From drupaladmin at mail.h-net.msu.edu Thu Sep 24 03:15:24 2015 From: drupaladmin at mail.h-net.msu.edu (H-Net Notifications) Date: Thu, 24 Sep 2015 03:15:24 -0400 Subject: H-Japan daily digest: 2 new items have been posted Message-ID: <201509240715.t8O7ExXq025139@msg-scan6.usc.edu> ----------H-NET---------- Greetings Amanda Kennell, New items have been posted in H-Japan. === Table of Contents === * Re: Closing of Humanities and Social Science Departments in Japanese Universities [discussion] * H-Japan: Seminar/Lecture in Japan Professors Laura Hein and Judith Snodgrass [discussion] ==================== Re: Closing of Humanities and Social Science Departments in Japanese Universities [discussion] by Kirk Masden I agree with the basic premise of this post and petition -- all of the reports I have seen in Japanese indicate that the humanities are indeed under threat. However, it is not quite correct to say that there has been a "ministerial decree ordering the closure of social science and humanities faculties at the national universities" that the ministry might repeal. Before writing this little note, I reread an article on the issue that was published in the September 22 edition of the Asahi Shimbun. The article indicates (and this description agrees with quotes from the so-called "decree" that I have seen in other reports) that the language was much more oblique and subject to interpretation than a direct command to do away with faculties in the humanities. The ministry is backpedaling, saying that they meant that changes should be considered in departments that are not able to maintain enrollments, etc. I'm not trying to defend the Ministry of Education. As I wrote above, I agree that the humanities are under threat. I'm just concerned that the misleading language of the petition may lead to its dismissal on the grounds that the premise is mistaken. A more carefully worded petition might be more effective. Kirk Masden Kumamoto Gakuen University Read more or reply: https://networks.h-net.org/node/20904/discussions/84643/re-closing-humanities-and-social-science-departments-japanese H-Japan: Seminar/Lecture in Japan Professors Laura Hein and Judith Snodgrass [discussion] by Yone Sugita Subject:?Seminar/Lecture in Japan ?Professors Laura Hein and Judith Snodgrass? ? It is our honor to have both Professors Judith Snodgrass (Western Sydney University) and Laura Hein (Northwestern University) at Osaka University as specially-appointed professors in October 2015. Their research themes are: Networks of transnational Buddhism and the Young East (Professor Snodgrass) and (1) Post-Fascist Political Culture:? The Kamakura Akademia and Education and (2) From Colliery to Fukushima: 60 Years of Tomiyama Taeko's Art (Professor Hein). Professor Judith Snodgrass, Western Sydney University?(Specially-appointed professor, Osaka University) http://www.uws.edu.au/staff_profiles/uws_profiles/associate_professor_judith_snodgrass [1] and Professor Laura Hein, Northwestern University?(Specially-appointed professor, Osaka University) http://www.history.northwestern.edu/people/hein.html [2] ? If you are willing to invite them for lecture or seminar, please let me know. We will cover the necessary expense (within Japan). ? We also plan to hold a seminar at Osaka University on 17 and/or 24 October. 17 October (Saturday) and/or 24 October (Saturday): Professional Seminar (for scholars) Professor Judith Snodgrass: Networks of transnational Buddhism and the Young East Professor Laura Hein: From Colliery to Fukushima: 60 Years of Tomiyama Taeko's Art? We are looking for discussants. ? If you are interested, please let me know. Yone Sugita??sugita at lang.osaka-u.ac.jp [3] [1] http://www.uws.edu.au/staff_profiles/uws_profiles/associate_professor_judith_snodgrass [2] http://www.history.northwestern.edu/people/hein.html [3] mailto:sugita at lang.osaka-u.ac.jp Read more or reply: https://networks.h-net.org/node/20904/discussions/84764/h-japan-seminarlecture-japan-professors-laura-hein-and-judith ---------------------------------------------------------- You can manage your notification settings at https://networks.h-net.org/user/75627/notifications ---------------------------------------------------------- Please help us keep H-Net free and accessible. $5 from each of our subscribers would fund H-Net for two years. Visit to make a tax-deductible donation online. ---------------------------------------------------------- If you need assistance, please visit the Help Desk at http://networks.h-net.org/help-desk -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sat Sep 26 20:22:01 2015 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 27 Sep 2015 00:22:01 +0000 (UTC) Subject: [KineJapan] San Sebastian Message-ID: <1790286810.1907992.1443313321026.JavaMail.yahoo@mail.yahoo.com> The SanSebastian film festival finishes this evening. At time of writing, with one day?svoting still to come, Koreeda?s ?Our Little Sister? is out in front for the?50,000 audienceaward.Otherwise,Japanese films were confined to the retrospectiveon independent Japanese films since the year 2000, as was announced previouslyon this site.With respectto the numbers, it included 35 films, all subtitled in english andspanish.? For seven screenings, thespanish subtitles were substituted with basque.?All films had at least two screenings with a few having a thirdscreening.? In accordance with Festivalpractice, no screenings started before 1600.?Since the screenings were spread over the city, this meant that even themost devoted viewer could not see all the films. I could only come for three daysbut was happy to catch a few films previously unseen.? The distribution of Japanese independentfilms is very patchy and, although I cannot speak for every European country,many of these have not previously been seen in theatres in Spain and perhapsonly for one brief tour, or, in some cases, not at all, in the UK.The Festivalhas produced a book to accompany the retrospective, with spanish and englishtext. ??Nuevo Cine Independiente Japon?s2000-2015? edited by Shozo ICHIYAMA, is in what I?ll call their ?B? format -that is it?s like ?Jap?n en Negro? in format, not like their books on Naruseand Oshima.? Although it?s slimmer thanthe 2008 ?Negro? book, I think in many ways it?s an improvement.? The stills, which appear in the spanish sectiononly, are in colour.? The english feelsmore readable.? That?s mainly becausethey?ve dropped the filmographies that, these days are better provided on the internet,and included a review of each of the thirty-five films, by a variety ofwriters. Since I haven?t spotted anything negative in any of them, perhaps Ishould call them ?championing?, rather than critical pieces.? Nevertheless, they stand as often the onlywrite-up on these films in spanish, or in english - only eleven of them were,for example, reviewed in Midnight Eye.These arepreceded by essays by Ichiyama, on Jishu Eiga, and by Chris Fujiwara,who rose to the task of identifying thematic commonalities in independentJapanese film, producing something more readable and insightful than the taskwould indicate.San Sebastianstaged a press conferencechaired by Roberto Cueto with Ichiyama and directors, Makoto SHINOZAKI andShinya TSUKAMOTO.? Most of theinformation in the press conference is better available in the book but Ilearned at least one thing from the conference.?There had been talk of the self-financing needed for independent filmsin Japan and the inevitable example came up of Wakamatsu sinking everything heowned into house that was destroyed for ?United Red Army?.? But Tsukamoto-san managed to point out in a differentpart of the conference that he had sunk all that he owned and all thathe inherited from his father, who died during the production of his ?Fires onthe Plain.Since that isshowing tomorrow morning at 10.00 tomorrow morning here in London at theRaindance Film Festival - nine hours from now, I?ve sunk my ?9.75 into thisventure and better get myself to bed.http://calendar.raindancefestival.org/films/fires-on-the-plainRoger -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From mostro.films at gmail.com Sun Sep 27 04:19:11 2015 From: mostro.films at gmail.com (=?UTF-8?Q?Jose_Monta=C3=B1o?=) Date: Sun, 27 Sep 2015 17:19:11 +0900 Subject: [KineJapan] San Sebastian In-Reply-To: <1790286810.1907992.1443313321026.JavaMail.yahoo@mail.yahoo.com> References: <1790286810.1907992.1443313321026.JavaMail.yahoo@mail.yahoo.com> Message-ID: Thank you for that brilliant report on the festival. I'll just add that apart, from ?Our Little Sister?, the official competition also included 'The Boy and the Beast'. This is remarkable since San Sebastian has been a conservative festival, perhaps too sensitive to some old fashioned film criticism gurus in Spanish media, not especially open regarding to animation. The current chairman, Jose Luis Rebordinos, has a long experience as director of a genre festival like the Fantastic and Horror Film Week of San Sebasti?n. He also was the coordinator of the journal Nosferatu (all its numbers here: https://riunet.upv.es/handle/10251/39966), a great contribution to the spreading of knowledge around cinema with some volumes devoted to Japanese cinema. Looks like his hand is being fundamental in the way the festival is, step by step, breaking with its conservative bias and introducing other forms to understand cinema. On 27 September 2015 at 09:22, Roger Macy wrote: > The San Sebastian film festival finishes this evening. At time of writing, > with one day?s voting still to come, Koreeda?s ?Our Little Sister? is out > in front for the ?50,000 audience award > > . > Otherwise, Japanese films were confined to the retrospective > > on independent Japanese films since the year 2000, as was announced > previously on this site. > With respect to the numbers, it included 35 films, all subtitled in > english and spanish. For seven screenings, the spanish subtitles were > substituted with basque. All films had at least two screenings with a > few having a third screening. In accordance with Festival practice, no > screenings started before 1600. Since the screenings were spread over > the city, this meant that even the most devoted viewer could not see all > the films. I could only come for three days but was happy to catch a few > films previously unseen. The distribution of Japanese independent films > is very patchy and, although I cannot speak for every European country, > many of these have not previously been seen in theatres in Spain and > perhaps only for one brief tour, or, in some cases, not at all, in the UK. > The Festival has produced a book to accompany the retrospective, with > spanish and english text. ?Nuevo Cine Independiente Japon?s 2000-2015? > edited by Shozo ICHIYAMA, is in what I?ll call their ?B? format - that is > it?s like ?Jap?n en Negro? in format, not like their books on Naruse and > Oshima. Although it?s slimmer than the 2008 ?Negro? book, I think in > many ways it?s an improvement. The stills, which appear in the spanish > section only, are in colour. The english feels more readable. That?s > mainly because they?ve dropped the filmographies that, these days are > better provided on the internet, and included a review of each of the > thirty-five films, by a variety of writers. Since I haven?t spotted > anything negative in any of them, perhaps I should call them ?championing?, > rather than critical pieces. Nevertheless, they stand as often the only > write-up on these films in spanish, or in english - only eleven of them > were, for example, reviewed in Midnight Eye. > These are preceded by essays by Ichiyama, on *Jishu Eiga*, and by Chris > Fujiwara, who rose to the task of identifying thematic commonalities in > independent Japanese film, producing something more readable and insightful > than the task would indicate. > San Sebastian staged a press conference > chaired by Roberto > Cueto with Ichiyama and directors, Makoto SHINOZAKI and Shinya TSUKAMOTO. > Most of the information in the press conference is better available in the > book but I learned at least one thing from the conference. There had > been talk of the self-financing needed for independent films in Japan and > the inevitable example came up of Wakamatsu sinking everything he owned > into house that was destroyed for ?United Red Army?. But Tsukamoto-san > managed to point out in a different part of the conference that he had sunk > all that he owned *and* all that he inherited from his father, who died > during the production of his ?Fires on the Plain. > Since that is showing tomorrow morning at 10.00 tomorrow morning here in > London at the Raindance Film Festival - nine hours from now, I?ve sunk my > ?9.75 into this venture and better get myself to bed. > http://calendar.raindancefestival.org/films/fires-on-the-plain > Roger > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/kinejapan > > -- Jose Monta?o ????????? *Cine y cultura japonesa:* *https://eigavision.wordpress.com/ * *https://upf.academia.edu/JoseMonta?o * -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From macyroger at yahoo.co.uk Sun Sep 27 13:00:34 2015 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 27 Sep 2015 17:00:34 +0000 (UTC) Subject: [KineJapan] San Sebastian In-Reply-To: References: Message-ID: <2032829174.2138496.1443373234619.JavaMail.yahoo@mail.yahoo.com> Thanks, Jose, for reminding me of 'The Boy and the Beast'. I see that 'Our Little Sister' has indeed won the audience award.? I wonder how the ?50,000 is shared, if at all, between director and producers.? I wonder especially as the other audience prize, to their favorite European film, went to JIA Jang-ke's 'Mountains May Depart', which has a Japanese co-producer. http://www.sansebastianfestival.com/2015/news/1/5623/in I see some irony.? It would be too cynical to define a Jishu-eiga as a film project no Japanese producer will touch, but it's certainly a film made without a producer. European films at festivals may go through several rounds of funding before completion.? We have remarked before about the dearth of independent production funds in Japan so Jia seems at least doubly blessed in having apparently found one. But anyway, congratulations to both films and their makers. Roger(An earlier, identical version of this mis-fired and only went to Jose, as I didn't get his posting to the list.? That won't be the only time this week I've seen a reply to a posting I've never seen.) ----- Forwarded Message ----- From: Jose Monta?o To: Roger Macy ; Japanese Cinema Discussion Forum Sent: Sunday, 27 September 2015, 9:19 Subject: Re: [KineJapan] San Sebastian Thank you for that brilliant report on the festival.I'll just add that apart, from ?Our Little Sister?, the official competition also included 'The Boy and the Beast'. This is remarkable since San Sebastian has been a conservative festival, perhaps too sensitive to some old fashioned film criticism gurus in Spanish media, not especially open regarding to animation. The current chairman, Jose Luis Rebordinos, has a long experience as director of a genre festival like the Fantastic and Horror Film Week of San Sebasti?n. He also was the coordinator of the journal Nosferatu (all its numbers here: https://riunet.upv.es/handle/10251/39966), a great contribution to the spreading of knowledge around cinema with some volumes devoted to Japanese cinema. Looks like his hand is being fundamental in the way the festival is, step by step, breaking with its conservative bias and introducing other forms to understand cinema. On 27 September 2015 at 09:22, Roger Macy wrote: The SanSebastian film festival finishes this evening. At time of writing, with one day?svoting still to come, Koreeda?s ?Our Little Sister? is out in front for the?50,000 audienceaward.Otherwise,Japanese films were confined to the retrospectiveon independent Japanese films since the year 2000, as was announced previouslyon this site.With respectto the numbers, it included 35 films, all subtitled in english andspanish.? For seven screenings, thespanish subtitles were substituted with basque.?All films had at least two screenings with a few having a thirdscreening.? In accordance with Festivalpractice, no screenings started before 1600.?Since the screenings were spread over the city, this meant that even themost devoted viewer could not see all the films. I could only come for three daysbut was happy to catch a few films previously unseen.? The distribution of Japanese independentfilms is very patchy and, although I cannot speak for every European country,many of these have not previously been seen in theatres in Spain and perhapsonly for one brief tour, or, in some cases, not at all, in the UK.The Festivalhas produced a book to accompany the retrospective, with spanish and englishtext. ??Nuevo Cine Independiente Japon?s2000-2015? edited by Shozo ICHIYAMA, is in what I?ll call their ?B? format -that is it?s like ?Jap?n en Negro? in format, not like their books on Naruseand Oshima.? Although it?s slimmer thanthe 2008 ?Negro? book, I think in many ways it?s an improvement.? The stills, which appear in the spanish sectiononly, are in colour.? The english feelsmore readable.? That?s mainly becausethey?ve dropped the filmographies that, these days are better provided on the internet,and included a review of each of the thirty-five films, by a variety ofwriters. Since I haven?t spotted anything negative in any of them, perhaps Ishould call them ?championing?, rather than critical pieces.? Nevertheless, they stand as often the onlywrite-up on these films in spanish, or in english - only eleven of them were,for example, reviewed in Midnight Eye.These arepreceded by essays by Ichiyama, on Jishu Eiga, and by Chris Fujiwara,who rose to the task of identifying thematic commonalities in independentJapanese film, producing something more readable and insightful than the taskwould indicate.San Sebastianstaged a press conferencechaired by Roberto Cueto with Ichiyama and directors, Makoto SHINOZAKI andShinya TSUKAMOTO.? Most of theinformation in the press conference is better available in the book but Ilearned at least one thing from the conference.?There had been talk of the self-financing needed for independent filmsin Japan and the inevitable example came up of Wakamatsu sinking everything heowned into house that was destroyed for ?United Red Army?.? But Tsukamoto-san managed to point out in a differentpart of the conference that he had sunk all that he owned and all thathe inherited from his father, who died during the production of his ?Fires onthe Plain.Since that isshowing tomorrow morning at 10.00 tomorrow morning here in London at theRaindance Film Festival - nine hours from now, I?ve sunk my ?9.75 into thisventure and better get myself to bed.http://calendar.raindancefestival.org/films/fires-on-the-plainRoger _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan -- Jose Monta?o?????????Cine y cultura japonesa: https://eigavision.wordpress.com/https://upf.academia.edu/JoseMonta?o -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From macyroger at yahoo.co.uk Wed Sep 30 05:33:23 2015 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 30 Sep 2015 09:33:23 +0000 (UTC) Subject: [KineJapan] San Sebastian In-Reply-To: <2032829174.2138496.1443373234619.JavaMail.yahoo@mail.yahoo.com> References: <2032829174.2138496.1443373234619.JavaMail.yahoo@mail.yahoo.com> Message-ID: <1706867585.4365103.1443605603251.JavaMail.yahoo@mail.yahoo.com> To partially answer my own question, the audience award at San Sebastian "goes to the distributor of the film in Spain".http://www.sansebastianfestival.com/2015/awards_and_jury_members/1/4961/in The San Sebastain festival website lists 'sales' contact for each film but unlike, say, the London Film Festival, does not list the domestic distributor. The sales contact is Wildbunch.? For 'Mountains May Depart' its MK2.? Both are based in Paris.? I don't know whether or how the Festival could enforce 'distributor'.? Wildbunch have been less than conspicuous in distributing some earlier Koreeda films in the UK.Roger From: Roger Macy To: Japanese Cinema Discussion Forum Sent: Sunday, 27 September 2015, 18:00 Subject: Re: [KineJapan] San Sebastian Thanks, Jose, for reminding me of 'The Boy and the Beast'. I see that 'Our Little Sister' has indeed won the audience award.? I wonder how the ?50,000 is shared, if at all, between director and producers.? I wonder especially as the other audience prize, to their favorite European film, went to JIA Jang-ke's 'Mountains May Depart', which has a Japanese co-producer. http://www.sansebastianfestival.com/2015/news/1/5623/in I see some irony.? It would be too cynical to define a Jishu-eiga as a film project no Japanese producer will touch, but it's certainly a film made without a producer. European films at festivals may go through several rounds of funding before completion.? We have remarked before about the dearth of independent production funds in Japan so Jia seems at least doubly blessed in having apparently found one. But anyway, congratulations to both films and their makers. Roger(An earlier, identical version of this mis-fired and only went to Jose, as I didn't get his posting to the list.? That won't be the only time this week I've seen a reply to a posting I've never seen.) ----- Forwarded Message ----- From: Jose Monta?o To: Roger Macy ; Japanese Cinema Discussion Forum Sent: Sunday, 27 September 2015, 9:19 Subject: Re: [KineJapan] San Sebastian Thank you for that brilliant report on the festival.I'll just add that apart, from ?Our Little Sister?, the official competition also included 'The Boy and the Beast'. This is remarkable since San Sebastian has been a conservative festival, perhaps too sensitive to some old fashioned film criticism gurus in Spanish media, not especially open regarding to animation. The current chairman, Jose Luis Rebordinos, has a long experience as director of a genre festival like the Fantastic and Horror Film Week of San Sebasti?n. He also was the coordinator of the journal Nosferatu (all its numbers here: https://riunet.upv.es/handle/10251/39966), a great contribution to the spreading of knowledge around cinema with some volumes devoted to Japanese cinema. Looks like his hand is being fundamental in the way the festival is, step by step, breaking with its conservative bias and introducing other forms to understand cinema. On 27 September 2015 at 09:22, Roger Macy wrote: The SanSebastian film festival finishes this evening. At time of writing, with one day?svoting still to come, Koreeda?s ?Our Little Sister? is out in front for the?50,000 audienceaward.Otherwise,Japanese films were confined to the retrospectiveon independent Japanese films since the year 2000, as was announced previouslyon this site.With respectto the numbers, it included 35 films, all subtitled in english andspanish.? For seven screenings, thespanish subtitles were substituted with basque.?All films had at least two screenings with a few having a thirdscreening.? In accordance with Festivalpractice, no screenings started before 1600.?Since the screenings were spread over the city, this meant that even themost devoted viewer could not see all the films. I could only come for three daysbut was happy to catch a few films previously unseen.? The distribution of Japanese independentfilms is very patchy and, although I cannot speak for every European country,many of these have not previously been seen in theatres in Spain and perhapsonly for one brief tour, or, in some cases, not at all, in the UK.The Festivalhas produced a book to accompany the retrospective, with spanish and englishtext. ??Nuevo Cine Independiente Japon?s2000-2015? edited by Shozo ICHIYAMA, is in what I?ll call their ?B? format -that is it?s like ?Jap?n en Negro? in format, not like their books on Naruseand Oshima.? Although it?s slimmer thanthe 2008 ?Negro? book, I think in many ways it?s an improvement.? The stills, which appear in the spanish sectiononly, are in colour.? The english feelsmore readable.? That?s mainly becausethey?ve dropped the filmographies that, these days are better provided on the internet,and included a review of each of the thirty-five films, by a variety ofwriters. Since I haven?t spotted anything negative in any of them, perhaps Ishould call them ?championing?, rather than critical pieces.? Nevertheless, they stand as often the onlywrite-up on these films in spanish, or in english - only eleven of them were,for example, reviewed in Midnight Eye.These arepreceded by essays by Ichiyama, on Jishu Eiga, and by Chris Fujiwara,who rose to the task of identifying thematic commonalities in independentJapanese film, producing something more readable and insightful than the taskwould indicate.San Sebastianstaged a press conferencechaired by Roberto Cueto with Ichiyama and directors, Makoto SHINOZAKI andShinya TSUKAMOTO.? Most of theinformation in the press conference is better available in the book but Ilearned at least one thing from the conference.?There had been talk of the self-financing needed for independent filmsin Japan and the inevitable example came up of Wakamatsu sinking everything heowned into house that was destroyed for ?United Red Army?.? But Tsukamoto-san managed to point out in a differentpart of the conference that he had sunk all that he owned and all thathe inherited from his father, who died during the production of his ?Fires onthe Plain.Since that isshowing tomorrow morning at 10.00 tomorrow morning here in London at theRaindance Film Festival - nine hours from now, I?ve sunk my ?9.75 into thisventure and better get myself to bed.http://calendar.raindancefestival.org/films/fires-on-the-plainRoger _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan -- Jose Monta?o?????????Cine y cultura japonesa: https://eigavision.wordpress.com/https://upf.academia.edu/JoseMonta?o _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From amnornes at umich.edu Wed Sep 23 18:09:32 2015 From: amnornes at umich.edu (Markus Nornes) Date: Wed, 23 Sep 2015 18:09:32 -0400 Subject: [KineJapan] Manchukuo Collection Message-ID: <20596562-C378-41C6-83EA-75C2A9A7E488@umich.edu> Harvard just added a substantial collection to its already substantial holdings from Manchuria. It includes a multi-volume scrapbook on the production On the Road to Peace in the Orient, movie posters and who knows what else. I hope to see someday! http://news.harvard.edu/gazette/story/2015/09/testament-to-manchukuo-2/ Markus Sent from my iPad -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From aaron.gerow at yale.edu Mon Sep 7 10:30:48 2015 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 7 Sep 2015 10:30:48 -0400 Subject: [KineJapan] Discovery of Onoe Matsunosuke film Message-ID: <970352CC-323A-4CB0-B689-DCE2CD703CE8@yale.edu> One of Onoe Matsunosuke's late Chushingura films has been discovered in Kyoto. Medama no Matchan, as he was called, is often termed Japan's first film star, but even though he appeared in nearly 1000 films, only about a dozen remain. What was found was a complete Pathe Baby version of his 1926 Chushingura (The Loyal 47 Ronin). While Pathe Baby versions were made for the home market during the prewar (using 9.5mm film), and were often abridged versions of theatrical films, this version is 66 minutes, and far exceeds the 20 minute fragment that previously existed for this film (also in a 9.5mm version). http://headlines.yahoo.co.jp/hl?a=20150907-00000029-asahi-movi The film was acquired by the Kyoto Toy Film Museum from a person in Kumamoto and will be shown at the Kyoto Film Festival in October. http://toyfilm-museum.jp/ Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, EALL Yale University 320 York Street, Room 311 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From aaron.gerow at yale.edu Tue Sep 1 20:42:41 2015 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 1 Sep 2015 20:42:41 -0400 Subject: [KineJapan] Possible demise of Eiga Geijutsu Message-ID: The Mainichi ran an article on the possible demise of Eiga Geijutsu: http://sp.mainichi.jp/shimen/news/20150831dde012040002000c.html Eiga Geijutsu (Film Art) is a film magazine that was founded in 1946. Having written for them many times (including choosing the yearly best ten for many years), I know the good and the bad points about Eigei, but with there being very few places to write critical accounts of film these days, it would be sorely missed if it disappeared. But it is losing money with every issue (Terawaki Ken said on Facebook it?s in the red about 500,000 yen per issue). Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, EALL Yale University 320 York Street, Room 311 PO Box 208324 New Haven, CT 06520-8236 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From Alex.Zahlten at gmx.de Wed Sep 2 06:38:25 2015 From: Alex.Zahlten at gmx.de (Alex Zahlten) Date: Wed, 2 Sep 2015 12:38:25 +0200 Subject: [KineJapan] Possible demise of Eiga Geijutsu In-Reply-To: References: Message-ID: An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From stephen at asianfilm.info Mon Sep 28 23:13:18 2015 From: stephen at asianfilm.info (Stephen Cremin) Date: Mon, 28 Sep 2015 20:13:18 -0700 Subject: [KineJapan] Film Location Question In-Reply-To: References: Message-ID: <1443496397832.8e47cf4@Nodemailer> If you had a similar question for Seoul or Taipei one could direct your question to the Seoul Film Commission or the Taipei Film Commission. Or direct you to a handful of line producers who would know the answer off the top of their head. I'm sure there are similar people in Tokyo who would know the answer. I don't think there is a Tokyo Film Commission, but you can try the Tokyo-based Japan Film Commission (jfc at japanfc.org; +81 3 5643 5330;?+81 3 5643 1251). The only direct emails I have are for deputy director Sekine Ruriko (sekine at japanfc.org) and secretary general Murofushi Tamon (murofushi at japanfc.org). In terms of films shot inside JP Tower, have you thought to contact their PR office or management office? I can imagine film producers also needing (or desiring) to get permission from the building management to use the exterior in a shot. Indie films notwithstanding, the maintream industry would likely always ask permission. Are you showing any films that feature Bangkok's Suvarnabhumi Airport? I'm not sure how easy it is to film there; LOST IN THAILAND, for example, used the other Bangkok airport. For foreign films you'd ask Paul Spurrier at the Thai Film Office (paul at films.in.th); for domestic films, I could direct you to a couple of local line producers. Stephen Cremin On Tue, Sep 29, 2015 at 7:16 AM, Kutza Assistant wrote: > Hi Roger- > Thanks for catching that- I think I misinterpreted the email I received > about the buildings. > What I'm looking for are films shot near or in the JP tower next to Tokyo > Station. > http://www.bustler.net/index.php/article/jahn-designed_japan_post_tower_to_open_in_tokyo/ > I know it opened recently, but do you think there have been any recent > productions there? > Thanks, > Kaitlin > On Mon, Sep 28, 2015 at 6:00 PM, Roger Macy wrote: >> Hi, Kaitlin, >> I'm a bit confused. Looking up Helmut Jahn on wikipedia, I see he was >> born in 1940. There are very few buildings in Tokyo that date before this, >> and even fewer that date from the 19th century, but Tokyo Station is one of >> them, at least its famous red-brick facade. >> There's a fairly new building on the Maronouchi side, to the north-east, >> that seems to recall his style - I've forgotten its name. I can think of a >> few send-off scenes at Tokyo station - which usually don't show the facade >> - but I don't think these will be of use to you. >> >> I think we'd need more detail of the actual buildings he's done in Japan >> to be of any help. >> Roger >> >> ------------------------------ >> *From:* Kutza Assistant >> *To:* kinejapan at lists.osu.edu >> *Sent:* Monday, 28 September 2015, 23:10 >> *Subject:* [KineJapan] Film Location Question >> >> Hello- >> >> I emailed earlier, but I'd like to clarify a bit. I'm making a video at >> the Chicago International Film Festival as part of our Spotlight >> Architecture Program where we're honoring Helmut Jahn. I'm looking for >> clips from Hollywood and international films that have used one of his >> buildings as a location. Two locations I'm particularly interested in are >> Tokyo Station and the Japanese Post building. >> >> Let me know if you know of any films that have shot at either location. >> >> Thanks- >> Kaitlin >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.osu.edu >> https://lists.osu.edu/mailman/listinfo/kinejapan >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.osu.edu >> https://lists.osu.edu/mailman/listinfo/kinejapan >> >> -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From realswampland at yahoo.com Tue Sep 29 20:03:55 2015 From: realswampland at yahoo.com (Tim Stone) Date: Wed, 30 Sep 2015 10:03:55 +1000 Subject: [KineJapan] Film Location Question In-Reply-To: References: <1443496397832.8e47cf4@Nodemailer> Message-ID: <8CF8285B-18EB-4F5A-B7B1-0B244D0520C9@yahoo.com> Try Mako Tanaka a Japanese Film Commissioner with US Studio experience and extensive knowledge of the local scene. Or the Japan Film Commission > > Email mako_tanaka at kcva.or.jp (might be an old email address) > > Japan?s overarching Film Commission > http://www.japanfc.org/en/index.php Sent from my iPhone > On 30 Sep 2015, at 1:25 AM, Kutza Assistant wrote: > > Thanks Stephen! I've tried getting in contact with the building's PR team without much luck, but those film office contacts should be very helpful. > >> On Mon, Sep 28, 2015 at 10:13 PM, Stephen Cremin wrote: >> If you had a similar question for Seoul or Taipei one could direct your question to the Seoul Film Commission or the Taipei Film Commission. Or direct you to a handful of line producers who would know the answer off the top of their head. I'm sure there are similar people in Tokyo who would know the answer. >> >> I don't think there is a Tokyo Film Commission, but you can try the Tokyo-based Japan Film Commission (jfc at japanfc.org; +81 3 5643 5330; +81 3 5643 1251). The only direct emails I have are for deputy director Sekine Ruriko (sekine at japanfc.org) and secretary general Murofushi Tamon (murofushi at japanfc.org). >> >> In terms of films shot inside JP Tower, have you thought to contact their PR office or management office? I can imagine film producers also needing (or desiring) to get permission from the building management to use the exterior in a shot. Indie films notwithstanding, the maintream industry would likely always ask permission. >> >> Are you showing any films that feature Bangkok's Suvarnabhumi Airport? I'm not sure how easy it is to film there; LOST IN THAILAND, for example, used the other Bangkok airport. For foreign films you'd ask Paul Spurrier at the Thai Film Office (paul at films.in.th); for domestic films, I could direct you to a couple of local line producers. >> >> Stephen Cremin >> >> >> >> >> >> >>> On Tue, Sep 29, 2015 at 7:16 AM, Kutza Assistant wrote: >>> Hi Roger- >>> >>> Thanks for catching that- I think I misinterpreted the email I received about the buildings. >>> >>> What I'm looking for are films shot near or in the JP tower next to Tokyo Station. >>> http://www.bustler.net/index.php/article/jahn-designed_japan_post_tower_to_open_in_tokyo/ >>> >>> I know it opened recently, but do you think there have been any recent productions there? >>> >>> Thanks, >>> Kaitlin >>> >>>> On Mon, Sep 28, 2015 at 6:00 PM, Roger Macy wrote: >>>> Hi, Kaitlin, >>>> I'm a bit confused. Looking up Helmut Jahn on wikipedia, I see he was born in 1940. There are very few buildings in Tokyo that date before this, and even fewer that date from the 19th century, but Tokyo Station is one of them, at least its famous red-brick facade. >>>> There's a fairly new building on the Maronouchi side, to the north-east, that seems to recall his style - I've forgotten its name. I can think of a few send-off scenes at Tokyo station - which usually don't show the facade - but I don't think these will be of use to you. >>>> >>>> I think we'd need more detail of the actual buildings he's done in Japan to be of any help. >>>> Roger >>>> >>>> From: Kutza Assistant >>>> To: kinejapan at lists.osu.edu >>>> Sent: Monday, 28 September 2015, 23:10 >>>> Subject: [KineJapan] Film Location Question >>>> >>>> Hello- >>>> >>>> I emailed earlier, but I'd like to clarify a bit. I'm making a video at the Chicago International Film Festival as part of our Spotlight Architecture Program where we're honoring Helmut Jahn. I'm looking for clips from Hollywood and international films that have used one of his buildings as a location. Two locations I'm particularly interested in are Tokyo Station and the Japanese Post building. >>>> >>>> Let me know if you know of any films that have shot at either location. >>>> >>>> Thanks- >>>> Kaitlin >>>> >>>> _______________________________________________ >>>> KineJapan mailing list >>>> KineJapan at lists.osu.edu >>>> https://lists.osu.edu/mailman/listinfo/kinejapan >>>> >>>> >>>> >>>> _______________________________________________ >>>> KineJapan mailing list >>>> KineJapan at lists.osu.edu >>>> https://lists.osu.edu/mailman/listinfo/kinejapan >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at lists.osu.edu >> https://lists.osu.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From pslarson2 at gmail.com Tue Sep 29 07:17:41 2015 From: pslarson2 at gmail.com (Peter Larson) Date: Tue, 29 Sep 2015 14:17:41 +0300 Subject: [KineJapan] Kaze ni tatsu Lion Message-ID: The movie is not my personal favorite, but I went to a screening here in Nairobi, Kenya of Miike Takashi's "Kaze ni Tatsu Lion" filmed partially here in Kenya. Again, not the greatest of films (a lot of it is downright odd if you live here), but it was good to see the Kenyan audience react so enthusiastically. Not that Japanese audiences would ever pick up on it, but Miike took some serious liberties with the facts, placing people from the Lake region in a desert region in the north. I suppose it is just as odd as the theme song by Sada Masashi, which places flamingoes native to Lake Naivasha at Lake Victoria where they don't exist. Those were the more minor oddities. I was more perplexed by the constant publicity for Nagasaki, which were most certainly compensated somehow and the odd peace-nicking and finger pointing at people fighting in the Sudanese Civil War. It's a war. Yes, people will go back to it once they've recovered from their wounds at a hospital. Actually, the whole treatment of the war was fairly thin (but not surprising for an entertainment film). Not sure why it was even relevant. The main character was based in Nakuru, not Turkana and never saw people from the war. Worse yet, the real guy isn't dead, unlike in the movie (though the book might be to blame). The Minister for Sports, Culture and the Arts made an interesting speech on the tax incentives to allow filming in Kenya, many of which are the most competitive on the continent. Much of the speech was directed at Maeda Shigeji, who was on hand to screen the film. This was the first time that a Japanese film was screened in Kenya, outside of the monthly events sponsored by the Embassy here. It really wasn't clear what Miike wanted to accomplish with the film. Maeda had indicated that they had submitted it to Cannes and Berlin, but it was rejected for both. Perhaps he thought that this might be his Constant Gardener, though there might be better ways of getting in international film festivals than imitating films which got in in the past. Very odd. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From pslarson2 at gmail.com Wed Sep 30 06:19:52 2015 From: pslarson2 at gmail.com (Peter Larson) Date: Wed, 30 Sep 2015 13:19:52 +0300 Subject: [KineJapan] Kaze ni tatsu Lion In-Reply-To: <116970812.3738285.1443537234615.JavaMail.yahoo@mail.yahoo.com> References: <116970812.3738285.1443537234615.JavaMail.yahoo@mail.yahoo.com> Message-ID: Miike's film was shown with Japanese subtitles from the domestic theatrical version for all the English, Swahili, Maa and Turkana. Overlapped were English subtitles for all the Japanese. The films shown at the embassy are subtitled in English. In Nairobi, just about everyone speaks English. The Japanese actors in Kaze ni tatsu Lion all all had to speak English at various points with various level of fluency. Ozawa Takao was probably the weakest of the bunch, actually but as some of the actors were recruited from our local Japanese staff, he had some pretty tough competition to deal with. Unfortunately, the producers didn't have them speaking Swahili which would have been more appropriate, given the setting and probably easier to deliver. I was most surprised that the Kenyans picked up on all of the cues in the Nagasaki portions of the film. I figured some of it would be lost on them, but they laughed at all the appropriate places. Miike's team was only here for a short time but I thought they did a good job of taking the advice of the people around them (both Kenyans and Japanese) for the film. I'm hoping that other productions come here at some point (as does Kenya!). It would be interesting to do an analysis of Japanese films made on the Continent, particularly in Kenya and particularly in light of Japan's odd but lasting connection here. Japan has been here since independence and at one time was the largest donor of foreign aid to Kenya, out-sizing even the Americans and the Brits. On Tue, Sep 29, 2015 at 5:33 PM, Roger Macy wrote: > Thanks, Peter for this interesting report. > > Could I ask about the languages ? Are the monthly embassy screenings just > with english subtitles ? Similarly for Miike's film ? And how about in > the film - how was it conveyed, if at all, when it wasn't japanese that the > characters would be speaking. > > Roger > > ------------------------------ > *From:* Peter Larson > *To:* Japanese Cinema Discussion Forum ; > Japanese Cinema Discussion Forum > *Sent:* Tuesday, 29 September 2015, 12:17 > *Subject:* [KineJapan] Kaze ni tatsu Lion > > The movie is not my personal favorite, but I went to a screening here in > Nairobi, Kenya of Miike Takashi's "Kaze ni Tatsu Lion" filmed partially > here in Kenya. > > Again, not the greatest of films (a lot of it is downright odd if you live > here), but it was good to see the Kenyan audience react so > enthusiastically. Not that Japanese audiences would ever pick up on it, but > Miike took some serious liberties with the facts, placing people from the > Lake region in a desert region in the north. I suppose it is just as odd as > the theme song by Sada Masashi, which places flamingoes native to Lake > Naivasha at Lake Victoria where they don't exist. > > Those were the more minor oddities. I was more perplexed by the constant > publicity for Nagasaki, which were most certainly compensated somehow and > the odd peace-nicking and finger pointing at people fighting in the > Sudanese Civil War. It's a war. Yes, people will go back to it once they've > recovered from their wounds at a hospital. Actually, the whole treatment of > the war was fairly thin (but not surprising for an entertainment film). > > Not sure why it was even relevant. The main character was based in Nakuru, > not Turkana and never saw people from the war. Worse yet, the real guy > isn't dead, unlike in the movie (though the book might be to blame). > > The Minister for Sports, Culture and the Arts made an interesting speech > on the tax incentives to allow filming in Kenya, many of which are the most > competitive on the continent. Much of the speech was directed at Maeda > Shigeji, who was on hand to screen the film. > > This was the first time that a Japanese film was screened in Kenya, > outside of the monthly events sponsored by the Embassy here. > > It really wasn't clear what Miike wanted to accomplish with the film. > Maeda had indicated that they had submitted it to Cannes and Berlin, but it > was rejected for both. Perhaps he thought that this might be his Constant > Gardener, though there might be better ways of getting in international > film festivals than imitating films which got in in the past. > > Very odd. > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > KineJapan mailing list > KineJapan at lists.osu.edu > https://lists.osu.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan From gsjohnson at otsuma.ac.jp Tue Sep 1 00:02:53 2015 From: gsjohnson at otsuma.ac.jp (gsjohnson at otsuma.ac.jp) Date: Tue, 01 Sep 2015 13:02:53 +0900 Subject: [KineJapan] abolition of humanities and social sciences atNational Universities in Japan In-Reply-To: <008e01d0e402$03be8730$0b3b9590$@comcast.net> References: <1440907744708.e0d6f90b@Nodemailer> <697736074.5887028.1441018210872.JavaMail.root@kansaigaidai.ac.jp> <008e01d0e402$03be8730$0b3b9590$@comcast.net> Message-ID: <20150901040253.000017AD.0139@otsuma.ac.jp> Some Japanese private schools have already changed their bylaws to make faculty meetings merely advisory and give all administrative power to the president. This policy is actually an imitation of US practices, where faculty senates are generally advisory, can say whatever they want but have no real power, and the university president acts as a corporate CEO. At least in the US tenured faculty have tenure for life, whereas in Japan they only have whatever protections are available to other workers and only until a relatively young mandatory retirement age (after which some universities rehire them on temporary contracts to do exactly the same job for a much lower salary). The government could eliminate the protection from arbitrary firing by making university professors a special category of workers and putting them all on temporary contracts. Who, besides university professors would protest? The lawyers might speak out but they're now protesting the unconstitutional nature of the war bills to no avail. Would Japanese courts protect professors from firing for political speech or activities? Many private colleges teach nothing but humanities and social sciences and have no vocational programs per se, so I don't see a mass closing of private programs in those areas. It could be good for them in the sense that students who can't do math (or are interested in humanities) but want a college degree will have fewer public options and face more competition for them, leading to an increase in applicants at private schools. There will probably be an increase in vocational credentials, like teacher training, tour guide certificate training, etc. offered by humanities departments. Why anybody would look at US universities, which are becoming amusement parks with increasing numbers of well paid upper administrators, as a model is beyond me. The rankings data are badly skewed towards American universities. First they're in the English speaking world and second if you ask all college presidents which school is the best, America has the most colleges and college presidents so American colleges are going to stand out. They have been better funded for research since the Cold War but that doesn't mean they now teach better than universities elsewhere. The assault on humanities baffles me because I teach in a humanities department and my students have never had much trouble finding jobs. I' ve had many students go into banking, stock brokerages, pharmaceutical companies, IT, construction companies, real estate, police departments, other public offices. Humanities majors are doing any and every kind of work you might think a business major would do. Where is the huge demand in Japan for engineers and accountants? Most of the new jobs being created now are low paid temporary ones, not high skilled professional posts. The legislature and MoE are stocked full of humanities and social science graduates, mainly law and political science, maybe some economics (that the government wants to get rid of in favor of business. Econ departments might contain a few Marxists!) There are very few science or engineering majors involved in making this policy. But they apparently think Japan doesn't need young people who can use a foreign language fluently and interact, negotiate, or do business with people who aren't Japanese. Greg _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://lists.osu.edu/mailman/listinfo/kinejapan