present this achievement in film craftsmanship. The festival will also celebrate the career of international star Kazuki Kitamura, who receives JAPAN CUTS? annual prize, the CUT ABOVE Award for Excellence in Film. Kitamura will join to present the East Coast Premiere of the Japanese-American thriller Man from Reno along with director Dave Boyle, as well as the International Premiere of the irresistible comedy Neko Samurai ~Samurai ? Cat~, including the CUT ABOVE award ceremony and followed by the Japan CATS Party. Japan Society will distribute an official press release later this week. Tickets will open to the public Wednesday, June 11, after initial advance ticket sales to JS members. Please don?t hesitate to reach out to me and the JS Film team if we can provide KineJapan subscribers with any further information and access. Looking forward to seeing you this summer at JAPAN CUTS! Best wishes, Joel Joel Neville Anderson JAPAN CUTS 2014 Programmer Japan Society 978.394.3292 janderson at japansociety.org www.japansociety.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From ljth2006 at gmail.com Mon Jun 2 11:19:59 2014 From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano) Date: Mon, 2 Jun 2014 17:19:59 +0200 Subject: [KineJapan] International Conference in Madrid 2015 Message-ID: Dear friends, I'm contributing to an International Conference that will be held in 2015 in Madrid (Spain) at Universidad Complutense. Although the subject is not focused on Japan, it is wide enough to arrange a panel about Japan. It would be great to arrange a discussion panel or round table with some of you. If someone is interested, please, may you contact me out list. Here you have the text of the call: THE GODDESSES The consolidation of the Western God -monotheistic and patriarchal- blurred a previous long period in which matriarchal deities occupied the top places in their respective pantheons. Their study is still pending, not only in order to increase awareness of the symbolic universes of the past, but also in order to better understand and appraise the novelty meant by the irruption of the new God that arrived to put them away in a pantheon deeply transformed by their new protagonism. Furthermore, this theme has become a subject of topical interest, once the patriarchal God has fallen out of his dominant position. There are many questions that remain unanswered since, not only for anthropology, but also for psychology and psychoanalysis, for the History of art and the discourses of mass media, for sociology, for politics, for cultural and gender studies... Does the fall of the patriarchal God mean the end point of the history of gods, or does it open the door to the return of more ancient divinities? To what extent do pro-indigenous, environmental and nationalistic discourses keep mythological resonances of ancient maternal deities? If the patriarchal God was the symbolic pillar on which the prestige of the paternal function was based, to what extent does his fall hinder the presence and effectiveness of that function? And above all, does the construction of subjectivity in the present world take place outside any mythological premise or, on the contrary, is this world shaped by mythological molds that escape people's consciousness? There is too the contemporary visual landscape, as it is shown on the web and on television, in advertising, in film and literature, in painting and in the new scene of contemporary music. Everything seems to indicate that it is there, regardless of the final assessment that can be carried out, that a certain aura of divinity invests the most varied configurations of the feminine. This is thus a territory as wide as it is pregnant, which is ideal to guide the works of the *7th Conference of Textual Analysis*, devoted to ?Goddesses? and convened by the Cultural Association Trama y Fondo, in collaboration with the Faculty of Media of the Complutense University of Madrid on 25, 26 and 27 March 2015. As is customary in our conferences, there is only one condition in order to take part in it: that the reflections being raised must be based on and verified by the analysis of a text or group of texts. For more information: http://www.tramayfondo.com/actividades/vii-congreso/ Best, *Lorenzo J. Torres Hortelano* Editor / *Editor * Profesor Titular / *Professor * Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n Despacho 22, Edificio Departamental Camino del Molino s/n, 28943 Fuenlabrada (Madrid, Spain) lorenzojavier.torres.hortelano at urjc.es 34-657565507 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Mon Jun 2 08:03:39 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 2 Jun 2014 15:03:39 +0300 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: References: <1401687651415.249361a9@Nodemailer> <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> Message-ID: Hmm, I think all the prints that the Finnish KAVI screened, were 35mm. I doubt there are any DCP prints of Mizoguchi... Film archive theaters always have all the screening formats, 35mm, 16mm, DCP, and some HDCAM or similar. Or does the NFC Kyobashi theater have DCP? Eija 2014-06-02 14:09 GMT+03:00 Jasper Sharp : > > I think you've hit upon an interesting point, Sten. > Very few venues in Europe now are capable of projecting 35mm, having torn > out all their projectors to be replaced with 35mm (even such an important > archive as the Imperial War Museum in London no longer has the facilities > to project from film), and even those places that can tend to be > increasingly discouraging programmers from showing prints (in this recent > interview I did with Mirai Mizue, he mentions the struggle he had > persuading Berlin Film Festival to screen his new film WONDER from 35mm: > http://www.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/free-anime-mizue-mirai-wizard-blobs-blocks > ) > > But the other crucial aspect is that no Japanese studio is going to spend > the money digitising films unless they actively want to promote particular > directors or titles - so for example the Kinoshita retro at FilmEx a few > years back seemed primarily an excuse to get this director back in the > limelight again. Meanwhile Kurosawa and Ozu continue to be popular > internationally, so there's an ongoing process of digitally "restoring" > these works. And there was that digital restoration of JIGOKUMON a few > years back which seemed motivated by the idea of getting this historically > very important work back into the international eye. > > However, two things strike me is that firstly Kadokawa don't really seem > very interested in making Daiei's back catalogue available for overseas > viewers, nor particularly knowledgeable about what they have. Secondly, > someone whose word I would trust in the international sales wing of a major > Japanese studio pointed out that under Japanese copyright law, with > Mizoguchi dead now for over 50 years, his films are effectively public > domain. So the money you are spending is really licensing the physical > carrier medium of the films rather than the creative contents of the films > themselves. If you can get hold of a print, you shouldn't have to pay > Kadokawa, Kokusai Hoei, Shochiku or whoever just for licensing fees,. But > if you want access a print, you will have to pay them for the print rental. > > Now whether this is true, I can't guarantee, but it has interesting > implications for what is selected for digital "restoration" to be made > available for international festivals or retrospectives, therefore > radically re-shaping the canon. If there's no money to be made from > Mizoguchi's films, then no one will go to the bother of making them > available in the way Shochiku did with Kinoshita's films. > One suggestion though- you could screen from Bluray from the films Masters > of Cinema have made available, and with most European cinemas only equipped > with 2K projectors anyway, there would be no less quality than a DCP. In > this instance, you'd be paying Eureka, I guess, for using their materials. > > > > *The Creeping Garden - A Real-Life > Science-Fiction Story about Slime Moulds and the People Who Work With > them. **Currently in production, directed by Tim Grabham and Jasper > Sharp. * > > *The **Historical Dictionary of Japanese Cinema *(2011) is out now from Scarecrow > Press > > *Midnight Eye - Visions of Japanese cinema* > http://www.midnighteye.com > > > > ------------------------------ > Date: Mon, 2 Jun 2014 13:35:00 +0300 > From: sten at niijanaa.net > To: kinejapan at lists.service.ohio-state.edu; quentin.turnour at nfsa.gov.au > CC: kinejapan-bounces+quentin.turnour= > nfsa.gov.au at lists.service.ohio-state.edu > > Subject: Re: [KineJapan] Holder of Mizoguchi rights > > Hello all, > many thanks for your suggestions regarding the rights - Ill contact > Kadokawa and Shochiku once the lineup has been verified. > > As to difficulties with NFC and in response to Mark and Quentin - the > biggest issue lies in the fact that since most of cinemas in Europe are now > digitised to DCP projection, there is a scarce of venues which can show > 35mm, especially from the two-turret system as required by NFC to preserve > the prints. Both print handling difficulties with platter based projection, > and attractiveness of the venues (as filmotheques tend to cater to older > audiences or fans) > -- > Sten-Kristian Saluveer > Creative Director / Partner > Niijanaa Films > ph Japan + 818044345242 > ph Europe +3725165242 > sten at niijanaa.net > Skype: stenskype > www.niijanaa.net > > And of course, we all know the reluctance of Japanese distributors to > digitalise the films even if there is a demand from market / fest circuit. > > With best wishes, > Sten > > -- > Sten-Kristian Saluveer > Sent with Airmail > > On 2 Jun 2014 at 10:12:58, Quentin Turnour (quentin.turnour at nfsa.gov.au) > wrote: > > I probably don't want to revive the last debate here about the NFC's > openness to access requests - the mention of their name seems to get a few > amongst our community a little itchy - but getting prints out of the Japan > Foundation is now harder than the NFC. The JF no longer typically consider > one-off print loans of their 35mm titles and access is normally only in > packages and as part of their annual funding processes. You're only work > around might be a good contact in a local Embassy or Consulate willing to > arrange a loan. > > You will find that sourcing prints from most European archival sources > (and I know there are quite a few good sources in European archives and > cinematheques) won't be cheap either. As well Kadokawa's licensing fee > (probably at least USD600 per screening), most European archives will ask > their own access fees, with the BFI's starting at UKS100. Sadly its the > costs of doing retrospective screening business; we at the NFSA in > Australia have a few Mizoguchi prints and would also ask at least AUD200 in > addition to the licensing arrangement - with your only work-around maybe > being if you have the patronage of a FIAF affliated archive who will allow > you to waive the access fee. Also remember that most film archives will > place restrictions on how you can project the prints. And in IHMO not a few > of the continental archives can be just as hard to contact as the NFC (or > are even harder to crack). > > Janus films have Nth American rights a number of Mizoguchis, but are > unlikely to let them out beyond the US and Canada. > > Remember also that some of Mizoguchi's key films were produced for at > least released by other companies beside Daiei. From memory OHARU was made > for Shintoho (does Kokusai Hoei now have their rights?) whilst, UTAMARO, > 47 RONIN THE STORY OF THE LAST CHRYSANTHEMUMS and a few other titles for > Shochiku. > > > > 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] > > > > > > From: Rob Smith > To: Japanese Cinema Discussion Forum < > kinejapan at lists.service.ohio-state.edu>, > Date: 02/06/2014 04:24 PM > Subject: Re: [KineJapan] Holder of Mizoguchi rights > Sent by: kinejapan-bounces+quentin.turnour= > nfsa.gov.au at lists.service.ohio-state.edu > ------------------------------ > > > > The museum of the moving image in New York has a Mizoguchi retrospective > going on right now. Perhaps their programmer might be able to help. > *http://www.movingimage.us/films/2014/05/02/detail/mizoguchi/* > > On Jun 2, 2014 2:22 AM, "Eija Niskanen" <*eija at helsinkicineaasia.fi* > > wrote: > Hi! > > Finnish Audio-Visual Institute (former Finnish Film Archive) has screened > several Mizoguchi classics during the past years - I subbed some of them > into Finnish). You could contact them to ask the print sources and they > might even hold a print or two. > > *www.kavi.fi* > > Eija > > > 2014-06-02 8:47 GMT+03:00 Mark Roberts <*mroberts37 at mail-central.com* > >: > Dear Sten, > > Others can add more detail, but I believe most everything in the former > Daiei catalog now belongs to Kadokawa. > > I understand your reservations about the NFC. They no longer seem > interested in working with festivals. > > Have you considered the Japan Foundation as a source? > > Best Regards, > > Mark Roberts > Research Fellow, UTCP > *http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php* > > > > > On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: > > Dear Kinejapaners, > I hope you'd be able to help with a small help request. > Namely, I am asked to help a colleague from the Baltics with a small > retrospective of Mizoguchi and wonder if someone could point me to the > Japanese rightsholder. > As far as I remember the latter films of his were Daiei, but I'm not sure > if his catalog was transferred to Kadokawa later. > > By any chance are there good quality prints in BFI or other European > archives as I fear dealing with NFC and their print fees and procedures > could be a bit too much for the organizers. > > With many thanks in advance > Sten Saluveer > ? > Sent from *Mailbox* for iPhone > _______________________________________________ > 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 > > > _______________________________________________ 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 Mon Jun 2 07:09:08 2014 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Mon, 2 Jun 2014 11:09:08 +0000 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: References: <1401687651415.249361a9@Nodemailer>, <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com>, , , , Message-ID: I think you've hit upon an interesting point, Sten.Very few venues in Europe now are capable of projecting 35mm, having torn out all their projectors to be replaced with 35mm (even such an important archive as the Imperial War Museum in London no longer has the facilities to project from film), and even those places that can tend to be increasingly discouraging programmers from showing prints (in this recent interview I did with Mirai Mizue, he mentions the struggle he had persuading Berlin Film Festival to screen his new film WONDER from 35mm: http://www.bfi.org.uk/news-opinion/sight-sound-magazine/interviews/free-anime-mizue-mirai-wizard-blobs-blocks) But the other crucial aspect is that no Japanese studio is going to spend the money digitising films unless they actively want to promote particular directors or titles - so for example the Kinoshita retro at FilmEx a few years back seemed primarily an excuse to get this director back in the limelight again. Meanwhile Kurosawa and Ozu continue to be popular internationally, so there's an ongoing process of digitally "restoring" these works. And there was that digital restoration of JIGOKUMON a few years back which seemed motivated by the idea of getting this historically very important work back into the international eye. However, two things strike me is that firstly Kadokawa don't really seem very interested in making Daiei's back catalogue available for overseas viewers, nor particularly knowledgeable about what they have. Secondly, someone whose word I would trust in the international sales wing of a major Japanese studio pointed out that under Japanese copyright law, with Mizoguchi dead now for over 50 years, his films are effectively public domain. So the money you are spending is really licensing the physical carrier medium of the films rather than the creative contents of the films themselves. If you can get hold of a print, you shouldn't have to pay Kadokawa, Kokusai Hoei, Shochiku or whoever just for licensing fees,. But if you want access a print, you will have to pay them for the print rental. Now whether this is true, I can't guarantee, but it has interesting implications for what is selected for digital "restoration" to be made available for international festivals or retrospectives, therefore radically re-shaping the canon. If there's no money to be made from Mizoguchi's films, then no one will go to the bother of making them available in the way Shochiku did with Kinoshita's films. One suggestion though- you could screen from Bluray from the films Masters of Cinema have made available, and with most European cinemas only equipped with 2K projectors anyway, there would be no less quality than a DCP. In this instance, you'd be paying Eureka, I guess, for using their materials. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them. Currently in production, directed by Tim Grabham and Jasper Sharp. The Historical Dictionary of Japanese Cinema (2011) is out now from Scarecrow Press Midnight Eye - Visions of Japanese cinema http://www.midnighteye.com Date: Mon, 2 Jun 2014 13:35:00 +0300 From: sten at niijanaa.net To: kinejapan at lists.service.ohio-state.edu; quentin.turnour at nfsa.gov.au CC: kinejapan-bounces+quentin.turnour=nfsa.gov.au at lists.service.ohio-state.edu Subject: Re: [KineJapan] Holder of Mizoguchi rights Hello all,many thanks for your suggestions regarding the rights - Ill contact Kadokawa and Shochiku once the lineup has been verified. As to difficulties with NFC and in response to Mark and Quentin - the biggest issue lies in the fact that since most of cinemas in Europe are now digitised to DCP projection, there is a scarce of venues which can show35mm, especially from the two-turret system as required by NFC to preserve the prints. Both print handling difficulties with platter based projection, and attractiveness of the venues (as filmotheques tend to cater to older audiences or fans) -- Sten-Kristian Saluveer Creative Director / PartnerNiijanaa Filmsph Japan + 818044345242ph Europe +3725165242sten at niijanaa.netSkype: stenskypewww.niijanaa.net And of course, we all know the reluctance of Japanese distributors to digitalise the films even if there is a demand from market / fest circuit. With best wishes,Sten -- Sten-Kristian Saluveer Sent with Airmail On 2 Jun 2014 at 10:12:58, Quentin Turnour (quentin.turnour at nfsa.gov.au) wrote: I probably don't want to revive the last debate here about the NFC's openness to access requests - the mention of their name seems to get a few amongst our community a little itchy - but getting prints out of the Japan Foundation is now harder than the NFC. The JF no longer typically consider one-off print loans of their 35mm titles and access is normally only in packages and as part of their annual funding processes. You're only work around might be a good contact in a local Embassy or Consulate willing to arrange a loan. You will find that sourcing prints from most European archival sources (and I know there are quite a few good sources in European archives and cinematheques) won't be cheap either. As well Kadokawa's licensing fee (probably at least USD600 per screening), most European archives will ask their own access fees, with the BFI's starting at UKS100. Sadly its the costs of doing retrospective screening business; we at the NFSA in Australia have a few Mizoguchi prints and would also ask at least AUD200 in addition to the licensing arrangement - with your only work-around maybe being if you have the patronage of a FIAF affliated archive who will allow you to waive the access fee. Also remember that most film archives will place restrictions on how you can project the prints. And in IHMO not a few of the continental archives can be just as hard to contact as the NFC (or are even harder to crack). Janus films have Nth American rights a number of Mizoguchis, but are unlikely to let them out beyond the US and Canada. Remember also that some of Mizoguchi's key films were produced for at least released by other companies beside Daiei. From memory OHARU was made for Shintoho (does Kokusai Hoei now have their rights?) whilst, UTAMARO, 47 RONIN THE STORY OF THE LAST CHRYSANTHEMUMS and a few other titles for Shochiku. 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] From: Rob Smith To: Japanese Cinema Discussion Forum , Date: 02/06/2014 04:24 PM Subject: Re: [KineJapan] Holder of Mizoguchi rights Sent by: kinejapan-bounces+quentin.turnour=nfsa.gov.au at lists.service.ohio-state.edu The museum of the moving image in New York has a Mizoguchi retrospective going on right now. Perhaps their programmer might be able to help. http://www.movingimage.us/films/2014/05/02/detail/mizoguchi/ On Jun 2, 2014 2:22 AM, "Eija Niskanen" wrote: Hi! Finnish Audio-Visual Institute (former Finnish Film Archive) has screened several Mizoguchi classics during the past years - I subbed some of them into Finnish). You could contact them to ask the print sources and they might even hold a print or two. www.kavi.fi Eija 2014-06-02 8:47 GMT+03:00 Mark Roberts : Dear Sten, Others can add more detail, but I believe most everything in the former Daiei catalog now belongs to Kadokawa. I understand your reservations about the NFC. They no longer seem interested in working with festivals. Have you considered the Japan Foundation as a source? Best Regards, Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: Dear Kinejapaners, I hope you'd be able to help with a small help request. Namely, I am asked to help a colleague from the Baltics with a small retrospective of Mizoguchi and wonder if someone could point me to the Japanese rightsholder. As far as I remember the latter films of his were Daiei, but I'm not sure if his catalog was transferred to Kadokawa later. By any chance are there good quality prints in BFI or other European archives as I fear dealing with NFC and their print fees and procedures could be a bit too much for the organizers. With many thanks in advance Sten Saluveer ? Sent from Mailboxfor iPhone _______________________________________________ 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 _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From sten at niijanaa.net Mon Jun 2 06:35:00 2014 From: sten at niijanaa.net (=?utf-8?Q?sten=40niijanaa.net?=) Date: Mon, 2 Jun 2014 13:35:00 +0300 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: References: <1401687651415.249361a9@Nodemailer> <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> Message-ID: Hello all, many thanks for your suggestions regarding the rights - Ill contact Kadokawa and Shochiku once the lineup has been verified. As to difficulties with NFC and in response to Mark and Quentin - the biggest issue lies in the fact that since most of cinemas in Europe are now digitised to DCP projection, there is a scarce of venues which can show 35mm, especially from the two-turret system as required by NFC to preserve the prints. Both print handling difficulties with platter based projection, and attractiveness of the venues (as filmotheques tend to cater to older audiences or fans)? --? Sten-Kristian Saluveer? Creative Director / Partner Niijanaa Films ph Japan + 818044345242 ph Europe +3725165242 sten at niijanaa.net Skype: stenskype www.niijanaa.net And of course, we all know the reluctance of Japanese distributors to digitalise the films even if there is a demand from market / fest circuit. With best wishes, Sten --? Sten-Kristian Saluveer Sent with Airmail On 2 Jun 2014 at 10:12:58, Quentin Turnour (quentin.turnour at nfsa.gov.au) wrote: I probably don't want ?to revive the last debate here about the NFC's openness to access requests - the mention of their name seems to get a few amongst our community a little itchy - but getting prints out of the Japan Foundation is now harder than the NFC. The JF no longer typically consider one-off print loans of their 35mm titles and access is normally only ?in packages and as part of their annual funding processes. You're only work around might be a good contact in a ?local Embassy or Consulate willing to arrange a loan. You will find that sourcing prints from most European archival sources (and I know there are quite a few good sources in European archives and cinematheques) won't be cheap either. As well ?Kadokawa's licensing fee (probably at least USD600 per screening), most European archives will ask their own access fees, with the BFI's starting at ?UKS100. Sadly its the costs of doing retrospective screening business; we at the NFSA in Australia have a few Mizoguchi prints and would also ask at least AUD200 in addition to the licensing arrangement - ?with your only work-around maybe being if you have the patronage of a FIAF affliated archive who will allow you to waive the access fee. Also remember that most film archives will place restrictions on how you can project the prints. And in IHMO not a few of the continental archives can be just as hard to contact as the NFC (or are even harder to crack). Janus films have Nth American rights a number of Mizoguchis, but are unlikely to let them out beyond the US and Canada. Remember also that some of Mizoguchi's key films were produced for at least released by other companies beside Daiei. From memory OHARU was made for Shintoho (does Kokusai Hoei ?now have their rights?) whilst, UTAMARO, 47 RONIN THE STORY OF THE LAST CHRYSANTHEMUMS and a few other titles for Shochiku. ? 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] From: ? ? ? ?Rob Smith To: ? ? ? ?Japanese Cinema Discussion Forum , Date: ? ? ? ?02/06/2014 04:24 PM Subject: ? ? ? ?Re: [KineJapan] Holder of Mizoguchi rights Sent by: ? ? ? ?kinejapan-bounces+quentin.turnour=nfsa.gov.au at lists.service.ohio-state.edu The museum of the moving image in New York has a Mizoguchi retrospective going on right now. Perhaps their programmer might be able to help. http://www.movingimage.us/films/2014/05/02/detail/mizoguchi/ On Jun 2, 2014 2:22 AM, "Eija Niskanen" wrote: Hi! Finnish Audio-Visual Institute (former Finnish Film Archive) has screened several Mizoguchi classics during the past years - I subbed some of them into Finnish). You could contact them to ask the print sources and they might even hold a print or two. www.kavi.fi Eija 2014-06-02 8:47 GMT+03:00 Mark Roberts : Dear Sten, Others can add more detail, but I believe most everything in the former Daiei catalog now belongs to Kadokawa. I understand your reservations about the NFC. They no longer seem interested in working with festivals. Have you considered the Japan Foundation as a source? Best Regards, Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: Dear Kinejapaners, I hope you'd be able to help with a small help request. Namely, I am asked to help a colleague from the Baltics with a small retrospective of Mizoguchi and wonder if someone could point me to the Japanese rightsholder. As far as I remember the latter films of his were Daiei, but I'm not sure if his catalog was transferred to Kadokawa later. By any chance are there good quality prints in BFI or other European archives as I fear dealing with NFC and their print fees and procedures could be a bit too much for the organizers. With many thanks in advance? Sten Saluveer? ? Sent from Mailboxfor iPhone _______________________________________________ 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 Quentin.Turnour at nfsa.gov.au Mon Jun 2 03:12:23 2014 From: Quentin.Turnour at nfsa.gov.au (Quentin Turnour) Date: Mon, 2 Jun 2014 17:12:23 +1000 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: References: <1401687651415.249361a9@Nodemailer> <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> Message-ID: I probably don't want to revive the last debate here about the NFC's openness to access requests - the mention of their name seems to get a few amongst our community a little itchy - but getting prints out of the Japan Foundation is now harder than the NFC. The JF no longer typically consider one-off print loans of their 35mm titles and access is normally only in packages and as part of their annual funding processes. You're only work around might be a good contact in a local Embassy or Consulate willing to arrange a loan. You will find that sourcing prints from most European archival sources (and I know there are quite a few good sources in European archives and cinematheques) won't be cheap either. As well Kadokawa's licensing fee (probably at least USD600 per screening), most European archives will ask their own access fees, with the BFI's starting at UKS100. Sadly its the costs of doing retrospective screening business; we at the NFSA in Australia have a few Mizoguchi prints and would also ask at least AUD200 in addition to the licensing arrangement - with your only work-around maybe being if you have the patronage of a FIAF affliated archive who will allow you to waive the access fee. Also remember that most film archives will place restrictions on how you can project the prints. And in IHMO not a few of the continental archives can be just as hard to contact as the NFC (or are even harder to crack). Janus films have Nth American rights a number of Mizoguchis, but are unlikely to let them out beyond the US and Canada. Remember also that some of Mizoguchi's key films were produced for at least released by other companies beside Daiei. From memory OHARU was made for Shintoho (does Kokusai Hoei now have their rights?) whilst, UTAMARO, 47 RONIN THE STORY OF THE LAST CHRYSANTHEMUMS and a few other titles for Shochiku. 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] From: Rob Smith To: Japanese Cinema Discussion Forum , Date: 02/06/2014 04:24 PM Subject: Re: [KineJapan] Holder of Mizoguchi rights Sent by: kinejapan-bounces+quentin.turnour=nfsa.gov.au at lists.service.ohio-state.edu The museum of the moving image in New York has a Mizoguchi retrospective going on right now. Perhaps their programmer might be able to help. http://www.movingimage.us/films/2014/05/02/detail/mizoguchi/ On Jun 2, 2014 2:22 AM, "Eija Niskanen" wrote: Hi! Finnish Audio-Visual Institute (former Finnish Film Archive) has screened several Mizoguchi classics during the past years - I subbed some of them into Finnish). You could contact them to ask the print sources and they might even hold a print or two. www.kavi.fi Eija 2014-06-02 8:47 GMT+03:00 Mark Roberts : Dear Sten, Others can add more detail, but I believe most everything in the former Daiei catalog now belongs to Kadokawa. I understand your reservations about the NFC. They no longer seem interested in working with festivals. Have you considered the Japan Foundation as a source? Best Regards, Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: Dear Kinejapaners, I hope you'd be able to help with a small help request. Namely, I am asked to help a colleague from the Baltics with a small retrospective of Mizoguchi and wonder if someone could point me to the Japanese rightsholder. As far as I remember the latter films of his were Daiei, but I'm not sure if his catalog was transferred to Kadokawa later. By any chance are there good quality prints in BFI or other European archives as I fear dealing with NFC and their print fees and procedures could be a bit too much for the organizers. With many thanks in advance Sten Saluveer ? Sent from Mailbox for iPhone _______________________________________________ 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 ryancook at fas.harvard.edu Mon Jun 2 02:26:16 2014 From: ryancook at fas.harvard.edu (Cook, Ryan) Date: Mon, 2 Jun 2014 06:26:16 +0000 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: References: <1401687651415.249361a9@Nodemailer> <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com>, Message-ID: The Harvard Film Archive is currently presenting a complete retrospective of the extant Mizoguchi prints, which also showed, I think, last month at the Museum of the Moving Image in New York. I've had a chance to see some rare ones, including Miyamoto Musashi on 16mm last night (which is not very good!). Maybe Hayden Guest or someone at the film archive could provide rights/source info. Ryan ________________________________________ From: kinejapan-bounces at lists.service.ohio-state.edu [kinejapan-bounces at lists.service.ohio-state.edu] on behalf of Eija Niskanen [eija at helsinkicineaasia.fi] Sent: Monday, June 02, 2014 2:22 AM To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Holder of Mizoguchi rights Hi! Finnish Audio-Visual Institute (former Finnish Film Archive) has screened several Mizoguchi classics during the past years - I subbed some of them into Finnish). You could contact them to ask the print sources and they might even hold a print or two. www.kavi.fi Eija 2014-06-02 8:47 GMT+03:00 Mark Roberts >: Dear Sten, Others can add more detail, but I believe most everything in the former Daiei catalog now belongs to Kadokawa. I understand your reservations about the NFC. They no longer seem interested in working with festivals. Have you considered the Japan Foundation as a source? Best Regards, Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: Dear Kinejapaners, I hope you'd be able to help with a small help request. Namely, I am asked to help a colleague from the Baltics with a small retrospective of Mizoguchi and wonder if someone could point me to the Japanese rightsholder. As far as I remember the latter films of his were Daiei, but I'm not sure if his catalog was transferred to Kadokawa later. By any chance are there good quality prints in BFI or other European archives as I fear dealing with NFC and their print fees and procedures could be a bit too much for the organizers. With many thanks in advance Sten Saluveer ? Sent from Mailbox for iPhone _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From robixsmash at gmail.com Mon Jun 2 02:24:24 2014 From: robixsmash at gmail.com (Rob Smith) Date: Mon, 2 Jun 2014 02:24:24 -0400 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: References: <1401687651415.249361a9@Nodemailer> <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> Message-ID: The museum of the moving image in New York has a Mizoguchi retrospective going on right now. Perhaps their programmer might be able to help. http://www.movingimage.us/films/2014/05/02/detail/mizoguchi/ On Jun 2, 2014 2:22 AM, "Eija Niskanen" wrote: > Hi! > > Finnish Audio-Visual Institute (former Finnish Film Archive) has screened > several Mizoguchi classics during the past years - I subbed some of them > into Finnish). You could contact them to ask the print sources and they > might even hold a print or two. > > www.kavi.fi > > Eija > > > 2014-06-02 8:47 GMT+03:00 Mark Roberts : > >> Dear Sten, >> >> Others can add more detail, but I believe most everything in the former >> Daiei catalog now belongs to Kadokawa. >> >> I understand your reservations about the NFC. They no longer seem >> interested in working with festivals. >> >> Have you considered the Japan Foundation as a source? >> >> Best Regards, >> >> Mark Roberts >> Research Fellow, UTCP >> http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php >> >> >> >> On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: >> >> Dear Kinejapaners, >> I hope you'd be able to help with a small help request. >> Namely, I am asked to help a colleague from the Baltics with a small >> retrospective of Mizoguchi and wonder if someone could point me to the >> Japanese rightsholder. >> As far as I remember the latter films of his were Daiei, but I'm not sure >> if his catalog was transferred to Kadokawa later. >> >> By any chance are there good quality prints in BFI or other European >> archives as I fear dealing with NFC and their print fees and procedures >> could be a bit too much for the organizers. >> >> With many thanks in advance >> Sten Saluveer >> ? >> Sent from Mailbox for iPhone >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.service.ohio-state.edu >> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan >> >> > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Mon Jun 2 02:22:06 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 2 Jun 2014 09:22:06 +0300 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> References: <1401687651415.249361a9@Nodemailer> <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> Message-ID: Hi! Finnish Audio-Visual Institute (former Finnish Film Archive) has screened several Mizoguchi classics during the past years - I subbed some of them into Finnish). You could contact them to ask the print sources and they might even hold a print or two. www.kavi.fi Eija 2014-06-02 8:47 GMT+03:00 Mark Roberts : > Dear Sten, > > Others can add more detail, but I believe most everything in the former > Daiei catalog now belongs to Kadokawa. > > I understand your reservations about the NFC. They no longer seem > interested in working with festivals. > > Have you considered the Japan Foundation as a source? > > Best Regards, > > Mark Roberts > Research Fellow, UTCP > http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php > > > > On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: > > Dear Kinejapaners, > I hope you'd be able to help with a small help request. > Namely, I am asked to help a colleague from the Baltics with a small > retrospective of Mizoguchi and wonder if someone could point me to the > Japanese rightsholder. > As far as I remember the latter films of his were Daiei, but I'm not sure > if his catalog was transferred to Kadokawa later. > > By any chance are there good quality prints in BFI or other European > archives as I fear dealing with NFC and their print fees and procedures > could be a bit too much for the organizers. > > With many thanks in advance > Sten Saluveer > ? > Sent from Mailbox for iPhone > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From eija at helsinkicineaasia.fi Mon Jun 2 02:19:13 2014 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 2 Jun 2014 09:19:13 +0300 Subject: [KineJapan] FCCJ sneak screening: UZUMASA LIMELIGHT Message-ID: Dear KineJapanners, The Foreign Correspondents' Club in Yurakucho is screening a film by US-trained Ken Ochiai, produced by the LA-based folks at Eleven Arts and starring one of Japan's most famous chambara swordsmen, now nearing 80 years old It's called "Uzumasa Limelight," after the Chaplin film, and it's sneak previewing on Monday, June 16. Since FCCJ is a private club, you must reserve your seats through Karen Severns: kjs30 at gol.com. FCCJ SNEAK PREVIEW SCREENING Monday, June 16 at 7 pm UZUMASA LIMELIGHT Followed by a Q&A with director Ken Ochiai and stars Seizo Fukumoto and Chihiro Yamamoto Japan, 2014 103 minutes In Japanese with English subtitles For more on the film: http://www.uzumasa-limelight.net/ -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From mroberts37 at mail-central.com Mon Jun 2 01:47:04 2014 From: mroberts37 at mail-central.com (Mark Roberts) Date: Mon, 2 Jun 2014 14:47:04 +0900 Subject: [KineJapan] Holder of Mizoguchi rights In-Reply-To: <1401687651415.249361a9@Nodemailer> References: <1401687651415.249361a9@Nodemailer> Message-ID: <3DE4EC31-DACC-4BEC-A874-9DDBC622D141@mail-central.com> Dear Sten, Others can add more detail, but I believe most everything in the former Daiei catalog now belongs to Kadokawa. I understand your reservations about the NFC. They no longer seem interested in working with festivals. Have you considered the Japan Foundation as a source? Best Regards, Mark Roberts Research Fellow, UTCP http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php On Jun 2, 2014, at 2:40 PM, Sten-Kristian Saluveer (Gmail) wrote: > Dear Kinejapaners, > I hope you'd be able to help with a small help request. > Namely, I am asked to help a colleague from the Baltics with a small retrospective of Mizoguchi and wonder if someone could point me to the Japanese rightsholder. > As far as I remember the latter films of his were Daiei, but I'm not sure if his catalog was transferred to Kadokawa later. > > By any chance are there good quality prints in BFI or other European archives as I fear dealing with NFC and their print fees and procedures could be a bit too much for the organizers. > > With many thanks in advance > Sten Saluveer > ? > Sent from Mailbox for iPhone > _______________________________________________ > KineJapan mailing list > KineJapan at lists.service.ohio-state.edu > https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.service.ohio-state.edu https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan From sten at niijanaa.net Mon Jun 2 01:40:52 2014 From: sten at niijanaa.net (Sten-Kristian Saluveer (Gmail)) Date: Sun, 1 Jun 2014 22:40:52 -0700 Subject: [KineJapan] Holder of Mizoguchi rights Message-ID: <1401687651415.249361a9@Nodemailer> Dear Kinejapaners,I hope you'd be able to help with a small help request. Namely, I am asked to help a colleague from the Baltics with a small retrospective of Mizoguchi and wonder if someone could point me to the Japanese rightsholder. As far as I remember the latter films of his were Daiei, but I'm not sure if his catalog was transferred to Kadokawa later. By any chance are there good quality prints in BFI or other European archives as I fear dealing with NFC and their print fees and procedures could be a bit too much for the organizers. With many thanks in advance? Sten Saluveer? ? Sent from Mailbox for iPhone -------------- 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 johan.nord at gmail.com Fri Jun 20 02:30:12 2014 From: johan.nord at gmail.com (Johan Nordstrom) Date: Fri, 20 Jun 2014 15:30:12 +0900 Subject: [KineJapan] How to record of NHK world in HD Message-ID: Hi Everyone, This is slightly of topic but I was wondering if any one knows a way to make a HD recording of programs that are shown on the NHK world? There is a documentary shown this Sunday called "Real Samurai" about the the teacher Otake Risuke of the kobudo school Tenshin Shoden Katori Shinto Ryu, that I would very much like to have recorded. Since I am in Japan, this is proving a bit more difficult than I had first imagined. If anyone out there knows a way, or perhaps has a means of doing an HD recording, and would be willing to help me, I would be extremely grateful if they could contact me of list! Very best, Johan Nordstrom -------------- 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