From asatoikeda at gmail.com  Fri May 30 17:12:28 2014
From: asatoikeda at gmail.com (Ikeda Asato)
Date: Fri, 30 May 2014 17:12:28 -0400
Subject: [KineJapan] Neppu, August 2011
Message-ID: <CAC83MVOpA3Lh-gcXb_mQSXXJMYvG9X-jev49N+-x6mrtJROemg@mail.gmail.com>

Dear colleagues,

I am desperately looking for the August 2011 issue of booklet Neppu
published by Studio Ghibli. It is in principle not on sale, and I have a
hard time locating it. It's the issue where Miyazaki Hayao had a roundtable
on the topic of nuclear industry.

I would truly, truly appreciate it if anybody who happens to have that
particular issue could contact me. I need only several pages.

Thank you very much for your help,

Asato Ikeda



Dr. Asato Ikeda ????
Assistant Professor
Fordham University
Faculty Memorial Hall, Room 440
Bronx, New York 10458
aikeda at fordham.edu
https://fordham.academia.edu/AsatoIkeda

Bishop White Postdoctoral Fellow (July 2014-July 2016)
Royal Ontario Museum
100 Queen's Park
Toronto, ON  M5S 2C6  Canada
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From dlewis at artsci.wustl.edu  Fri May 30 10:09:53 2014
From: dlewis at artsci.wustl.edu (Diane Lewis)
Date: Fri, 30 May 2014 09:09:53 -0500
Subject: [KineJapan] Kinema Club and email from predatory publisher
Message-ID: <CAHHDWd71B42ohfbpZ6UTKLytXqSKdf85z4Nh06iJpW5H1QdCAA@mail.gmail.com>

Hi everyone,

This announcement is mostly for presenters at the recent Kinema Club
conference at Harvard, but I think it's something we should all be cautious
about --

I was contacted by a predatory publisher soliciting the paper I presented
at Kinema Club XIII (see email below). The press, David Publishing, is
known to email scholars with an invitation to submit recently presented
papers. After a dubious review process, the author is then asked to pay a
publication fee of $50 per page. The press is listed on Beall's List of
Predatory Open-Access Publishers, and a quick Google Search turns up many
warnings based on researchers' experiences with this entity.

If you receive an email from David Publishing or any of its publications,
ignore it!

Best,
Diane

---------- Forwarded message ----------
From: journalism <journalism at davidpublishing.org>
Date: Fri, May 30, 2014 at 2:28 AM
Subject: Have you received the call-for-paper email for you?
To: dlewis <dlewis at artsci.wustl.edu>


 Dear Prof. Diane Wei Lewis,


This is Journalism and Mass Communication (ISSN 2160-6579).

I hope this email finds you well!



Have you received the call-for-paper email for you several days ago?

I have forwarded it below for you.



Looking forward to your reply!



Best regards,

Emma Woo

Journalism and Mass Communication





*Original mail below???*


*                                                                From
Knowledge to Wisdom*

*Journalism and Mass Communication*

Print ISSN: 2160-6579                            Current Volume: 1/2014

 Dear Prof. Diane Wei Lewis,



This is the *Journal of Journalism and Mass Communication* (ISSN
2160-6579), a professional journal published across the United States by David
Publishing Company, Chicago, IL, USA. I am pleased to learn you have
submitted the paper titled     Sensationalism and Leftwing Culture: A
Prehistory of the Japanese Tendency Film   to *Kinema Club Conference for
Film and Moving Images from Japan* *XIII**.*



We are very interested in your research area and article, if the paper
mentioned has not been published in other journal, please feel free to send
electronic version to our journal. And all your other original and
unpublished papers are welcome. Expect to get your reply soon.



*Descriptions*

The Journal of* Journalism and Mass Communication*, a professional
scholarly peer-reviewed academic journal, commits itself to promoting the
academic communication about recent developments on Journalism and Mass
Communication, covers all sorts of research on journalism, radio and
television journalism, new media, news ethics and regulations, the
integration of media and culture and other relevant areas, and tries to
provide a platform for experts and scholars worldwide to exchange their
latest findings.



The Journal of* Journalism and Mass Communication* is collected and indexed
by the Library of U.S. Congress, on whose official website (
http://catalog.loc.gov), an on-line inquiry can be triggered with their
publication numbers, ISSN2160--6579 respectively, as keywords in ?Basic
Search? column. In addition, the journal is retrieved by some renowned
databases:

? Google Scholar

? Database of EBSCO, Massachusetts, USA

? Chinese Database of CEPS, American Federal Computer Library center
(OCLC), USA

? Chinese Scientific Journals Database, VIP Corporation, Chongqing, P. R.
China

? Ulrich?s Periodicals Directory, USA

? Pro Quest Social Science Collection, Public Affairs Information Service
(PAIS), USA

? Summon Serials Solutions, USA

?Universe Digital Library S/B, Malaysia

?Norwegian Social Science Data Services (NSD), Norway

?SCRIBD?San Francisco, USA



If you want to preview our journal, please refer to our website:
*http://www.davidpublishing.com/journals_info.asp?jId=418
<http://www.davidpublishing.com/journals_info.asp?jId=418>. *

And all your questions and suggestions are welcome.



*Guidelines for Authors *

*1. Submission of Manuscript:* The manuscript should be original, and has
not been published previously. Do not submit material that is currently
being considered by another journal. The manuscript should be in *MS Word
format*, submitted as an email attachment to* our email address:*
*journalism at davidpublishing.com* <journalism at davidpublishing.com>;
*journalism at davidpublishing.org
<journalism at davidpublishing.org>*

*Or our website online: **http://www.davidpublishing.com/submission_online.asp
<http://www.davidpublishing.com/submission_online.asp>*

*2. Some requirements : *Manuscripts may be 3000-12000 words or longer if
approved by the editor, including an abstract, texts, tables, footnotes,
appendixes, and references. The title should be on page 1 and not exceed 15
words, and should be followed by an abstract of 100-200 words. 3-5 keywords
or key phrases are required.

*3. Transfer of Copyright Agreement:* Authors of the articles being
accepted are required to sign up the Transfer of Copyright Agreement form.

*4.* *Hard Copies: *Author will receive 2 hard copies of the journal
containing their articles.

*5.* *Publication Fee:* We will charge some fee if the paper is published
in our journal.



*Editorial Procedures*

All papers considered appropriate for this journal are reviewed anonymously
by at least two outside reviewers. The review process usually takes two to
three weeks. Papers are accepted for publication subject to no substantive,
stylistic editing. The editor reserves the right to make any necessary
changes in the papers, or request the author to do so, or reject the paper
submitted. A copy of the edited paper along with the first proofs will be
sent to the author for proofreading. They should be corrected and returned
to the editor within seven days. Once the final version of the paper has
been accepted, authors are requested not to make further changes to the
text.



Best Regards,

Emma Woo

Editor Office

*Journalism and Mass Communication*, ISSN 2160-6579

David Publishing Company
240 Nagle Avenue #15C, New York, NY 10034, USA,

E-mail:  journalism at davidpublishing.com; journalism at davidpublishing.org

Tel: 1-323-984-7526; 1-323-410-1082     Fax: 1-323-984-7374; 1-323-908-0457



  Address of Headquarters: David Publishing Company,
240 Nagle Avenue #15C, New York, NY 10034, USA

E-mail: *journalism at davidpublishing.com* <journalism at davidpublishing.com>;
*journalism at davidpublishing.org* <journalism at davidpublishing.org>




------------------------------
 ------------------------------
journalism via foxmail



-- 
Diane Wei Lewis
Assistant Professor, Film & Media Studies
Washington University in St. Louis
Campus Box 1174, Seigle Hall 416
One Brookings Drive
St. Louis, MO 63130-4899
tel. (314) 935-7363  /  fax (314) 935-3400
dlewis at artsci.wustl.edu
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From mroberts37 at mail-central.com  Thu May 29 03:30:55 2014
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Thu, 29 May 2014 16:30:55 +0900
Subject: [KineJapan] UTCP Talk: "Denial and Recognition in Films on 3.11"
In-Reply-To: <CAKoCGZ1iJr45D1WbRZLFJ1z7+C8Pw18q6fqhQmWdq0M3vVvC8Q@mail.gmail.com>
References: <ACDD8F47-1D86-44DB-B77E-33F1346E59DA@mail-central.com>
	<CAKoCGZ1iJr45D1WbRZLFJ1z7+C8Pw18q6fqhQmWdq0M3vVvC8Q@mail.gmail.com>
Message-ID: <51259AF0-5685-4A9E-AA64-F29418CC891F@mail-central.com>

Hi Michael,

Unfortunately, we don't usually make video recordings.

Since Elise has kindly offered to share her notes, you can get a general sense of the talk. 

If you have any other questions thereafter, please feel free to contact us.

Best,

Mark


On May 29, 2014, at 1:20 PM, Michael Larson wrote:

> Dear Mark,
> 
> Due to scheduling conflicts, I won't be able to make it to this talk, but I'm interested in the subject, and am working on a nonfiction project about the disaster myself. Is there any chance a video of the talk might make its way online? 
> 
> Best,
> 
> 
> Michael Larson
> Graduate Researcher, Fulbright Japan
> 
> 
> On Tue, May 27, 2014 at 10:54 PM, Mark Roberts <mroberts37 at mail-central.com> wrote:
> Dear KineJapaners,
> 
> Please join us at UTCP for a talk by Elise Domenach (?cole Normale Sup?rieure de Lyon) on Monday, June 2nd at 18:00.
> 
> Title: "Denial and Recognition in Films on 3.11"
> 
> Place: University of Tokyo, Center for Philosophy, Collaboration Room 3, Bld. 18, 4F, The University of Tokyo, Komaba.
> 
> Language: English | No registration required
> 
> Details: http://utcp.c.u-tokyo.ac.jp/events/2014/06/elise_domenach_denial_and_reco/index_en.php
> 
> Elise Domenach is Associate Professor in Film Studies at the ?cole Normale Sup?rieure de Lyon.
> 
> Moderator: Mark Roberts (UTCP)
> 
> Organized by the S2 Project "Humans and What Transcends Humans (Departure from Humanism)", the Uehiro Research Division for Philosophy of Coexistence, and the University of Tokyo Center for Philosophy (UTCP).
> 
> ----
> 
> Mark Roberts
> Research Fellow, UTCP
> http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan

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From elise.domenach at ens-lyon.fr  Thu May 29 00:31:09 2014
From: elise.domenach at ens-lyon.fr (Domenach Elise)
Date: Thu, 29 May 2014 06:31:09 +0200
Subject: [KineJapan] UTCP Talk: "Denial and Recognition in Films on 3.11"
In-Reply-To: <CAKoCGZ1iJr45D1WbRZLFJ1z7+C8Pw18q6fqhQmWdq0M3vVvC8Q@mail.gmail.com>
References: <ACDD8F47-1D86-44DB-B77E-33F1346E59DA@mail-central.com>
	<CAKoCGZ1iJr45D1WbRZLFJ1z7+C8Pw18q6fqhQmWdq0M3vVvC8Q@mail.gmail.com>
Message-ID: <9cd5dced9928c2ecda4e0247070c8a4f@ens-lyon.fr>

 

Dear Michael, 

I am not sure there will be video recording. But I would be happy to
discuss the subject anytime, and give you my notes for this lecture
maybe (if it's clear enough by then...). 

Best regards, 

Elise 

---

Elise Domenach

 ENS de Lyon
 Site DESCARTES
 Telephone: 0437376173 

Le 2014-05-29 06:20, Michael Larson a ?crit : 

> Dear Mark, 
> 
> Due to scheduling conflicts, I won't be able to make it to this talk, but I'm interested in the subject, and am working on a nonfiction project about the disaster myself. Is there any chance a video of the talk might make its way online? 
> 
> Best, 
> 
> Michael Larson 
> Graduate Researcher, Fulbright Japan 
> 
> On Tue, May 27, 2014 at 10:54 PM, Mark Roberts <mroberts37 at mail-central.com> wrote:
> 
>> Dear KineJapaners, 
>> 
>> Please join us at UTCP for a talk by Elise Domenach (?cole Normale Sup?rieure de Lyon) on MONDAY, JUNE 2ND AT 18:00. 
>> 
>> Title: "Denial and Recognition in Films on 3.11" 
>> 
>> Place: University of Tokyo, Center for Philosophy, Collaboration Room 3, Bld. 18, 4F [1], The University of Tokyo, Komaba. 
>> 
>> Language: English | No registration required 
>> 
>> Details: http://utcp.c.u-tokyo.ac.jp/events/2014/06/elise_domenach_denial_and_reco/index_en.php [2] 
>> 
>> ELISE DOMENACH is Associate Professor in Film Studies at the ?cole Normale Sup?rieure de Lyon. 
>> 
>> Moderator: Mark Roberts (UTCP) 
>> 
>> Organized by the S2 Project "Humans and What Transcends Humans (Departure from Humanism)", the Uehiro Research Division for Philosophy of Coexistence, and the University of Tokyo Center for Philosophy (UTCP). 
>> 
>> ---- 
>> Mark Roberts 
>> 
>> Research Fellow, UTCP 
>> http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php [3] 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan [4]
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan [4]
 

Links:
------
[1] http://www.c.u-tokyo.ac.jp/eng_site/images/map2012.pdf
[2]
http://utcp.c.u-tokyo.ac.jp/events/2014/06/elise_domenach_denial_and_reco/index_en.php
[3] http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php
[4] https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
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From mikelarson100 at gmail.com  Thu May 29 00:20:17 2014
From: mikelarson100 at gmail.com (Michael Larson)
Date: Thu, 29 May 2014 13:20:17 +0900
Subject: [KineJapan] UTCP Talk: "Denial and Recognition in Films on 3.11"
In-Reply-To: <ACDD8F47-1D86-44DB-B77E-33F1346E59DA@mail-central.com>
References: <ACDD8F47-1D86-44DB-B77E-33F1346E59DA@mail-central.com>
Message-ID: <CAKoCGZ1iJr45D1WbRZLFJ1z7+C8Pw18q6fqhQmWdq0M3vVvC8Q@mail.gmail.com>

Dear Mark,

Due to scheduling conflicts, I won't be able to make it to this talk, but
 I'm interested in the subject, and am working on a nonfiction project about
 the disaster myself. Is there any chance a video of the talk might make its
 way online?

Best,


Michael Larson
Graduate Researcher, Fulbright Japan


On Tue, May 27, 2014 at 10:54 PM, Mark Roberts
<mroberts37 at mail-central.com>wrote:

> Dear KineJapaners,
>
> Please join us at UTCP for a talk by Elise Domenach (?cole Normale
> Sup?rieure de Lyon) on *Monday, June 2nd at 18:00*.
>
> Title: "Denial and Recognition in Films on 3.11"
>
> Place: University of Tokyo, Center for Philosophy, Collaboration Room 3,
> Bld. 18, 4F <http://www.c.u-tokyo.ac.jp/eng_site/images/map2012.pdf>, The
> University of Tokyo, Komaba.
>
> Language: English | No registration required
>
> Details:
> http://utcp.c.u-tokyo.ac.jp/events/2014/06/elise_domenach_denial_and_reco/index_en.php
>
> *Elise Domenach* is Associate Professor in Film Studies at
> the ?cole Normale Sup?rieure de Lyon.
>
> Moderator: Mark Roberts (UTCP)
>
> Organized by the S2 Project "Humans and What Transcends Humans (Departure
> from Humanism)", the Uehiro Research Division for Philosophy of
> Coexistence, and the University of Tokyo Center for Philosophy (UTCP).
>
> ----
>
> Mark Roberts
> Research Fellow, UTCP
> http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From Marc.Steinberg at concordia.ca  Wed May 28 10:04:08 2014
From: Marc.Steinberg at concordia.ca (Marc Steinberg)
Date: Wed, 28 May 2014 14:04:08 +0000
Subject: [KineJapan] Content industry export value statistics?
In-Reply-To: <CA+FavwO5HS=SzcFdoscEpsJkRVtTZ0UsQo41h4Vnq_8wL9NQWw@mail.gmail.com>
References: <CA+FavwO5HS=SzcFdoscEpsJkRVtTZ0UsQo41h4Vnq_8wL9NQWw@mail.gmail.com>
Message-ID: <EC71CEB4-D016-4478-B1AF-DB8725D59289@algol.concordia.ca>

Hi Eija,

If you?re looking to print publications the Digital Content White Paper (???????????), published yearly, seems pretty good. It breaks things down by sector.. ??????????? also published yearly, is also useful, though more schematic, but broken down by sector.

I tend to like keeping the literal transliteration, contents, since it more acutely conveys the plurality of things that fall under that word that you have noted?

Marc

Marc Steinberg, PhD
Assistant Professor, Film Studies
Mel Hoppenheim School of Cinema, FB 319
Concordia University
1455 de Maisonneuve Blvd. West
Montreal, Quebec, H3G 1M8
Phone: (514) 848-2424 ext. 8728




On May 28, 2014, at 1:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi<mailto:eija at helsinkicineaasia.fi>> wrote:

Hi! Which source do you suggest I find reliable yearly figures in terms of finding the export value of content industry in all and movie export - and is there a special figure for remake export value?

Eija
_______________________________________________
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From stensaluveer at gmail.com  Wed May 28 08:04:47 2014
From: stensaluveer at gmail.com (Sten-Kristian Saluveer)
Date: Wed, 28 May 2014 14:04:47 +0200
Subject: [KineJapan] Content industry export value statistics?
In-Reply-To: <1401274775782.2c8fca15@Nodemailer>
References: <CA+FavwNrS2THqa4m44M1Vz8V8SVaRQ=RS6Ab4Rn3_t4jNvpvDQ@mail.gmail.com>
	<1401274775782.2c8fca15@Nodemailer>
Message-ID: <etPan.5385d0df.19495cff.191@Sten-Kristians-MacBook-Pro-2.local>

Eija,
?you might try to scout some info through the J-LOP program - both Nishimura-san and Morishita-san of UNIJAPAN are involved at top level, and perhaps that link would
give access to larger performance assessments.
Through my interviews for the upcoming thesis I know that there is a heavy push on the part of the government to turn TIFF and TIFFCOM into multi platform ?content showcases? even to ?greater degree, with strong
emphasis on television and gaming - and Im sure that there are some (internal) data available for backing these decisions.
Sten

--?
Sten-Kristian Saluveer
Sent with Airmail

On 28 May 2014 at 13:00:06, Stephen Cremin (stephen at asianfilm.info) wrote:

I was thinking Uniqlo clothing... But karaoke is more believable.
?
Sent from Mailbox


On Wed, May 28, 2014 at 11:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi> wrote:

Stephen - you are right in your last remark. "Content" might refer to anything, including the sales of karaoke. :D
Eija


2014-05-28 13:11 GMT+03:00 Stephen Cremin <stephen at asianfilm.info>:
?153. Just joking.

I'd love to know the value of movie exports and presumably that was estimated by JETRO, VIPO, etc, when pushing for their budgets. But given how difficult it is to get timely and detailed box office data in Japan, I imagine the numbers you're looking for might not be so forthcoming. (That US$300m Cool Japan fund should license Kogyo Tsushin's historical data for industry use. How can one hope to have a professional film industry in any country without transparent box office?)

In South Korea, sales companies give the actual dollar numbers for each film by territory to the Korean Film Council in confidence, who publish aggregated numbers on the annual percentage change in sales, including overages. They can also break it don by territory, to see how sales to Germany, etc, is faring. But looking at last years total export value, which grew 83.7% on 2012, is pretty meaningless without knowing what Weinstein paid for SNOWPIERCER.

It would be fascinating to have annual figures in Japan going back several years, if only to see the effectiveness of the subsidies going to sales companies at markets, etc. Surely it's the best indicator of their success.?I'd be careful of the word "content" as it's too vague and government departments might define it more broadly than is useful.

Stephen Cremin


?
Sent from Mailbox


On Wed, May 28, 2014 at 6:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi> wrote:

Hi! Which source do you suggest I find reliable yearly figures in terms of finding the export value of content industry in all and movie export - and is there a special figure for remake export value?

Eija


_______________________________________________
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KineJapan at lists.service.ohio-state.edu
https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan



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https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan  
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From stephen at asianfilm.info  Wed May 28 06:59:35 2014
From: stephen at asianfilm.info (Stephen Cremin)
Date: Wed, 28 May 2014 03:59:35 -0700
Subject: [KineJapan] Content industry export value statistics?
In-Reply-To: <CA+FavwNrS2THqa4m44M1Vz8V8SVaRQ=RS6Ab4Rn3_t4jNvpvDQ@mail.gmail.com>
References: <CA+FavwNrS2THqa4m44M1Vz8V8SVaRQ=RS6Ab4Rn3_t4jNvpvDQ@mail.gmail.com>
Message-ID: <1401274775782.2c8fca15@Nodemailer>

I was thinking Uniqlo clothing... But karaoke is more believable.?
Sent from Mailbox

On Wed, May 28, 2014 at 11:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi>
wrote:

> Stephen - you are right in your last remark. "Content" might refer to
> anything, including the sales of karaoke. :D
> Eija
> 2014-05-28 13:11 GMT+03:00 Stephen Cremin <stephen at asianfilm.info>:
>> ?153. Just joking.
>>
>> I'd love to know the value of movie exports and presumably that was
>> estimated by JETRO, VIPO, etc, when pushing for their budgets. But given
>> how difficult it is to get timely and detailed box office data in Japan, I
>> imagine the numbers you're looking for might not be so forthcoming. (That
>> US$300m Cool Japan fund should license Kogyo Tsushin's historical data for
>> industry use. How can one hope to have a professional film industry in any
>> country without transparent box office?)
>>
>> In South Korea, sales companies give the actual dollar numbers for each
>> film by territory to the Korean Film Council in confidence, who publish
>> aggregated numbers on the annual percentage change in sales, including
>> overages. They can also break it don by territory, to see how sales to
>> Germany, etc, is faring. But looking at last years total export value,
>> which grew 83.7% on 2012, is pretty meaningless without knowing what
>> Weinstein paid for SNOWPIERCER.
>>
>> It would be fascinating to have annual figures in Japan going back several
>> years, if only to see the effectiveness of the subsidies going to sales
>> companies at markets, etc. Surely it's the best indicator of their success. I'd
>> be careful of the word "content" as it's too vague and government
>> departments might define it more broadly than is useful.
>>
>> Stephen Cremin
>>
>>
>>  ?
>> Sent from Mailbox <https://www.dropbox.com/mailbox>
>>
>>
>> On Wed, May 28, 2014 at 6:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi>wrote:
>>
>>> Hi! Which source do you suggest I find reliable yearly figures in terms
>>> of finding the export value of content industry in all and movie export -
>>> and is there a special figure for remake export value?
>>>
>>> Eija
>>>
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>>
>>
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From eija at helsinkicineaasia.fi  Wed May 28 06:26:34 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Wed, 28 May 2014 13:26:34 +0300
Subject: [KineJapan] Content industry export value statistics?
In-Reply-To: <1401271901916.121f4e51@Nodemailer>
References: <CA+FavwO5HS=SzcFdoscEpsJkRVtTZ0UsQo41h4Vnq_8wL9NQWw@mail.gmail.com>
	<1401271901916.121f4e51@Nodemailer>
Message-ID: <CA+FavwNrS2THqa4m44M1Vz8V8SVaRQ=RS6Ab4Rn3_t4jNvpvDQ@mail.gmail.com>

Stephen - you are right in your last remark. "Content" might refer to
anything, including the sales of karaoke. :D
Eija


2014-05-28 13:11 GMT+03:00 Stephen Cremin <stephen at asianfilm.info>:

> ?153. Just joking.
>
> I'd love to know the value of movie exports and presumably that was
> estimated by JETRO, VIPO, etc, when pushing for their budgets. But given
> how difficult it is to get timely and detailed box office data in Japan, I
> imagine the numbers you're looking for might not be so forthcoming. (That
> US$300m Cool Japan fund should license Kogyo Tsushin's historical data for
> industry use. How can one hope to have a professional film industry in any
> country without transparent box office?)
>
> In South Korea, sales companies give the actual dollar numbers for each
> film by territory to the Korean Film Council in confidence, who publish
> aggregated numbers on the annual percentage change in sales, including
> overages. They can also break it don by territory, to see how sales to
> Germany, etc, is faring. But looking at last years total export value,
> which grew 83.7% on 2012, is pretty meaningless without knowing what
> Weinstein paid for SNOWPIERCER.
>
> It would be fascinating to have annual figures in Japan going back several
> years, if only to see the effectiveness of the subsidies going to sales
> companies at markets, etc. Surely it's the best indicator of their success. I'd
> be careful of the word "content" as it's too vague and government
> departments might define it more broadly than is useful.
>
> Stephen Cremin
>
>
>  ?
> Sent from Mailbox <https://www.dropbox.com/mailbox>
>
>
> On Wed, May 28, 2014 at 6:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi>wrote:
>
>> Hi! Which source do you suggest I find reliable yearly figures in terms
>> of finding the export value of content industry in all and movie export -
>> and is there a special figure for remake export value?
>>
>> Eija
>>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From stephen at asianfilm.info  Wed May 28 06:11:42 2014
From: stephen at asianfilm.info (Stephen Cremin)
Date: Wed, 28 May 2014 03:11:42 -0700
Subject: [KineJapan] Content industry export value statistics?
In-Reply-To: <CA+FavwO5HS=SzcFdoscEpsJkRVtTZ0UsQo41h4Vnq_8wL9NQWw@mail.gmail.com>
References: <CA+FavwO5HS=SzcFdoscEpsJkRVtTZ0UsQo41h4Vnq_8wL9NQWw@mail.gmail.com>
Message-ID: <1401271901916.121f4e51@Nodemailer>

?153. Just joking.



I'd love to know the value of movie exports and presumably that was estimated by JETRO, VIPO, etc, when pushing for their budgets. But given how difficult it is to get timely and detailed box office data in Japan, I imagine the numbers you're looking for might not be so forthcoming. (That US$300m Cool Japan fund should license Kogyo Tsushin's historical data for industry use. How can one hope to have a professional film industry in any country without transparent box office?)



In South Korea, sales companies give the actual dollar numbers for each film by territory to the Korean Film Council in confidence, who publish aggregated numbers on the annual percentage change in sales, including overages. They can also break it don by territory, to see how sales to Germany, etc, is faring. But looking at last years total export value, which grew 83.7% on 2012, is pretty meaningless without knowing what Weinstein paid for SNOWPIERCER.




It would be fascinating to have annual figures in Japan going back several years, if only to see the effectiveness of the subsidies going to sales companies at markets, etc. Surely it's the best indicator of their success.?I'd be careful of the word "content" as it's too vague and government departments might define it more broadly than is useful.


Stephen Cremin











?
Sent from Mailbox

On Wed, May 28, 2014 at 6:26 AM, Eija Niskanen <eija at helsinkicineaasia.fi>
wrote:

> Hi! Which source do you suggest I find reliable yearly figures in terms of
> finding the export value of content industry in all and movie export - and
> is there a special figure for remake export value?
> Eija
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From eija at helsinkicineaasia.fi  Wed May 28 01:26:04 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Wed, 28 May 2014 08:26:04 +0300
Subject: [KineJapan] Content industry export value statistics?
Message-ID: <CA+FavwO5HS=SzcFdoscEpsJkRVtTZ0UsQo41h4Vnq_8wL9NQWw@mail.gmail.com>

Hi! Which source do you suggest I find reliable yearly figures in terms of
finding the export value of content industry in all and movie export - and
is there a special figure for remake export value?

Eija
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From mroberts37 at mail-central.com  Tue May 27 09:54:43 2014
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Tue, 27 May 2014 22:54:43 +0900
Subject: [KineJapan]  UTCP Talk: "Denial and Recognition in Films on 3.11"
Message-ID: <ACDD8F47-1D86-44DB-B77E-33F1346E59DA@mail-central.com>

Dear KineJapaners,

Please join us at UTCP for a talk by Elise Domenach (?cole Normale Sup?rieure de Lyon) on Monday, June 2nd at 18:00.

Title: "Denial and Recognition in Films on 3.11"

Place: University of Tokyo, Center for Philosophy, Collaboration Room 3, Bld. 18, 4F, The University of Tokyo, Komaba.

Language: English | No registration required

Details: http://utcp.c.u-tokyo.ac.jp/events/2014/06/elise_domenach_denial_and_reco/index_en.php

Elise Domenach is Associate Professor in Film Studies at the ?cole Normale Sup?rieure de Lyon.

Moderator: Mark Roberts (UTCP)

Organized by the S2 Project "Humans and What Transcends Humans (Departure from Humanism)", the Uehiro Research Division for Philosophy of Coexistence, and the University of Tokyo Center for Philosophy (UTCP).

----

Mark Roberts
Research Fellow, UTCP
http://utcp.c.u-tokyo.ac.jp/members/data/mark_roberts/index_en.php

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From mmf9 at case.edu  Mon May 26 08:42:38 2014
From: mmf9 at case.edu (Margaret Fitzgerald)
Date: Mon, 26 May 2014 08:42:38 -0400
Subject: [KineJapan] Doraemon - US version
In-Reply-To: <83B0520F-79A0-42C4-A915-C2B209BF9AD1@gmail.com>
References: <CA+FavwO_hrCN0oYR8YAY=rw_HCiqkt0O44gkcksoeK1Y0-t_6g@mail.gmail.com>
	<83B0520F-79A0-42C4-A915-C2B209BF9AD1@gmail.com>
Message-ID: <CAJ5N4H+JF5UvHT0S=ykOk4yYvcDMjtejnGSBnV2_qfT+YgdThQ@mail.gmail.com>

My favorite anime character, down the Disney drain.

M. Fitzgerald


On Sun, May 25, 2014 at 10:02 PM, <matteo.boscarol at gmail.com> wrote:

> Dear KineJapanners,
>
> I found this news somehow disturbing:
>
> "Doraemon will be changed, the robotic cat will finally make his way to
> the United States, not simply as a Japanese anime with English-language
> subtitles, but as a new production that reflects American culture and
> lifestyle...."
>
> http://www.the-japan-news.com/news/article/0001291134
>
>
>
> Matteo Boscarol
> ????? ????
> ???????????
> - Torino Film Festival
> Asia consultant (Onde, Doc)
> http://www.torinofilmfest.org
> - Il Manifesto
> http://www.ilmanifesto.it
> - Sonatine2010
> http://sonatine2010.blogspot.jp/?m=1
> - Screenweek Japan
> http://blog.screenweek.it/rubrica/sw-japan
>
> On 2013/12/03, at 23:43, Eija Niskanen <eija at helsinkicineaasia.fi> wrote:
>
> Dear KineJapanners,
>
>
>
> The  Foreign  Correspondents'  Club  in  Yurakucho  is  screening  Gen
> Takahashi's  latex  provocation  on Tuesday,  Dec.  17.  Since  FCCJ  is
> a  private  club,  you  must  reserve  a  seat  through  Karen  Severns:
>
> kjs30 at gol.com.
>
> SNEAK PREVIEW SCREENING
>
> Followed by a Q&A session with director Gen Takahashi and
> actor?whistleblower Toshiro Senba
>
>  TUESDAY, DECEMBER 17 at 6:30 pm*
>
> *Please note early start time.
>
> COURT OF ZEUS (Zeus no Hotei)
>
> Japan, 2013   136 min.  In Japanese with English subtitles
>
> Japan?s cinematic crusader for truth and transparency, Gen Takahashi,
> returns to FCCJ with another bold expos?, this time revealing the pervasive
> corruption in Japan?s legal system. Not quite as intense as his acclaimed
> ?Confessions of a Dog? (2006), which depicted shockingly illicit activities
> by the police (?the largest organized crime ring in Japan,? according to
> the director), this new film wraps its condemnations around a love story
> between an overworked young judge and his fianc?e, who suddenly finds
> herself on the wrong side of the law? and in her lover?s courtroom, where
> he presides like the mighty Zeus.
>
> For more info, see:
>
> http://www.fccj.or.jp/events
> ?calendar/film?screenings/icalrepeat.detail/2013/12/17/579/33/sneak?preview?screening?court?of?zeus?zeus?no?hotei.html?filter_reset=1
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From matteo.boscarol at gmail.com  Sun May 25 22:02:04 2014
From: matteo.boscarol at gmail.com (matteo.boscarol at gmail.com)
Date: Mon, 26 May 2014 11:02:04 +0900
Subject: [KineJapan] Doraemon - US version
In-Reply-To: <CA+FavwO_hrCN0oYR8YAY=rw_HCiqkt0O44gkcksoeK1Y0-t_6g@mail.gmail.com>
References: <CA+FavwO_hrCN0oYR8YAY=rw_HCiqkt0O44gkcksoeK1Y0-t_6g@mail.gmail.com>
Message-ID: <83B0520F-79A0-42C4-A915-C2B209BF9AD1@gmail.com>

Dear KineJapanners, 

I found this news somehow disturbing: 

"Doraemon will be changed, the robotic cat will finally make his way to the United States, not simply as a Japanese anime with English-language subtitles, but as a new production that reflects American culture and lifestyle...."

http://www.the-japan-news.com/news/article/0001291134



Matteo Boscarol
????? ????
???????????
- Torino Film Festival
Asia consultant (Onde, Doc)
http://www.torinofilmfest.org
- Il Manifesto
http://www.ilmanifesto.it
- Sonatine2010
http://sonatine2010.blogspot.jp/?m=1 
- Screenweek Japan
http://blog.screenweek.it/rubrica/sw-japan

> On 2013/12/03, at 23:43, Eija Niskanen <eija at helsinkicineaasia.fi> wrote:
> 
> Dear KineJapanners,
> 
>  
> 
> The  Foreign  Correspondents'  Club  in  Yurakucho  is  screening  Gen  Takahashi's  latex  provocation  on Tuesday,  Dec.  17.  Since  FCCJ  is  a  private  club,  you  must  reserve  a  seat  through  Karen  Severns:
> 
> kjs30 at gol.com.
> 
> SNEAK PREVIEW SCREENING
> 
> Followed by a Q&A session with director Gen Takahashi and actor?whistleblower Toshiro Senba
> 
>  TUESDAY, DECEMBER 17 at 6:30 pm*
> 
> *Please note early start time.
> 
> COURT OF ZEUS (Zeus no Hotei)
> 
> Japan, 2013   136 min.  In Japanese with English subtitles
> 
> Japan?s cinematic crusader for truth and transparency, Gen Takahashi, returns to FCCJ with another bold expos?, this time revealing the pervasive corruption in Japan?s legal system. Not quite as intense as his acclaimed ?Confessions of a Dog? (2006), which depicted shockingly illicit activities by the police (?the largest organized crime ring in Japan,? according to the director), this new film wraps its condemnations around a love story between an overworked young judge and his fianc?e, who suddenly finds herself on the wrong side of the law? and in her lover?s courtroom, where he presides like the mighty Zeus.
> 
> For more info, see:
> 
> http://www.fccj.or.jp/events?calendar/film?screenings/icalrepeat.detail/2013/12/17/579/33/sneak?preview?screening?court?of?zeus?zeus?no?hotei.html?filter_reset=1
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
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From amnornes at umich.edu  Tue May 20 12:03:56 2014
From: amnornes at umich.edu (Markus Nornes)
Date: Tue, 20 May 2014 12:03:56 -0400
Subject: [KineJapan] Cinema Juku and Hara Kazuo
Message-ID: <CANoSnpDPCrZJBBVjMET=wT=dxDUKTb25Jm5wWUZnX3VeA_wQ0A@mail.gmail.com>

Hara Kazuo has revived his Cinema Juku, and recently held the first
meeting. They are producing a digest version for Youtube. Check it out:

http://newcinemajuku.net/news/

Markus

-- 
*Markus Nornes*
Chair, Department of Screen Arts and Cultures
Professor of Asian Cinema, Department of Asian Languages and Cultures
Professor, School of Art & Design

*Department of Screen Arts and Cultures*
*6348 North Quad*
*105 S. State StreetC*
*Ann Arbor, MI 48109-1285*
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From reavolution at gmail.com  Sat May 17 20:48:49 2014
From: reavolution at gmail.com (Rea Amit)
Date: Sun, 18 May 2014 09:48:49 +0900
Subject: [KineJapan] SUZUKI Noribumi
Message-ID: <CAA7VZxj=42kOLR-8oZemDLzWSN0F5Y0N6araC3LJZLNb1xO8bQ@mail.gmail.com>

The Asahi and other newspapers in Japan report that the director best
known for the Torakku yaro series, has passed away on May 15. He
started working for Toei in 1956, and served as an assistance, among
others, to Kato Tai and Uchida Tomu. He was then a prolific director
in his own right, but not less importantly, also a brilliant
screenplay writer. He was 80 years old.

_______________________________________________
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From jessi at jvtacademy.com  Fri May 16 23:03:06 2014
From: jessi at jvtacademy.com (Jessi Nuss)
Date: Sat, 17 May 2014 12:03:06 +0900
Subject: [KineJapan] Special Screening of legendary Oshima film at Nippon
	Connection
Message-ID: <20140517120304.4295.8D7B431D@jvtacademy.com>

Dear KineJapaners,

Nice to meet you all - my name is Jessi and I'm with the Japan Visualmedia Translation Academy.

I would like to let everyone know about Japan Visualmedia Translation Academy's Special Screening 
at this year's Nippon Connection in Frankfurt, Germany of the legendary 1967 film 
"Ninja Bugeicho" (Band of Ninja), courtesy of Oshima Productions. 
Directed by Nagisa Oshima, it is a very unique film that is made by filming individual panels of the original manga 
created by Sanpei Shirato and overlaying dialogue and sound effects.
We would love for any KineJapaners who are interested to come and join us for the rare opportunity to
see this acclaimed film!

JVTA Special Screening: "Ninja Bugeicho" (Band of Ninja)
Date: Sunday, June 1, 5:15 p.m.
Place: Naxoshalle Kino

This screening features English subtitles by the Japan Visualmedia Translation 
Academy (JVTA). 
You can find more information and a link to buy tickets at the website below:
http://www.nipponconnection.com/program-detail/band-of-ninja-en.html

We look forward to seeing you this year at Nippon Connection.

Jessi Nuss 
Media Translation Center
Japan Visualmedia Translation Academy Co. Ltd.
http://www.jvtacademy.com

Tokyo Office:
2&3F Kyodo Bldg, 
3-2-4 NihonbashiHongoku-cho
Chuo-ku, Tokyo, 103-0021
Ph: +81-3-3517-5550
Fax: +81-3-3272-5057

LA Office:
3510 Torrance Blvd., Suite 219,
Torrance, CA 90503
TEL:310-316-3121 / FAX:310-316-2411

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From intewig at gmail.com  Fri May 16 05:57:01 2014
From: intewig at gmail.com (Wei Ting Jen)
Date: Fri, 16 May 2014 17:57:01 +0800
Subject: [KineJapan] Fw: 'Eternnal Zero' wins audience prize at Udine
In-Reply-To: <653742D1-6432-432B-9D5E-B863AB19E117@gmail.com>
References: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
	<73176B23-2ABF-4E87-9432-FA44395902AF@mail-central.com>
	<1399328743.81689.YahooMailNeo@web171406.mail.ir2.yahoo.com>
	<1399332287.65643.YahooMailNeo@web171402.mail.ir2.yahoo.com>
	<653742D1-6432-432B-9D5E-B863AB19E117@gmail.com>
Message-ID: <CAGPVa42kjPqU91zHoGQ9ULih+v_jD++aW5=0PE6PK_k1NiZUag@mail.gmail.com>

Hello,

I'm only just picking up on this thread. I haven't watched the movie yet
but have heard much about it from my Japanese friends. Based on Mark's
summary it does sound more nuanced than I initially assumed, and resonates
with research conducted by Prof Emily Tierney-Ohnuki on war diaries of the
Tokkotai pilots. Based on her research, yes, these young men did not want
to die, yet were drawn (or co-erced) to their missions out of some greater,
intangible notion of duty to their country.

If anyone's interested, I wrote a review of her book, many years ago:
http://www.economist.com/node/7138833

Wei Ting


On Tue, May 6, 2014 at 11:34 AM, Pete Larson <pslarson2 at gmail.com> wrote:

> I'm typing this on a phone so this will be short but I'm also quite
> fascinated that the film has gotten so much attention.
>
> Discussing the film with folks on the street has exposed two distinct
> camps. One seems to find film objectionable, taking great issue with the
> right wing sanitation of a complicated history, ostensibly to serve current
> political ends.
>
> The other seems to deny that the film is right wing at all, insisting that
> it's merely a good story about people who became enmeshed in a conflict
> which they couldn't do much about. The latter view us much more interesting
> and I even began to wonder if they we're watching a different film
> entirely, given the obvious conservative nature of the film.
>
> iPhone????
>
> 2014/05/06 8:24?Roger Macy <macyroger at yahoo.co.uk> ??????:
>
> Thanks, Mark,
> I should have added that Mark Schilling, besides one page of A4 on the
> film, has a two-page piece in the catalogue, 'More than a Zero: A
> Conversation with Yamazaki Takashi', in which he airs the problems around
> Hyakuta, including his denial of the Nanjing massacre.
> My speculation around an "Italian dimension to the reception" was not
> about possible walk-on Italians but about a similar vicarious appeal to the
> one you suggest of "retroactive pride" of Japanese viewers.  If the
> audience in New York this year could groan at the end of 'The War at Sea in
> Hawaii' (the film shown there, contrary to the billing, ended at Pearl
> Harbor), over 70 years after the event, then a spectrum is possible of
> other vicarious reactions.
> Roger
>
> ------------------------------
>  *From:* Mark Roberts <mroberts37 at mail-central.com>
> *To:* Roger Macy <macyroger at yahoo.co.uk>; Japanese Cinema Discussion
> Forum <kinejapan at lists.service.ohio-state.edu>
> *Sent:* Monday, 5 May 2014, 22:34
> *Subject:* Re: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
>
> Roger,
>
> I saw the non-porridge-smeared theatrical version of *Eien no zero*, and
> didn't notice any overt Italian angle (that would be the meeting with
> Caproni in *Kaze tachinu*, I suppose). Having yet to attend Udine, I
> can't speak to the festival audience there and why they might have given
> the prize to this film, but it has been somewhat puzzling to me how *Eien
> no zero* managed to become the largest-grossing Japanese film in a
> decade, remaining at the top of the domestic box office for two months.
>
> It is a competent production, yes, but at some level there's nothing
> terribly remarkable about the film. Cinematically, it's nothing special:
> polished, but like a TV dorama with a very big budget. A balance is struck
> between the depiction of human relationships and the spectacle of the war
> sequences. Yes, it's got some young heart-throb talent (e.g., Okada
> Jun'ichi) and is very sentimental in tone, but I suspect it must resonate
> at other levels too.
>
> Without saying too much about the plot, *Eien no zero* is very
> self-consciously a kind of "alternate history" of the tokkotai. It sets out
> a puzzle, at face value about the characters' family history ? the "real"
> grandfather that nobody talks about was a kamikaze pilot ? but of course
> this is also a puzzle about Japanese history. The mystery around the pilot
> Miyabe is that he wanted to survive the war, and nobody quite grasps this
> seeming contradiction. How could a kamikaze pilot be so attached to life
> and yet ultimately willing to die? This question drives the story forward.
> The perspective of the tokkotai is shown, and clearly distinguished from
> that of the military command. The capabilities of the Zero aircraft are
> explained (this for the audience to have "historical context" but evidently
> also to feel retroactively proud of the technological achievement). Pearl
> Harbor and the invasion of Rabaul are shown, as are the pilots on the
> aircraft carrier Akagi.
>
> Through both these sequences and the contemporary parts of the film, the
> objections to the kamikaze in the popular memory are offered as story
> points, which the alternative history then "explains". The pilots are shown
> to be young men who are unwittingly trained for suicide missions, but then
> asked to "volunteer" for the actual duty. They are explicitly distinguished
> from "terrorists" (because they target warships, not civilians), and with
> this, they are likewise distinguished from "brainwashed nationalists". I
> haven't read any reviews of the film or attempts to decode the
> crypto-nationalism of *Eien no zero*, though at moments it's pretty
> transparent. The film itself even acknowledges an obvious reading: when the
> young Kentaro ? a NEET who has failed repeatedly at the bar exam ? becomes
> interested in the family history and pontificates for a "correct"
> understanding of the tokkotai, one of the minor characters snarks that he
> has turned to Japanese history to get through a personal identity crisis.
> In this fashion, the film recuperates a critique of neo-nationalism, even
> putting it directly into the film's dialog.
>
> The explanation that is given for Miyabe's will to survive the war ? and
> one of the big claims of the film ? is bound up with the idea that love of
> family is ultimately more important than loyalty to the kokutai. This is
> the deeper significance of "eien", which is thus an idea about love, a love
> that continues beyond death. I suspect this also in part explains the
> domestic success of the film, because it directly addresses women and
> mothers in the audience (in addition to NEETs, of course). It might sound a
> bit flip to say this is an anti-war war film for oba-sans, but perhaps not
> entirely wrong.
>
> In February of this year, Hyakuta Naoki, the author of the gensaku,
> provoked some outrage by publicly denying the Nanjing Massacre, even saying
> that it was a fabrication to avert attention from American war crimes.
> This, after he had been hand-picked by PM Abe Shinzo for the board of
> governors at NHK. Speaking to journalists, he claimed: ?I have the freedom
> of ideology and beliefs,? to explain that his personal opinions about the
> history of the war do not pose a conflict of interest with his
> responsibilities to the Broadcast law while serving at NHK, which I suppose
> is kind of like Abe himself saying that his personal choice to pay tribute
> at Yasukuni does not pose any conflict with his responsibilities as PM.
>
> Upshot: I am still somewhat puzzled by the success of this film.
>
> M.
>
> On May 6, 2014, at 2:30 AM, Roger Macy wrote:
>
> Dear KineJapaners,
> I see that 'The Eternal Zero' won the audience prize at Udine this year.
>
> http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
> I can't add more as it was the only Japanese film there I didn't see.
> That wasn't my deliberate choice - it clashed against a round table for
> 'Cinema Impact' and then, went I went to view it in the media room, the
> digital screener from Toho looked as if it was smeared with porridge (it
> was only Toho's that were like that).  I couldn't see the point in seeing
> an action spectacular under such conditions.  But, in retrospect, I would
> have liked to understand if there was an Italian dimension to this
> war-film's reception.
> Roger
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
>
>
>
>
>   _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From petrap at nipponconnection.com  Sun May 11 15:28:44 2014
From: petrap at nipponconnection.com (Petra Palmer)
Date: Sun, 11 May 2014 21:28:44 +0200
Subject: [KineJapan] Nippon Connection Film Festival 2014
Message-ID: <CAKFipBa8DusxLuriJvg6=Qnn9cJS3J3P1MqG4fNNcRhg-F_xdg@mail.gmail.com>

Dear KineJapaners,

I kindly would like to call your attention to the 14th edition of Nippon
Connection Film Festival in Frankfurt.

We will show again around hundred films and expecting many guests among
them Yukihiko Tsustusmi, Nobuo Mizuta, Koji Yamamura, Yoju Matsubayashi,
Keiichi Kobayashi, Junichi Inoue, Yosuke Fujita and Ayumi Sakamoto.

For the fifth time the Nippon Visions Jury Award will be given to one of
the newcomers of the Nippon Visions Section. This year we welcome Alex
Oost, Mark Schillling and Alex Zahlten for this challenging task. The
Nippon Visions Jury Award is sponsered by the Japan Visualmedia Translation
Company (JVTA).

Nippon Connection will again offer a wide accompanying cultural program.
There will be lectures, panel discussions, filmmakers talks, as well as
workshops, concerts and parties.

Information about the programme and how to apply for industry or press
accreditation will be available on our festival website:

www.nipponconnection.com

I am looking forward to seeing you there,

Best,
Petra




Petra Palmer
Film Programme Director
Nippon
Connection
** * *
Japanese Film Festival
27 May -  1 June 2014

Office: c/o AStA, Mertonstr. 26-28, 60325 Frankfurt am Main, Germany
Mobile: +49 (0)172 236 2886
Phone: +49 (0)69 798 22 986, Fax: +49 (0)69 798 22 987
Petrap at NipponConnection.com <Marion at NipponConnection.com>
www.NipponConnection.com

*Locations*
K?nstlerhaus Mousonturm / Naxoshalle /
Mal Seh`n Kino / Deutsches Filmmuseum
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From beatfrey at gmx.ch  Sun May 11 11:52:47 2014
From: beatfrey at gmx.ch (Beat Frey)
Date: Sun, 11 May 2014 17:52:47 +0200
Subject: [KineJapan] Special programme on Japanese experimental cinema
 in Spain
Message-ID: <trinity-c6a85175-49a9-4c6d-80b3-f9c1fe869b5d-1399823567045@msvc010>

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From ljth2006 at gmail.com  Sun May 11 11:01:38 2014
From: ljth2006 at gmail.com (Lorenzo Javier Torres Hortelano)
Date: Sun, 11 May 2014 17:01:38 +0200
Subject: [KineJapan] Special programme on Japanese experimental cinema
	in Spain
In-Reply-To: <1399748610.9377.YahooMailNeo@web28702.mail.ir2.yahoo.com>
References: <1399748610.9377.YahooMailNeo@web28702.mail.ir2.yahoo.com>
Message-ID: <CALGPOmJpgyvGpdhp0oT0hErGjCk-qmXeRRcZyWNcOJ2Y_XsnGw@mail.gmail.com>

Querida Alejandra,

Thanks for the information. Apparently it will be the first time a
benshi will perform his art in Spain. I guess he will also come to
Madrid.

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




2014-05-10 21:03 GMT+02:00 Alejandra Armendariz <aarmher at yahoo.es>:
> Dear KineJapaners,
>
> Maybe some of you are interested in the special programme on Japanese
> experimental cinema organized by the (S8) Peripheral Film Festival in A
> Coru?a as part of the activities of the Spain?Japan Dual Year.
>
> Here is the English link (the Spanish version is slightly more detailed):
>
> http://www.s8cinema.com/portal/en/2014/05/07/el-s8-celebra-su-quinta-edicion-con-un-programa-especial-sobre-el-cine-japones-desde-sus-origenes-hasta-la-actualidad-en-el-marco-del-ano-dual-espana-japon/
>
> In addition, the festival will open with a screening of Ito Daisuke's
> "Jirokichi the Rat" (1931) accompanied by a live benshi narration and
> shamisen music. Later, a lecture about silent cinema in Japan will be held
> too.
>
>
> Best,
> Alejandra
>
>
> Alejandra Armend?riz Hern?ndez
> PhD student
> Universidad Rey Juan Carlos (Madrid)
>
>
>
> _______________________________________________
> 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 aarmher at yahoo.es  Sat May 10 15:03:30 2014
From: aarmher at yahoo.es (Alejandra Armendariz)
Date: Sat, 10 May 2014 20:03:30 +0100
Subject: [KineJapan] Special programme on Japanese experimental cinema in
	Spain
Message-ID: <1399748610.9377.YahooMailNeo@web28702.mail.ir2.yahoo.com>

Dear KineJapaners,

Maybe some of you are interested in the special programme on Japanese experimental cinema organized by the (S8) Peripheral Film Festival in A Coru?a as part of the activities of the Spain?Japan Dual Year.

Here is the English link (the Spanish version is slightly more detailed):

http://www.s8cinema.com/portal/en/2014/05/07/el-s8-celebra-su-quinta-edicion-con-un-programa-especial-sobre-el-cine-japones-desde-sus-origenes-hasta-la-actualidad-en-el-marco-del-ano-dual-espana-japon/

In addition, the festival will open with a screening of Ito Daisuke's "Jirokichi the Rat" (1931) accompanied by a live benshi narration and shamisen music. Later, a lecture about silent cinema in Japan will be held too.


Best,
Alejandra


Alejandra Armend?riz Hern?ndez
PhD student
Universidad Rey Juan Carlos (Madrid) 
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From pslarson2 at gmail.com  Mon May  5 23:34:18 2014
From: pslarson2 at gmail.com (Pete Larson)
Date: Tue, 6 May 2014 12:34:18 +0900
Subject: [KineJapan] Fw:  'Eternnal Zero' wins audience prize at Udine
In-Reply-To: <1399332287.65643.YahooMailNeo@web171402.mail.ir2.yahoo.com>
References: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
	<73176B23-2ABF-4E87-9432-FA44395902AF@mail-central.com>
	<1399328743.81689.YahooMailNeo@web171406.mail.ir2.yahoo.com>
	<1399332287.65643.YahooMailNeo@web171402.mail.ir2.yahoo.com>
Message-ID: <653742D1-6432-432B-9D5E-B863AB19E117@gmail.com>

I'm typing this on a phone so this will be short but I'm also quite fascinated that the film has gotten so much attention.

Discussing the film with folks on the street has exposed two distinct camps. One seems to find film objectionable, taking great issue with the right wing sanitation of a complicated history, ostensibly to serve current political ends. 

The other seems to deny that the film is right wing at all, insisting that it's merely a good story about people who became enmeshed in a conflict which they couldn't do much about. The latter view us much more interesting and I even began to wonder if they we're watching a different film entirely, given the obvious conservative nature of the film.

iPhone????

2014/05/06 8:24?Roger Macy <macyroger at yahoo.co.uk> ??????:

> Thanks, Mark,
> I should have added that Mark Schilling, besides one page of A4 on the film, has a two-page piece in the catalogue, 'More than a Zero: A Conversation with Yamazaki Takashi', in which he airs the problems around Hyakuta, including his denial of the Nanjing massacre.
> My speculation around an "Italian dimension to the reception" was not about possible walk-on Italians but about a similar vicarious appeal to the one you suggest of "retroactive pride" of Japanese viewers.  If the audience in New York this year could groan at the end of 'The War at Sea in Hawaii' (the film shown there, contrary to the billing, ended at Pearl Harbor), over 70 years after the event, then a spectrum is possible of other vicarious reactions.
> Roger
> From: Mark Roberts <mroberts37 at mail-central.com>
> To: Roger Macy <macyroger at yahoo.co.uk>; Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu> 
> Sent: Monday, 5 May 2014, 22:34
> Subject: Re: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
> 
> Roger,
> 
> I saw the non-porridge-smeared theatrical version of Eien no zero, and didn't notice any overt Italian angle (that would be the meeting with Caproni in Kaze tachinu, I suppose). Having yet to attend Udine, I can't speak to the festival audience there and why they might have given the prize to this film, but it has been somewhat puzzling to me how Eien no zero managed to become the largest-grossing Japanese film in a decade, remaining at the top of the domestic box office for two months.
> 
> It is a competent production, yes, but at some level there's nothing terribly remarkable about the film. Cinematically, it's nothing special: polished, but like a TV dorama with a very big budget. A balance is struck between the depiction of human relationships and the spectacle of the war sequences. Yes, it's got some young heart-throb talent (e.g., Okada Jun'ichi) and is very sentimental in tone, but I suspect it must resonate at other levels too.
> 
> Without saying too much about the plot, Eien no zero is very self-consciously a kind of "alternate history" of the tokkotai. It sets out a puzzle, at face value about the characters' family history ? the "real" grandfather that nobody talks about was a kamikaze pilot ? but of course this is also a puzzle about Japanese history. The mystery around the pilot Miyabe is that he wanted to survive the war, and nobody quite grasps this seeming contradiction. How could a kamikaze pilot be so attached to life and yet ultimately willing to die? This question drives the story forward. The perspective of the tokkotai is shown, and clearly distinguished from that of the military command. The capabilities of the Zero aircraft are explained (this for the audience to have "historical context" but evidently also to feel retroactively proud of the technological achievement). Pearl Harbor and the invasion of Rabaul are shown, as are the pilots on the aircraft carrier Akagi.
> 
> Through both these sequences and the contemporary parts of the film, the objections to the kamikaze in the popular memory are offered as story points, which the alternative history then "explains". The pilots are shown to be young men who are unwittingly trained for suicide missions, but then asked to "volunteer" for the actual duty. They are explicitly distinguished from "terrorists" (because they target warships, not civilians), and with this, they are likewise distinguished from "brainwashed nationalists". I haven't read any reviews of the film or attempts to decode the crypto-nationalism of Eien no zero, though at moments it's pretty transparent. The film itself even acknowledges an obvious reading: when the young Kentaro ? a NEET who has failed repeatedly at the bar exam ? becomes interested in the family history and pontificates for a "correct" understanding of the tokkotai, one of the minor characters snarks that he has turned to Japanese history to get through a personal identity crisis. In this fashion, the film recuperates a critique of neo-nationalism, even putting it directly into the film's dialog.
> 
> The explanation that is given for Miyabe's will to survive the war ? and one of the big claims of the film ? is bound up with the idea that love of family is ultimately more important than loyalty to the kokutai. This is the deeper significance of "eien", which is thus an idea about love, a love that continues beyond death. I suspect this also in part explains the domestic success of the film, because it directly addresses women and mothers in the audience (in addition to NEETs, of course). It might sound a bit flip to say this is an anti-war war film for oba-sans, but perhaps not entirely wrong. 
> 
> In February of this year, Hyakuta Naoki, the author of the gensaku, provoked some outrage by publicly denying the Nanjing Massacre, even saying that it was a fabrication to avert attention from American war crimes. This, after he had been hand-picked by PM Abe Shinzo for the board of governors at NHK. Speaking to journalists, he claimed: ?I have the freedom of ideology and beliefs,? to explain that his personal opinions about the history of the war do not pose a conflict of interest with his responsibilities to the Broadcast law while serving at NHK, which I suppose is kind of like Abe himself saying that his personal choice to pay tribute at Yasukuni does not pose any conflict with his responsibilities as PM.
> 
> Upshot: I am still somewhat puzzled by the success of this film.
> 
> M.
> 
>> On May 6, 2014, at 2:30 AM, Roger Macy wrote:
>> 
>> Dear KineJapaners,
>> I see that 'The Eternal Zero' won the audience prize at Udine this year.
>> http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
>> I can't add more as it was the only Japanese film there I didn't see.  That wasn't my deliberate choice - it clashed against a round table for  'Cinema Impact' and then, went I went to view it in the media room, the digital screener from Toho looked as if it was smeared with porridge (it was only Toho's that were like that).  I couldn't see the point in seeing an action spectacular under such conditions.  But, in retrospect, I would have liked to understand if there was an Italian dimension to this war-film's reception.
>> Roger
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.service.ohio-state.edu
>> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
> 
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
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From macyroger at yahoo.co.uk  Mon May  5 19:24:47 2014
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Tue, 6 May 2014 00:24:47 +0100
Subject: [KineJapan] Fw:  'Eternnal Zero' wins audience prize at Udine
In-Reply-To: <1399328743.81689.YahooMailNeo@web171406.mail.ir2.yahoo.com>
References: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
	<73176B23-2ABF-4E87-9432-FA44395902AF@mail-central.com>
	<1399328743.81689.YahooMailNeo@web171406.mail.ir2.yahoo.com>
Message-ID: <1399332287.65643.YahooMailNeo@web171402.mail.ir2.yahoo.com>

Thanks, Mark,
>I should have added that Mark Schilling, besides one page of A4 on the film, has a two-page piece in the catalogue, 'More than a Zero: A Conversation with Yamazaki Takashi', in which he airs the problems around Hyakuta, including his denial of the Nanjing massacre.
>My speculation around an "Italian dimension to the reception" was not about possible walk-on Italians but about a similar vicarious appeal to the one you suggest of "retroactive pride" of Japanese viewers.? If the audience in New York this year could groan at the end of 'The War at Sea in Hawaii' (the film shown there, contrary to the billing, ended at Pearl Harbor), over 70 years after the event, then a spectrum is possible of other vicarious reactions.
>Roger
>
>
>>________________________________
>> From: Mark Roberts <mroberts37 at mail-central.com>
>>To: Roger Macy <macyroger at yahoo.co.uk>; Japanese Cinema Discussion Forum <kinejapan at lists.service.ohio-state.edu> 
>>Sent: Monday, 5 May 2014, 22:34
>>Subject: Re: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
>> 
>>
>>
>>Roger,
>>
>>
>>I saw the non-porridge-smeared theatrical version of Eien no zero, and didn't notice any overt Italian angle (that would be the meeting with Caproni in?Kaze tachinu, I suppose). Having yet to attend Udine, I can't speak to the festival audience there and why they might have given the prize to this film, but it has been somewhat puzzling to me how?Eien no zero?managed to become the largest-grossing Japanese film in a decade, remaining at the top of the domestic box office for two months.
>>
>>
>>It is a competent production, yes, but at some level there's nothing terribly remarkable about the film. Cinematically, it's nothing special: polished, but like a TV dorama with a very big budget. A balance is struck between the depiction of human relationships and the spectacle of the war sequences.?Yes, it's got some young heart-throb talent (e.g., Okada Jun'ichi) and is very sentimental in tone, but?I suspect it must resonate at other levels too.
>>
>>
>>Without saying too much about the plot, Eien no zero is?very self-consciously a kind of "alternate history" of the tokkotai.?It sets out a puzzle, at face value about the characters' family history ? the "real" grandfather that nobody talks about was a kamikaze pilot ? but of course this is also a puzzle about Japanese history.?The mystery around the pilot Miyabe is that he wanted to survive the war, and nobody quite grasps this seeming contradiction.?How could a kamikaze pilot be so?attached to life and yet ultimately willing to die? This question drives the story forward. The perspective of the tokkotai is shown, and clearly distinguished from that of the military command. The capabilities of the Zero aircraft are explained (this for the audience to have "historical context" but evidently also to feel retroactively proud of the technological achievement). Pearl Harbor and the invasion of Rabaul are shown, as are the pilots on the aircraft
 carrier Akagi.
>>
>>
>>Through both these sequences and the contemporary parts of the film, the objections to the kamikaze in the popular memory are offered as story points, which the alternative history then "explains". The pilots?are shown to be young men who are unwittingly trained for suicide missions, but then asked to "volunteer" for the actual duty. They are explicitly distinguished from "terrorists" (because they target warships, not civilians), and with this, they are likewise distinguished from "brainwashed nationalists".?I haven't read any reviews of the film or attempts to decode the crypto-nationalism of?Eien no zero, though at moments it's pretty transparent. The film itself even acknowledges an obvious reading: when the young Kentaro ? a NEET who has failed repeatedly at the bar exam ? becomes interested in the family history and pontificates for a "correct" understanding of the tokkotai, one of the minor characters snarks that he has turned to Japanese
 history to get through a personal identity crisis. In this fashion, the film recuperates a critique of neo-nationalism, even putting it directly into the film's dialog.
>>
>>
>>The explanation that is given for Miyabe's will to survive the war ? and one of the big claims of the film ? is bound up with the idea that?love of family is ultimately more important than loyalty to the kokutai. This is the deeper significance of "eien", which is thus an idea about love, a love that continues beyond death.?I suspect this also in part explains the domestic success of the film, because it directly addresses women and mothers in the audience (in addition to NEETs, of course). It might sound a bit flip to say this is an anti-war war film for oba-sans, but perhaps not entirely wrong.?
>>
>>
>>In February of this year, Hyakuta Naoki, the author of the gensaku, provoked some outrage by publicly denying the Nanjing Massacre, even saying that it was a fabrication to avert attention from American war crimes. This, after he had been hand-picked by PM Abe Shinzo for the board of governors at NHK. Speaking to journalists, he claimed:??I have the freedom of ideology and beliefs,? to explain that his personal opinions about the history of the war do not pose a conflict of interest with his responsibilities to the Broadcast law while serving at NHK, which I suppose is kind of like Abe himself saying that his personal choice to pay tribute at Yasukuni does not pose any conflict with his responsibilities as PM.
>>
>>
>>Upshot: I am still somewhat puzzled by the success of this film.
>>
>>
>>M.
>>
>>
>>On May 6, 2014, at 2:30 AM, Roger Macy wrote:
>>
>>
>>Dear KineJapaners,
>>>I see that 'The Eternal Zero' won the audience prize at Udine this year.
>>>http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
>>>I can't add more as it was the only
 Japanese film there I didn't see.? That wasn't my deliberate choice - it clashed against a round table for? 'Cinema Impact' and then, went I went to view it in the media room, the digital screener from Toho looked as if it was smeared with porridge (it was only Toho's that were like that).? I couldn't see the point in seeing an action spectacular under such conditions.? But, in retrospect, I would have liked to understand if there was an Italian dimension to this war-film's reception.
>>>Roger
>>>
>>>
>>>_______________________________________________
>>>KineJapan mailing list
>>>KineJapan at lists.service.ohio-state.edu
>>>https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>>>
>>
>>
>>
>
>
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From macyroger at yahoo.co.uk  Mon May  5 18:56:33 2014
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 5 May 2014 23:56:33 +0100
Subject: [KineJapan] =?utf-8?q?Seishun_h=C5=8Dkago_in_Paris?=
In-Reply-To: <1393676040.55531.YahooMailNeo@web171404.mail.ir2.yahoo.com>
References: <1393676040.55531.YahooMailNeo@web171404.mail.ir2.yahoo.com>
Message-ID: <1399330593.7050.YahooMailNeo@web171406.mail.ir2.yahoo.com>

To answer my own question posed on 1st March, I had indeed got the wrong end of the stick about the meaning of Seishun h?kago, although I think I was intended to.? There is only one character in the drama who is under forty (played by Kobayashi Chitose).? Near the end, the two other main characters, played by Sada Keiji and Miyaguchi Seiji have a bar-stool conversation - (these two were both in Akibiyori / Late Autumn).? One says, about Kobayashi's character, "It's the evening of her youth".? The other quips, 'But for us, it's closer to midnight'.
The film's title was subtitled in Paris as 'Le soir de la jeunesse'.? Apparently, it was after making Akibiyori that Ozu wrote this screenplay.? The line delivery was often too fast for me to read the subtitles, and I'm not claiming to have got it all.
Roger




>________________________________
> From: Roger Macy <macyroger at yahoo.co.uk>
>To: KineJapan forum <kinejapan at lists.service.ohio-state.edu> 
>Sent: Saturday, 1 March 2014, 12:14
>Subject: [KineJapan] Seishun h?kago in Paris
> 
>
>
>Dear
KineJapaners,
>I see the Ozu
co-scripted tv drama that was broadcast on an NHK premium channel last October, ?????,? Seishun h?kago,- and mentioned
here at the time - will make an appearance in Paris at the Cin?math?que fran?aise on Sunday
May 4th at 2130.
>http://m.cinematheque.fr/web-app/cycle.html?cycl_id=573&visi_oid=23a3f6ba-b912-4e58-a21b-000000000322
>It forms part
of their Ozu retrospective.
>I?d like to
hear from any who have seen it what a suitable english title would be - ?After-school
Class? - or have I got the wrong end of the stick ?
>Roger
>_______________________________________________
>KineJapan mailing list
>KineJapan at lists.service.ohio-state.edu
>https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
>
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From mroberts37 at mail-central.com  Mon May  5 17:34:17 2014
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Tue, 6 May 2014 06:34:17 +0900
Subject: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
In-Reply-To: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
References: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
Message-ID: <73176B23-2ABF-4E87-9432-FA44395902AF@mail-central.com>

Roger,

I saw the non-porridge-smeared theatrical version of Eien no zero, and didn't notice any overt Italian angle (that would be the meeting with Caproni in Kaze tachinu, I suppose). Having yet to attend Udine, I can't speak to the festival audience there and why they might have given the prize to this film, but it has been somewhat puzzling to me how Eien no zero managed to become the largest-grossing Japanese film in a decade, remaining at the top of the domestic box office for two months.

It is a competent production, yes, but at some level there's nothing terribly remarkable about the film. Cinematically, it's nothing special: polished, but like a TV dorama with a very big budget. A balance is struck between the depiction of human relationships and the spectacle of the war sequences. Yes, it's got some young heart-throb talent (e.g., Okada Jun'ichi) and is very sentimental in tone, but I suspect it must resonate at other levels too.

Without saying too much about the plot, Eien no zero is very self-consciously a kind of "alternate history" of the tokkotai. It sets out a puzzle, at face value about the characters' family history ? the "real" grandfather that nobody talks about was a kamikaze pilot ? but of course this is also a puzzle about Japanese history. The mystery around the pilot Miyabe is that he wanted to survive the war, and nobody quite grasps this seeming contradiction. How could a kamikaze pilot be so attached to life and yet ultimately willing to die? This question drives the story forward. The perspective of the tokkotai is shown, and clearly distinguished from that of the military command. The capabilities of the Zero aircraft are explained (this for the audience to have "historical context" but evidently also to feel retroactively proud of the technological achievement). Pearl Harbor and the invasion of Rabaul are shown, as are the pilots on the aircraft carrier Akagi.

Through both these sequences and the contemporary parts of the film, the objections to the kamikaze in the popular memory are offered as story points, which the alternative history then "explains". The pilots are shown to be young men who are unwittingly trained for suicide missions, but then asked to "volunteer" for the actual duty. They are explicitly distinguished from "terrorists" (because they target warships, not civilians), and with this, they are likewise distinguished from "brainwashed nationalists". I haven't read any reviews of the film or attempts to decode the crypto-nationalism of Eien no zero, though at moments it's pretty transparent. The film itself even acknowledges an obvious reading: when the young Kentaro ? a NEET who has failed repeatedly at the bar exam ? becomes interested in the family history and pontificates for a "correct" understanding of the tokkotai, one of the minor characters snarks that he has turned to Japanese history to get through a personal identity crisis. In this fashion, the film recuperates a critique of neo-nationalism, even putting it directly into the film's dialog.

The explanation that is given for Miyabe's will to survive the war ? and one of the big claims of the film ? is bound up with the idea that love of family is ultimately more important than loyalty to the kokutai. This is the deeper significance of "eien", which is thus an idea about love, a love that continues beyond death. I suspect this also in part explains the domestic success of the film, because it directly addresses women and mothers in the audience (in addition to NEETs, of course). It might sound a bit flip to say this is an anti-war war film for oba-sans, but perhaps not entirely wrong. 

In February of this year, Hyakuta Naoki, the author of the gensaku, provoked some outrage by publicly denying the Nanjing Massacre, even saying that it was a fabrication to avert attention from American war crimes. This, after he had been hand-picked by PM Abe Shinzo for the board of governors at NHK. Speaking to journalists, he claimed: ?I have the freedom of ideology and beliefs,? to explain that his personal opinions about the history of the war do not pose a conflict of interest with his responsibilities to the Broadcast law while serving at NHK, which I suppose is kind of like Abe himself saying that his personal choice to pay tribute at Yasukuni does not pose any conflict with his responsibilities as PM.

Upshot: I am still somewhat puzzled by the success of this film.

M.

On May 6, 2014, at 2:30 AM, Roger Macy wrote:

> Dear KineJapaners,
> I see that 'The Eternal Zero' won the audience prize at Udine this year.
> http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
> I can't add more as it was the only Japanese film there I didn't see.  That wasn't my deliberate choice - it clashed against a round table for  'Cinema Impact' and then, went I went to view it in the media room, the digital screener from Toho looked as if it was smeared with porridge (it was only Toho's that were like that).  I couldn't see the point in seeing an action spectacular under such conditions.  But, in retrospect, I would have liked to understand if there was an Italian dimension to this war-film's reception.
> Roger
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan

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From eija at helsinkicineaasia.fi  Mon May  5 15:51:36 2014
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Mon, 5 May 2014 22:51:36 +0300
Subject: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
In-Reply-To: <1399317218765.6d80ffe2@Nodemailer>
References: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
	<1399317218765.6d80ffe2@Nodemailer>
Message-ID: <CA+FavwMvpv=T1YKNCabM3tFhpUd0GJq5VaD+Q_6d8jSNu8OULg@mail.gmail.com>

What, is Kawakita still around? I thought they didn't do much anything any
more and that anyone who wants to see film screeners for their fest goes to
Unijapan or directly to film distributors.

KOFIC are notoriously difficult to deal with. Japanese are super straight
as compared to them.

Eija


2014-05-05 22:13 GMT+03:00 Stephen Cremin <stephen at asianfilm.info>:

> I haven't seen the ETERNAL ZERO screener, but I received another DVD of a
> high profile Japanese film last year: it was like watching through a
> six-inch thick window that hadn't been cleaned in thirty years. I'm sure
> it's the same process. The subtitles were also on the other side of that
> glass and impossible to read.
>
> Meanwhile, South Korean sales companies will give out lightly watermarked
> screeners to festivals, buyers and reviewers before they open theatrically,
> including for blockbusters that make US$50m. For animations from China, for
> example, I sometimes get screeners in black and white that are still
> watchable.
>
> The Japanese film industry wants to play both sides of the fence. It wants
> to be treated like a business outside of the responsibilities ("fair use",
> etc, cough!) of a cultural industry. And it wants to be treated as a
> cultural industry when it comes to support at film markets, tapping into
> Cool Japan funds, etc.
>
> I suspect we'll never see anything useful emerge from that US$300 million
> Cool Japan fund. I'd like to see 1% set aside for subtitling (because pay
> is crashing, which will lead to less sell-able films), 1% to set up a an
> alternative to Kawakita Film Institute (that doesn't work on a
> "grace-and-favours" system), etc.
>
> Returning to those two suggestions.
>
> Subtitling. Sales agents tell me that people walk out of screenings at
> markets when there is poor subtitles. Just two or three mistakes creates a
> distance between the viewer and the film. One told me it was the key reason
> for walk-outs, irrespective of the quality of the film. (She handles
> non-Japanese films.)
>
> On an alternative to Kawakita. When the majority of Asian films at Cannes
> come from South Korea, and we've seen the same trend in Berlin, one reason
> is that the Korean Film Council has a screening room for festivals that
> operates on a much more transparent system than Kawakita. And it has much
> more money.
>
> There are good people at UniJapan, now and historically. (I started using
> them in the mid-1990s when the old Ginza office had three people, including
> a projectionist, a manual typewriter, and a one-woman dictionary of
> Japanese cinema.) I'm sure they are frustrated and know where money could
> be spent.
>
> I haven't seen the Japanese films that were rejected by Cannes, but I
> would bet money that they stand up well next to the Korean films that were
> accepted. We won't know for six months. And I've heard that the Bae
> Du-na-starring A GIRL AT MY DOOR is strong enough to be in competition.
> Kawase, I'm not so sure.
>
> So, in conclusion, the Japanese film industry insists on writing itself
> out of world film history, despite the wealth of film-making talent, the
> hard work of lots of good people at sales companies, festivals like Nippon
> Connection and Japan Cuts that find ways to smuggle cinematic cultural
> artifacts out of Tokyo, etc.
>
> Eternal zero and all that.
>
> Roger, if you're attending Cannes, and have a badge, there is a market
> screening of ETERNAL ZERO at 4:30pm on May 18 in Lerins 1. It won't be a
> better screen than the one in Udine, but it will be better than the screen
> the film showed at during the Berlin film market (at the same time as
> CROWS:EXPLODE).
>
> ?
> Sent from Mailbox <https://www.dropbox.com/mailbox>
>
>
> On Tue, May 6, 2014 at 1:30 AM, Roger Macy <macyroger at yahoo.co.uk> wrote:
>
>> Dear KineJapaners,
>> I see that 'The Eternal Zero' won the audience prize at Udine this year.
>>
>> http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
>> I can't add more as it was the only Japanese film there I didn't see.
>> That wasn't my deliberate choice - it clashed against a round table for
>> 'Cinema Impact' and then, went I went to view it in the media room, the
>> digital screener from Toho looked as if it was smeared with porridge (it
>> was only Toho's that were like that).  I couldn't see the point in seeing
>> an action spectacular under such conditions.  But, in retrospect, I would
>> have liked to understand if there was an Italian dimension to this
>> war-film's reception.
>> Roger
>>
>>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.service.ohio-state.edu
> https://lists.service.ohio-state.edu/mailman/listinfo/kinejapan
>
>
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From stephen at asianfilm.info  Mon May  5 15:13:38 2014
From: stephen at asianfilm.info (Stephen Cremin)
Date: Mon, 5 May 2014 12:13:38 -0700
Subject: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
In-Reply-To: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
References: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>
Message-ID: <1399317218765.6d80ffe2@Nodemailer>

I haven't seen the ETERNAL ZERO screener, but I received another DVD of a high profile Japanese film last year: it was like watching through a six-inch thick window that hadn't been cleaned in thirty years. I'm sure it's the same process. The subtitles were also on the other side of that glass and impossible to read.


Meanwhile, South Korean sales companies will give out lightly watermarked screeners to festivals, buyers and reviewers before they open theatrically, including for blockbusters that make US$50m. For animations from China, for example, I sometimes get screeners in black and white that are still watchable.



The Japanese film industry wants to play both sides of the fence. It wants to be treated like a business outside of the responsibilities ("fair use", etc, cough!) of a cultural industry. And it wants to be treated as a cultural industry when it comes to support at film markets, tapping into Cool Japan funds, etc.




I suspect we'll never see anything useful emerge from that US$300 million Cool Japan fund. I'd like to see 1% set aside for subtitling (because pay is crashing, which will lead to less sell-able films), 1% to set up a an alternative to Kawakita Film Institute (that doesn't work on a "grace-and-favours" system), etc.




Returning to those two suggestions.




Subtitling. Sales agents tell me that people walk out of screenings at markets when there is poor subtitles. Just two or three mistakes creates a distance between the viewer and the film. One told me it was the key reason for walk-outs, irrespective of the quality of the film. (She handles non-Japanese films.)




On an alternative to Kawakita. When the majority of Asian films at Cannes come from South Korea, and we've seen the same trend in Berlin, one reason is that the Korean Film Council has a screening room for festivals that operates on a much more transparent system than Kawakita. And it has much more money.




There are good people at UniJapan, now and historically. (I started using them in the mid-1990s when the old Ginza office had three people, including a projectionist, a manual typewriter, and a one-woman dictionary of Japanese cinema.) I'm sure they are frustrated and know where money could be spent.





I haven't seen the Japanese films that were rejected by Cannes, but I would bet money that they stand up well next to the Korean films that were accepted. We won't know for six months. And I've heard that the Bae Du-na-starring A GIRL AT MY DOOR is strong enough to be in competition. Kawase, I'm not so sure.




So, in conclusion, the Japanese film industry insists on writing itself out of world film history, despite the wealth of film-making talent, the hard work of lots of good people at sales companies, festivals like Nippon Connection and Japan Cuts that find ways to smuggle cinematic cultural artifacts out of Tokyo, etc.




Eternal zero and all that.




Roger, if you're attending Cannes, and have a badge, there is a market screening of ETERNAL ZERO at 4:30pm on May 18 in Lerins 1. It won't be a better screen than the one in Udine, but it will be better than the screen the film showed at during the Berlin film market (at the same time as CROWS:EXPLODE).





?
Sent from Mailbox

On Tue, May 6, 2014 at 1:30 AM, Roger Macy <macyroger at yahoo.co.uk> wrote:

> Dear KineJapaners,
> I see that 'The Eternal Zero' won the audience prize at Udine this year.
> http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
> I can't add more as it was the only Japanese film there I didn't see.? That wasn't my deliberate choice - it clashed against a round table for? 'Cinema Impact' and then, went I went to view it in the media room, the digital screener from Toho looked as if it was smeared with porridge (it was only Toho's that were like that).? I couldn't see the point in seeing an action spectacular under such conditions.? But, in retrospect, I would have liked to understand if there was an Italian dimension to this war-film's reception.
> Roger
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From macyroger at yahoo.co.uk  Mon May  5 13:30:20 2014
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 5 May 2014 18:30:20 +0100
Subject: [KineJapan] 'Eternnal Zero' wins audience prize at Udine
Message-ID: <1399311020.90502.YahooMailNeo@web171405.mail.ir2.yahoo.com>

Dear KineJapaners,
I see that 'The Eternal Zero' won the audience prize at Udine this year.
http://www.fareastfilm.com/EasyNe2/LYT.aspx?Code=FEFJ&IDLYT=13308&ST=SQL&SQL=ID_Documento=4397
I can't add more as it was the only Japanese film there I didn't see.? That wasn't my deliberate choice - it clashed against a round table for? 'Cinema Impact' and then, went I went to view it in the media room, the digital screener from Toho looked as if it was smeared with porridge (it was only Toho's that were like that).? I couldn't see the point in seeing an action spectacular under such conditions.? But, in retrospect, I would have liked to understand if there was an Italian dimension to this war-film's reception.
Roger
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