From pslarson2 at gmail.com  Mon Feb 29 01:14:34 2016
From: pslarson2 at gmail.com (Peter Larson)
Date: Mon, 29 Feb 2016 09:14:34 +0300
Subject: [KineJapan] Ogawa Production on DVD
In-Reply-To: <BB0C14FB-248E-4363-AE88-62D65378A462@gmail.com>
References: <BB0C14FB-248E-4363-AE88-62D65378A462@gmail.com>
Message-ID: <CAMsAtOb7kTFDRCk97srXpStGDgLKzmPLQ5mOUrdqGPEnmxbcuA@mail.gmail.com>

I was just in Japan and there's a plan to release everything. The staff
couldn't tell me when, but the flyers were up... without a release date.

On Sat, Feb 20, 2016 at 4:40 PM, matteo boscarol <matteo.boscarol at gmail.com>
wrote:

> Dear All,
>
> On June 2nd the Japanese label DIG will release 3 Ogawa Production's
> documentaries on DVD: Sea of Youth, The Opressed Students and A Report From
> Haneda. Apparently there also a project to release all the 20 works made by
> Ogawa and his group. This is a big news, for me at least, my only doubt is
> about the quality of the transfer....
>
> Regards
>
> Matteo Boscarol
> ????? ????
> ???????????
> - LuccaFilmFestival
> Asia and Japan Correspondent
> https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=CpcriEnG7Ui-LmMcPj-79SVzXHFug7qpd2_YrqY8WjE&s=yr9mUvFTrJ6k2PZFuSeBlyGY_1Nhu5jvF2YJZaMSEjg&e= 
> - Sonatine2010
> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=CpcriEnG7Ui-LmMcPj-79SVzXHFug7qpd2_YrqY8WjE&s=6x1JeWw7RE9u7VCH5uvIUp5sLhlJeXKAZLnAk3qEu_E&e= 
> - Storia(e) del Documentario in Giappone
> https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=CpcriEnG7Ui-LmMcPj-79SVzXHFug7qpd2_YrqY8WjE&s=FFyhR2lXW9Ff9l5cSdGdEEJvKJSEk7QmZARwQrtuu1I&e= 
> - Screenweek Japan
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=CpcriEnG7Ui-LmMcPj-79SVzXHFug7qpd2_YrqY8WjE&s=N_wZQ2N1kR2uHlvF3-KiZJX1wyJz43F32R5sMK9FiC4&e= 
>
>
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From amnornes at umich.edu  Mon Feb 29 20:57:20 2016
From: amnornes at umich.edu (amnornes at umich.edu)
Date: Tue, 1 Mar 2016 09:57:20 +0800
Subject: [KineJapan] Ogawa Production on DVD
In-Reply-To: <CAMsAtOb7kTFDRCk97srXpStGDgLKzmPLQ5mOUrdqGPEnmxbcuA@mail.gmail.com>
References: <BB0C14FB-248E-4363-AE88-62D65378A462@gmail.com>
	<CAMsAtOb7kTFDRCk97srXpStGDgLKzmPLQ5mOUrdqGPEnmxbcuA@mail.gmail.com>
Message-ID: <8D486801-2BE5-438B-BDD3-407ACE073074@umich.edu>

The exclusion of subtitles is unfortunate. However, I know that Zakka is considering putting some films out. In both cases, budgets are naturally the problem.

Markus

Sent from my iPhone

> On Feb 29, 2016, at 2:14 PM, Peter Larson <pslarson2 at gmail.com> wrote:
> 
> I was just in Japan and there's a plan to release everything. The staff couldn't tell me when, but the flyers were up... without a release date. 
> 
>> On Sat, Feb 20, 2016 at 4:40 PM, matteo boscarol <matteo.boscarol at gmail.com> wrote:
>> Dear All, 
>> 
>> On June 2nd the Japanese label DIG will release 3 Ogawa Production's documentaries on DVD: Sea of Youth, The Opressed Students and A Report From Haneda. Apparently there also a project to release all the 20 works made by Ogawa and his group. This is a big news, for me at least, my only doubt is about the quality of the transfer....
>> 
>> Regards
>> 
>> Matteo Boscarol
>> ????? ????
>> ???????????
>> - LuccaFilmFestival
>> Asia and Japan Correspondent
>> https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=7UmDHg_BHg9a5VpFJyecQq1ENVMfJcFZUnJfr9oJXGM&s=kWRoYRGAn08XBaayhg60hDhAIQbyVIQuckvDY3EU614&e= 
>> - Sonatine2010
>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=7UmDHg_BHg9a5VpFJyecQq1ENVMfJcFZUnJfr9oJXGM&s=XAM0J2dG0QxZu3jfgXD-aAKtCtoNTWbegY5vR7jgxEA&e= 
>> - Storia(e) del Documentario in Giappone
>> https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=7UmDHg_BHg9a5VpFJyecQq1ENVMfJcFZUnJfr9oJXGM&s=tcJLqauJoq8IE_-FGCZH2HooDwoW2qlF1ixwJZO60sQ&e= 
>> - Screenweek Japan
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=7UmDHg_BHg9a5VpFJyecQq1ENVMfJcFZUnJfr9oJXGM&s=Brxaeovf2spkfo8T2FZnMpLdh7yfiVuvrOYS0fvn9Uo&e= 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=7UmDHg_BHg9a5VpFJyecQq1ENVMfJcFZUnJfr9oJXGM&s=Brxaeovf2spkfo8T2FZnMpLdh7yfiVuvrOYS0fvn9Uo&e= 
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From matteo.boscarol at gmail.com  Mon Feb 29 22:13:22 2016
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Tue, 1 Mar 2016 12:13:22 +0900
Subject: [KineJapan] Ogawa Production on DVD
In-Reply-To: <8D486801-2BE5-438B-BDD3-407ACE073074@umich.edu>
References: <BB0C14FB-248E-4363-AE88-62D65378A462@gmail.com>
	<CAMsAtOb7kTFDRCk97srXpStGDgLKzmPLQ5mOUrdqGPEnmxbcuA@mail.gmail.com>
	<8D486801-2BE5-438B-BDD3-407ACE073074@umich.edu>
Message-ID: <7BCCA0D7-B962-4946-8D8C-298FCCC46FD3@gmail.com>

Of course everyone interested in Japanese cinema would appreciate English subtitles and a pristine quality transfer, but sometimes, and this is one of these times, we have to be content with what we get. Again, I haven't watched the DVDs yet and I don't know anything about their quality, but the case reminds me of Fighting Soldiers' DVD, a bare bones release with less-than-excellent image quality, but still an important work to have on a physical format, in my opinion at least. 

Matteo Boscarol
????? ????
???????????
- LuccaFilmFestival
Asia and Japan Correspondent
https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=laWY91sQW9iDK6FrP6pUqGj0ouDzm8ivmuvjVSaxql0&e= 
- Sonatine2010
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=FQ6p5a49fy9tu1zB8W6ELlknw1LX86lgejgkyhIYw2U&e= 
- Storia(e) del Documentario in Giappone
https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=WnJ_gG1HCxzwwv_FDwRkG7hHlGnFQc635ZPVxv6EBMw&e= 
- Screenweek Japan

> On Mar 1, 2016, at 10:57 AM, amnornes at umich.edu wrote:
> 
> The exclusion of subtitles is unfortunate. However, I know that Zakka is considering putting some films out. In both cases, budgets are naturally the problem.
> 
> Markus
> 
> Sent from my iPhone
> 
>> On Feb 29, 2016, at 2:14 PM, Peter Larson <pslarson2 at gmail.com> wrote:
>> 
>> I was just in Japan and there's a plan to release everything. The staff couldn't tell me when, but the flyers were up... without a release date. 
>> 
>>> On Sat, Feb 20, 2016 at 4:40 PM, matteo boscarol <matteo.boscarol at gmail.com> wrote:
>>> Dear All, 
>>> 
>>> On June 2nd the Japanese label DIG will release 3 Ogawa Production's documentaries on DVD: Sea of Youth, The Opressed Students and A Report From Haneda. Apparently there also a project to release all the 20 works made by Ogawa and his group. This is a big news, for me at least, my only doubt is about the quality of the transfer....
>>> 
>>> Regards
>>> 
>>> Matteo Boscarol
>>> ????? ????
>>> ???????????
>>> - LuccaFilmFestival
>>> Asia and Japan Correspondent
>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=laWY91sQW9iDK6FrP6pUqGj0ouDzm8ivmuvjVSaxql0&e= 
>>> - Sonatine2010
>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=FQ6p5a49fy9tu1zB8W6ELlknw1LX86lgejgkyhIYw2U&e= 
>>> - Storia(e) del Documentario in Giappone
>>> https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=WnJ_gG1HCxzwwv_FDwRkG7hHlGnFQc635ZPVxv6EBMw&e= 
>>> - Screenweek Japan
>>> 
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.osu.edu
>>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=L_bPjmP5PE6jYEDF-BR0QenlrbL81ADW3Qo0ljpo_7U&e= 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=L_bPjmP5PE6jYEDF-BR0QenlrbL81ADW3Qo0ljpo_7U&e= 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=jkPjt_o6zaCMcXuIwiGQl3RUkm4TB9EoVkvjOdgAtUM&s=L_bPjmP5PE6jYEDF-BR0QenlrbL81ADW3Qo0ljpo_7U&e= 
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From amnornes at umich.edu  Wed Feb 17 15:28:18 2016
From: amnornes at umich.edu (amnornes at umich.edu)
Date: Wed, 17 Feb 2016 15:28:18 -0500
Subject: [KineJapan] 2015 Boxoffice
Message-ID: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>

Jasper's excellent analysis of the new Boxoffice figures released by Eiren. 

https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwICAg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=iCri4c4LiP0AcNRZZPicfwn00oLWXeDIngwA5LMcx0M&s=-fw-S-nLhf9q1hcdhAu9A7rYsHybsh5W7Y3xoWImSfI&e= 

Markus

Sent from my iPhone
_______________________________________________
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From jasper_sharp at hotmail.com  Wed Feb 17 15:43:36 2016
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Wed, 17 Feb 2016 20:43:36 +0000
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>
References: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>
Message-ID: <DUB115-W789B921AB4F6234021FE5EF7AE0@phx.gbl>

Thanks for posting Markus.This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.



The 8th Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.

The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 


The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals", Dennis Harvey, Variety
"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times



> From: amnornes at umich.edu
> Date: Wed, 17 Feb 2016 15:28:18 -0500
> To: kinejapan at lists.service.ohio-state.edu
> Subject: [KineJapan] 2015 Boxoffice
> 
> Jasper's excellent analysis of the new Boxoffice figures released by Eiren. 
> 
> https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=_39Q_DKzHxPAaElIOkd3BMDF2EErBeqgOf-2tvYr3GA&s=tHlyQ3mFoDw0OmUieYlAo1pPdtGVIgB25XPp5sDMV1c&e= 
> 
> Markus
> 
> Sent from my iPhone
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=_39Q_DKzHxPAaElIOkd3BMDF2EErBeqgOf-2tvYr3GA&s=T1ykQuh3oAleARO321aiKLixx3fOA_u4SsUbFQufv8s&e= 
 		 	   		  
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From stephen at asianfilm.info  Wed Feb 17 20:03:20 2016
From: stephen at asianfilm.info (Stephen Cremin)
Date: Thu, 18 Feb 2016 01:03:20 +0000 (UTC)
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <DUB115-W789B921AB4F6234021FE5EF7AE0@phx.gbl>
References: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>
	<DUB115-W789B921AB4F6234021FE5EF7AE0@phx.gbl>
Message-ID: <A526D65F575B91C1.1561E07A-6FD6-489F-8A96-799C9F831E24@mail.outlook.com>

In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.
In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).
We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.
In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)
In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.
The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.
In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.
In his article, Jasper wonders about the state of home video and VOD in Japan.
Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.
It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.
As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.
(Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)
I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ?2500 purchases. Greedy double dipping.
In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ?1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.
In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.
Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.
And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.

Stephen
    _____________________________
From: Jasper Sharp <jasper_sharp at hotmail.com>
Sent: Thursday, February 18, 2016 4:43 AM
Subject: Re: [KineJapan] 2015 Boxoffice
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>


            Thanks for posting Markus.       This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.          
         
     
     
                                   
                         The?8th         ?Asia House Film Festival?will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.                         
                         
                                   The Creeping Garden?- A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them,?directed by Tim Grabham and Jasper Sharp.?
                      
                      
                                         The book,?The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds?out?now from?Alchimia Publishing.                            
                            ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",                                              ?Dennis Harvey,?Variety                                                   
                            "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times                               
                      
                  
     
           > From: amnornes at umich.edu      
> Date: Wed, 17 Feb 2016 15:28:18 -0500      
> To: kinejapan at lists.service.ohio-state.edu      
> Subject: [KineJapan] 2015 Boxoffice      
>       
> Jasper's excellent analysis of the new Boxoffice figures released by Eiren.       
>       
> https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=4lsp-wUeLjNxvkGsfpaiYu3yuXEE6R7vdr4rw7WkOy0&s=vrUO4rp5u2caJg75lHP2pMHU4Dz1iay1xZnaccQtpmY&e=       
>       
> Markus      
>       
> Sent from my iPhone      
> _______________________________________________      
> KineJapan mailing list      
> KineJapan at lists.osu.edu      
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=4lsp-wUeLjNxvkGsfpaiYu3yuXEE6R7vdr4rw7WkOy0&s=VK351-KgBS6TPrBglI9WqgqBTnttKC9RXvdC9Wup2ww&e=       
                 


  
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From amnornes at umich.edu  Wed Feb 17 22:41:21 2016
From: amnornes at umich.edu (amnornes at umich.edu)
Date: Wed, 17 Feb 2016 22:41:21 -0500
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <A526D65F575B91C1.1561E07A-6FD6-489F-8A96-799C9F831E24@mail.outlook.com>
References: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>
	<DUB115-W789B921AB4F6234021FE5EF7AE0@phx.gbl>
	<A526D65F575B91C1.1561E07A-6FD6-489F-8A96-799C9F831E24@mail.outlook.com>
Message-ID: <A3115382-9E9D-420A-AFB8-19A86D7F23EF@umich.edu>

That was an amazing post. 

It makes me curious about the degree to which Japanese cinema depends on foreign markets. That's a missing piece that feels obvious when you hear about CJ making Vietnamese films!

Markus

PS: the independent (ie., middle finger saluting the censors) crowd in China is being shit down at the center (Songzhuang, Kunming), but I'm also hearing word of a lively new film festival culture in the hinterlands where all those new theaters are sprouting up. 

Sent from my iPhone

> On Feb 17, 2016, at 8:03 PM, Stephen Cremin <stephen at asianfilm.info> wrote:
> 
> In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.
> 
> In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).
> 
> We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.
> 
> In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)
> 
> In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.
> 
> The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.
> 
> In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.
> 
> In his article, Jasper wonders about the state of home video and VOD in Japan.
> 
> Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.
> 
> It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.
> 
> As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.
> 
> (Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)
> 
> I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ?2500 purchases. Greedy double dipping.
> 
> In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ?1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.
> 
> In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.
> 
> Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.
> 
> And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.
> 
> Stephen
> _____________________________
> From: Jasper Sharp <jasper_sharp at hotmail.com>
> Sent: Thursday, February 18, 2016 4:43 AM
> Subject: Re: [KineJapan] 2015 Boxoffice
> To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
> 
> 
> Thanks for posting Markus.
> This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.
> 
> 
> 
> 
> 
> The 8th  Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.
> 
> 
> The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
> 
> 
> The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
> 
> ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",  Dennis Harvey, Variety
> 
> "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times
> 
> 
> 
> 
> > From: amnornes at umich.edu 
> > Date: Wed, 17 Feb 2016 15:28:18 -0500 
> > To: kinejapan at lists.service.ohio-state.edu 
> > Subject: [KineJapan] 2015 Boxoffice 
> > 
> > Jasper's excellent analysis of the new Boxoffice figures released by Eiren. 
> > 
> > https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=ivx9DGe5XXhH7FinWkYi6PqNhRLpGeFqixrt-pI49JA&s=hrRzY5zN9TMGZuRJ5ac1QcNmfYwFLuLOzsuzYvuENgk&e=  
> > 
> > Markus 
> > 
> > Sent from my iPhone 
> > _______________________________________________ 
> > KineJapan mailing list 
> > KineJapan at lists.osu.edu 
> > https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=ivx9DGe5XXhH7FinWkYi6PqNhRLpGeFqixrt-pI49JA&s=HfLH-lH3DbYjMtG4CLSqW35QLuAhSkjsWurjd2nHueg&e=  
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=ivx9DGe5XXhH7FinWkYi6PqNhRLpGeFqixrt-pI49JA&s=HfLH-lH3DbYjMtG4CLSqW35QLuAhSkjsWurjd2nHueg&e= 
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From kprovenc at gmail.com  Wed Feb 17 23:20:02 2016
From: kprovenc at gmail.com (ken provencher)
Date: Thu, 18 Feb 2016 13:20:02 +0900
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <A3115382-9E9D-420A-AFB8-19A86D7F23EF@umich.edu>
References: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>
	<DUB115-W789B921AB4F6234021FE5EF7AE0@phx.gbl>
	<A526D65F575B91C1.1561E07A-6FD6-489F-8A96-799C9F831E24@mail.outlook.com>
	<A3115382-9E9D-420A-AFB8-19A86D7F23EF@umich.edu>
Message-ID: <CAEBH1rm0ZLbAGsSUH=MYuXW-bCG+skC3ozc67ijMrrz4xcr==g@mail.gmail.com>

Just to follow up on Markus's (and Stephen's) point about CJ Entertainment.
It'll be interesting to see what happens when its localized remake of "Miss
Granny" comes out in Japan in April. The Chinese and Vietnamese versions
did very well. (In Vietnam, it was the #1 film of 2015.) After that, come
the Thai and Indonesian versions, then maybe Germany and elsewhere.

Ken

On Thu, Feb 18, 2016 at 12:41 PM, <amnornes at umich.edu> wrote:

> That was an amazing post.
>
> It makes me curious about the degree to which Japanese cinema depends on
> foreign markets. That's a missing piece that feels obvious when you hear
> about CJ making Vietnamese films!
>
> Markus
>
> PS: the independent (ie., middle finger saluting the censors) crowd in
> China is being shit down at the center (Songzhuang, Kunming), but I'm also
> hearing word of a lively new film festival culture in the hinterlands where
> all those new theaters are sprouting up.
>
> Sent from my iPhone
>
> On Feb 17, 2016, at 8:03 PM, Stephen Cremin <stephen at asianfilm.info>
> wrote:
>
> In Asia, there are several countries where changes in exhibition patterns
> have changed the kinds of films being made.
>
> In China, admissions have grown five-fold since 2010 from 250 million a
> year to 1.25 billion a year in 2015. This is in line with an almost
> five-fold increase in the number of cinema screens nationwide. Most of the
> growth is in smaller cities, which has bred a wave of less-sophisticated
> comedies (and an anti-vulgarity campaign by Xi Jinping).
>
> We saw this in Thailand a decade ago when some of the highest-grossing
> films were low-brow comedies aimed at audiences outside Bangkok, often
> financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH)
> also released films for this market. This go-low approach has probably
> contributed to the current mistrust in local cinema.
>
> In Indonesia, the dominance of the Cinema 21 chain - which directly or
> through its subsidiaries - had locked down deals with all the American
> studios, meant that exhibitor Blitzmegaplex had to branch out and try new
> things. It's focus on Korean cinema, which Cinema 21 had largely
> overlooked, gave it a foothold. (It now has a Korean owner.)
>
> In Taiwan, local films could hardly get exhibition outside Taipei in the
> early 2000s. Or even much distribution in Taipei. When Warner pulled out,
> to focus on countries with faster-growing exhibition sectors, local films
> managed to get broader distribution, helped by the national roll-out of
> multiplexes. And Taiwan has its low-brow phase too.
>
> The Vietnam cinema market is growing at the same or at even a faster pace
> than the China market. As in China, it's a young audience, and local films
> are breaking box office records every year. The majority of cinemas in
> Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is
> also producing local-language films of increasing quality.
>
> In the Philippines, about 15 years ago the most powerful exhibitor became
> a born-again Christian and blocked 18-rated films from his cinemas, which
> overnight decimated the local film industry, which was dominated by "bold"
> films. Film festivals have stepped in as an alternative distribution
> platform, majority-financing the local films that they screen.
>
> In his article, Jasper wonders about the state of home video and VOD in
> Japan.
>
> Compared to the rest of Asia, the home video market is relatively strong
> in Japan, even if it's not growing. There's no home video market in South
> Korea and China, East Asia's other two main film markets. Streaming is big
> in both, although it's become very regulated in China in the past year
> which has decimated the availability of non-US foreign content.
>
> It costs about US$3 a month in China to subscribe to Netflix-like services
> that have 1080p HD films about two months after their cinema release.
> iTunes China sells 1080p HD versions of local Chinese films for less than
> the price of the pirated DVD9, and usually less than that of a DVD5.
> There's no fear that such low prices will damage the theatrical box office.
>
> As a price comparison, the number one film on iTunes China right now is
> SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to
> US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order
> ahead of its 22 March release. The Japan version has burnt-in Japanese
> subtitles. In China, the subtitles can be turned off.
>
> (Cinema ticket prices in China are comparable to Japan. Three local films
> have made more than US$150 million in the past ten days; one of the three -
> Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6%
> last year to US$6.75 billion, with local films taking a 61.6% market share.
> 686 local films were produced, but just a fraction released.)
>
> I suspect that Japanese copyright owners are so concerned about damaging
> DVD income that they are not letting VOD take off. Japanese consumers are
> still waiting longer for an inferior product at a higher price. The number
> film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled
> versions as separate ?2500 purchases. Greedy double dipping.
>
> In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group
> interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket
> prices, and he said he wants to but it's impossible to get the cooperation
> of the exhibitors. When tickets cost ?1800, of course one goes to seen
> known properties: sequels, manga/novel/TV adaptations.
>
> In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong
> said that Chinese producers must let exhibitors have the power for a few
> more years so that they continue expanding the number of cinemas in China.
> And the government is keeping them in check, fining and suspending licenses
> for suspicious box office reporting, and holding back US films.
>
> Nobody is keeping the Japanese exhibitors in check. It's remarkable to me
> that box office information is much more transparent in China than anywhere
> else in Asia, including South Korea. I do have sympathy and respect for
> Kogyo Tsugin-sha, but the government should come in and license their data
> for the whole film industry.
>
> And Jasper is right that we need to have information on VOD
> sales/rentals/streams to best understand the market, but even in the US
> that data is not published by Netflix, etc. In China and Korea where 90% of
> a film's income is made in theatrical, it's not so much of an issue. But in
> Japan and the US it more often determines the viability of a film.
>
> Stephen
> _____________________________
> From: Jasper Sharp <jasper_sharp at hotmail.com>
> Sent: Thursday, February 18, 2016 4:43 AM
> Subject: Re: [KineJapan] 2015 Boxoffice
> To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
>
>
> Thanks for posting Markus.
> This is an extension of a broader interest of mine, about how local
> economics shape production and exhibition practices.I actually wrote this
> before the BFI released its own UK statistics for 2015, which bizarrely
> claimed the new Star Wars film as "British". But also, I would really love
> to pursue this kind of research further, on how newly built or newly
> refurbished flagship individual venues completely change the cinematic
> landscape and represent a definitive rupture in film history. In London in
> 2014, a swathe of independent exhibition venues closed down, while in 2015
> there were a number of quite significant destination venues opened up. It
> looks like a similar pattern in Japan, all due to the digitial
> revolution/transition/switchover, but the economics with regards to
> attracting audiences are very different. I know academics in the UK have
> very little interest in looking at this area from an international
> standpoint, but I think it's fascinating, and would really welcome any
> feedback on this - after all, Kinejapan has been a little quiet of late
> compared with the kind of discussions we used to have about ten years ago.
>
>
>
>
>
> *The 8th
> <https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=XwOkn8ViOFOPs1fVHEpV8hRmVVcUHq8iGIWVxXcXgJc&e= >* * Asia
> House Film Festival
> <https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=XwOkn8ViOFOPs1fVHEpV8hRmVVcUHq8iGIWVxXcXgJc&e= >** will
> take place from 22 February to 5 March 2016, with a line-up that includes
> 11 feature films, three documentaries and five short films coming from
> countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.*
>
>
> *The Creeping Garden <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.creepinggarden.com_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=x3a0X497t_MVbPtXq2HqljptpYWqHnQC2grEkakjOQw&e= > - A Real-Life
> Science-Fiction Story about Slime Moulds and the People Who Work With
> them, **directed by Tim Grabham and Jasper Sharp. *
>
>
>
>
> * The book, The Creeping Garden: Irrational Encounters with Plasmodial
> Slime Moulds out now from Alchimia Publishing
> <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.alchimiapublishing.com_creeping-2Dgarden_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=3Vc8EtxSGG94w1CaqG3BKYSAteGLJ2fx31gBcbSZE6k&e= >. ?An improbably
> delightful documentary about slime molds.... good-humored but not campy in
> its regard of some genuinely fascinating research, and full of trippy
> visuals",  Dennis Harvey, Variety
> <https://urldefense.proofpoint.com/v2/url?u=http-3A__variety.com_2015_film_reviews_film-2Dreview-2Dthe-2Dcreeping-2Dgarden-2D1201485006_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=TpsTQ02Topj6CpcNQTgwBTX8XtXci98ULh7gKWEqtKM&e= >
> "A surprising investigation of perception, thought and life itself",
> Nicholas Rapold, The New York Times
> <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.nytimes.com_2015_09_30_movies_review-2Dthe-2Dcreeping-2Dgarden-2Don-2Dthe-2Dwonders-2Dof-2Dthe-2Dslime-2Dmold.html&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=qfqLrlP1lOGoxloESz1M5D9h4pKI5BMawRUkyHc5wMI&e= >
> *
>
>
>
>
> > From: amnornes at umich.edu
> > Date: Wed, 17 Feb 2016 15:28:18 -0500
> > To: kinejapan at lists.service.ohio-state.edu
> > Subject: [KineJapan] 2015 Boxoffice
> >
> > Jasper's excellent analysis of the new Boxoffice figures released by
> Eiren.
> >
> > https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=0JcMyOOwP3D-r3QwmSzfbP4_juqnFGMjIy7OWSjFBD8&e= 
> >
> > Markus
> >
> > Sent from my iPhone
> > _______________________________________________
> > KineJapan mailing list
> > KineJapan at lists.osu.edu
> > https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=u4lLC0_SXj5iAMYM1Ku4yC_ildSChdCHqDo6TrMxT3E&e= 
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=u4lLC0_SXj5iAMYM1Ku4yC_ildSChdCHqDo6TrMxT3E&e= 
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eZtOl9VCQ4dRcxl15mIoL4WHSnne9X0xcee7t9gyoL0&s=u4lLC0_SXj5iAMYM1Ku4yC_ildSChdCHqDo6TrMxT3E&e= 
>
>
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From jasper_sharp at hotmail.com  Thu Feb 18 05:33:14 2016
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Thu, 18 Feb 2016 10:33:14 +0000
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <CAEBH1rm0ZLbAGsSUH=MYuXW-bCG+skC3ozc67ijMrrz4xcr==g@mail.gmail.com>
References: <132BE1B2-D9C0-4096-848C-C0E1787051A2@umich.edu>,
	<DUB115-W789B921AB4F6234021FE5EF7AE0@phx.gbl>,
	<A526D65F575B91C1.1561E07A-6FD6-489F-8A96-799C9F831E24@mail.outlook.com>,
	<A3115382-9E9D-420A-AFB8-19A86D7F23EF@umich.edu>,
	<CAEBH1rm0ZLbAGsSUH=MYuXW-bCG+skC3ozc67ijMrrz4xcr==g@mail.gmail.com>
Message-ID: <DUB115-W1054FE91D367C9D953C396BF7AF0@phx.gbl>


















 

This is turning into a rather
fascinating discussion, so thanks to everyone for engaging, especially Stephen
with the amazing wealth of information about the broader situation across Asia.

 

In answer to Markus? question about
foreign markets, I don?t know about nowadays, but I can imagine it?s
negligible. I calculated these stats for the 1950s back in my PhD days, and it
fluctuated between 1.4% of gross domestic income in 1948 to a high of 3.1% in
1953 but generally remained around the 2% mark, where it stayed for much of the
1960s. Back in those days, Okinawa was considered a foreign market, and most of
Japan?s film exports were to neighbouring Asian markets like Hong Kong or
Taiwan, or if the US, then to theatres in Japanese communities in places like
Hawaii or Los Angeles. The European market earned Japanese distributors little
more than prestige ? which explains why Daiei eventually tanked while Toei
triumphed. I can?t see the situation being much different today, except that
China and South Korea would now be bigger markets for Japanese producers.

 

Matteo, thanks for mentioning the
rental market, which has all but died in Europe and America. It?s been a while
since I was last in Japan, so I?d assumed that Tsutaya was heading down a
similar path as Blockbusters, but it is great to know that it?s still going
strong.

As for Korona, I don?t know much
about this company, and thanks for raising the issue as again it points to
another area of potential research. My information about 4DX largely came from
this article in the Japan Times by Shusuke Murai: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_culture_2015_12_18_films_force-2Dawakens-2Dinterest-2Dmotion-2Deffects-2Dtheaters-23.VsWTfITzTt8&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=bbph6v9S4cCHVQwXRSyb32tQV9cIoHIh9fXdg9AyUuQ&s=6E3sA45pY1Lj9hATcDxFXAJ6i2-tRfJobIoDfFXj7b8&e= 

I think it reinforces the point
though that while 4DX was quite late to arrive in Japan, its expansion has been
pretty rapid ? a bit like widescreen scope technologies in the 1950s, although
this time the expansion is driven within Asia and not by markets in ?the West?.
The UK currently has three 4DX installations, and I don?t think the US has many
more.

This to me reinforces my observation
that the future of cinema is not with online services such as Netflix but still
in traditional big-screen cinema presentation and those that argue otherwise
are doing so purely from a Eurocentric viewpoint.

Thanks Ken for drawing my attention
to the film MISS GRANNY and its various remakes, which again I was not aware of,
but this too highlights how little we in the English-language speaking world are
kept abreast of wider developments in international cinema. Clearly, as the
situation at the Chinese box office in the past weeks demonstrates, Hollywood
and its dependencies are actually becoming less and less relevant in the wider scheme
of things.

 

It?s very interesting to compare all this
with UK stats. Apparently last year?s 11% market share was the third
highest on record, but let?s compare this with other countries: The 11% 2015
market share for local films compares with 55.4% in Japan, 35.2% in France, 25%
in Germany, and 18.9% in Spain. Look also at the list of the Top 20 ?British?
films from 2015 and note how many of them are actually US co-productions, like
ostensibly culturally English titles as THE SECOND BEST EXOTIC MARIGOLD HOTEL
and LADY IN THE VAN (see: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.bfi.org.uk_news-2Dopinion_news-2Dbfi_announcements_bfi-2Dstatistics-2D2015-2Duk-2Dindependent-2Dfilms-2Dwin-2Daudiences&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=bbph6v9S4cCHVQwXRSyb32tQV9cIoHIh9fXdg9AyUuQ&s=sNJcLw-LieF93uGoa7WB-zOdKjjZ7xskIkdDoFcIt4w&e= )

 

So it does look like Japan is in a
particularly strong position with regards to domestic consumption of its own
product with its perennially popular franchises, most of which have been
launched on TV. Meanwhile, echoing Japan, Britain had its worst ever revenues
for foreign-language titles last year. It?s all a bit worrying, I think,
audiences withdrawing into the safety of the homegrown product and not
manifesting any curiosity about the outside world, counter to the trend around
the turn of the millennium. However, this seems to be a worldwide problem from
what I can see.




The 8th Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.

The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 


The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals", Dennis Harvey, Variety
"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times



Date: Thu, 18 Feb 2016 13:20:02 +0900
From: kprovenc at gmail.com
To: kinejapan at lists.osu.edu
Subject: Re: [KineJapan] 2015 Boxoffice

Just to follow up on Markus's (and Stephen's) point about CJ Entertainment. It'll be interesting to see what happens when its localized remake of "Miss Granny" comes out in Japan in April. The Chinese and Vietnamese versions did very well. (In Vietnam, it was the #1 film of 2015.) After that, come the Thai and Indonesian versions, then maybe Germany and elsewhere.
Ken
On Thu, Feb 18, 2016 at 12:41 PM,  <amnornes at umich.edu> wrote:
That was an amazing post. 
It makes me curious about the degree to which Japanese cinema depends on foreign markets. That's a missing piece that feels obvious when you hear about CJ making Vietnamese films!
Markus
PS: the independent (ie., middle finger saluting the censors) crowd in China is being shit down at the center (Songzhuang, Kunming), but I'm also hearing word of a lively new film festival culture in the hinterlands where all those new theaters are sprouting up. 

Sent from my iPhone
On Feb 17, 2016, at 8:03 PM, Stephen Cremin <stephen at asianfilm.info> wrote:


    In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.
In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).
We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.
In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)
In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.
The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.
In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.
In his article, Jasper wonders about the state of home video and VOD in Japan.
Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.
It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.
As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.
(Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)
I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ?2500 purchases. Greedy double dipping.
In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ?1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.
In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.
Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.
And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.

Stephen
    _____________________________
From: Jasper Sharp <jasper_sharp at hotmail.com>
Sent: Thursday, February 18, 2016 4:43 AM
Subject: Re: [KineJapan] 2015 Boxoffice
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>


            Thanks for posting Markus.       This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.          
         
     
     
                                   
                         The 8th          Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.                         
                         
                                   The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
                      
                      
                                         The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.                            
                            ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",                                               Dennis Harvey, Variety                                                   
                            "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times                               
                      
                  
     
           > From: amnornes at umich.edu      
> Date: Wed, 17 Feb 2016 15:28:18 -0500      
> To: kinejapan at lists.service.ohio-state.edu      
> Subject: [KineJapan] 2015 Boxoffice      
>       
> Jasper's excellent analysis of the new Boxoffice figures released by Eiren.       
>       
> https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=bbph6v9S4cCHVQwXRSyb32tQV9cIoHIh9fXdg9AyUuQ&s=4OWa242iY7spCZhMjINejbjXLxwN2tvg9AenKrrgNNk&e=       
>       
> Markus      
>       
> Sent from my iPhone      
> _______________________________________________      
> KineJapan mailing list      
> KineJapan at lists.osu.edu      
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=bbph6v9S4cCHVQwXRSyb32tQV9cIoHIh9fXdg9AyUuQ&s=NCSuzftxz7cCLgBAwFj9GhVzb0-9nEcuGnuInYkcXkE&e=       
                 


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From matteo.boscarol at gmail.com  Thu Feb 18 06:18:41 2016
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Thu, 18 Feb 2016 20:18:41 +0900
Subject: [KineJapan] 2015 Boxoffice
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I think my mail was sent just to Jasper, I'll paste it below just for the sake of clarity: 

Hello Jasper, 

Great and well written article, just a couple of doubts: 
you're writing that there are 2 companies pushing the 4D in Japan, United Cinemas, and Toho, but how about Korona? They have 8 4DX screens throughout Japan, if I'm not wrong, or is Korona part of United Cinema? 

As for the price of DVDs and Blu-ray in Japan, it's true that they're expensive and might bring more people to experience cinema in theatres, but let's not forget that the rental business (Tsutaya, Geo and recently Amazon) is still very popular in Japan and reasonably cheap (400 or 350 yen for a new release). 

Just my 2 cents

All the best


Matteo Boscarol
????? ????
???????????
- LuccaFilmFestival
Asia and Japan Correspondent
https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=SRv03BAcNSJIHwlK_TsscxF5Wko-tztG-NG6CJZUAnU&e= 
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- Storia(e) del Documentario in Giappone
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- Screenweek Japan

> On Feb 18, 2016, at 7:33 PM, Jasper Sharp <jasper_sharp at hotmail.com> wrote:
> 
>  
> 
> This is turning into a rather fascinating discussion, so thanks to everyone for engaging, especially Stephen with the amazing wealth of information about the broader situation across Asia.
> 
>  
> 
> In answer to Markus? question about foreign markets, I don?t know about nowadays, but I can imagine it?s negligible. I calculated these stats for the 1950s back in my PhD days, and it fluctuated between 1.4% of gross domestic income in 1948 to a high of 3.1% in 1953 but generally remained around the 2% mark, where it stayed for much of the 1960s. Back in those days, Okinawa was considered a foreign market, and most of Japan?s film exports were to neighbouring Asian markets like Hong Kong or Taiwan, or if the US, then to theatres in Japanese communities in places like Hawaii or Los Angeles. The European market earned Japanese distributors little more than prestige ? which explains why Daiei eventually tanked while Toei triumphed. I can?t see the situation being much different today, except that China and South Korea would now be bigger markets for Japanese producers.
> 
>  
> 
> Matteo, thanks for mentioning the rental market, which has all but died in Europe and America. It?s been a while since I was last in Japan, so I?d assumed that Tsutaya was heading down a similar path as Blockbusters, but it is great to know that it?s still going strong.
> 
> As for Korona, I don?t know much about this company, and thanks for raising the issue as again it points to another area of potential research. My information about 4DX largely came from this article in the Japan Times by Shusuke Murai: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_culture_2015_12_18_films_force-2Dawakens-2Dinterest-2Dmotion-2Deffects-2Dtheaters-23.VsWTfITzTt8&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=QUUuLqGjTnqawXib3oPpNlZlBH6Zp4R-dZiw9A4Y3GQ&e= 
> 
> I think it reinforces the point though that while 4DX was quite late to arrive in Japan, its expansion has been pretty rapid ? a bit like widescreen scope technologies in the 1950s, although this time the expansion is driven within Asia and not by markets in ?the West?. The UK currently has three 4DX installations, and I don?t think the US has many more.
> 
> This to me reinforces my observation that the future of cinema is not with online services such as Netflix but still in traditional big-screen cinema presentation and those that argue otherwise are doing so purely from a Eurocentric viewpoint.
> 
> Thanks Ken for drawing my attention to the film MISS GRANNY and its various remakes, which again I was not aware of, but this too highlights how little we in the English-language speaking world are kept abreast of wider developments in international cinema. Clearly, as the situation at the Chinese box office in the past weeks demonstrates, Hollywood and its dependencies are actually becoming less and less relevant in the wider scheme of things.
> 
>  
> 
> It?s very interesting to compare all this with UK stats. Apparently last year?s 11% market share was the third highest on record, but let?s compare this with other countries: The 11% 2015 market share for local films compares with 55.4% in Japan, 35.2% in France, 25% in Germany, and 18.9% in Spain. Look also at the list of the Top 20 ?British? films from 2015 and note how many of them are actually US co-productions, like ostensibly culturally English titles as THE SECOND BEST EXOTIC MARIGOLD HOTEL and LADY IN THE VAN (see: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.bfi.org.uk_news-2Dopinion_news-2Dbfi_announcements_bfi-2Dstatistics-2D2015-2Duk-2Dindependent-2Dfilms-2Dwin-2Daudiences&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=5MKcKR4qVDlm26_kllAwxcDbWI7WE6XkljquhDD6iG4&e= )
> 
>  
> 
> So it does look like Japan is in a particularly strong position with regards to domestic consumption of its own product with its perennially popular franchises, most of which have been launched on TV. Meanwhile, echoing Japan, Britain had its worst ever revenues for foreign-language titles last year. It?s all a bit worrying, I think, audiences withdrawing into the safety of the homegrown product and not manifesting any curiosity about the outside world, counter to the trend around the turn of the millennium. However, this seems to be a worldwide problem from what I can see.
> 
> 
> 
> 
> The 8th Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.
> 
> 
> The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
> 
> 
> The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
> 
> ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals", Dennis Harvey, Variety
> 
> "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times
> 
> 
> 
> 
> Date: Thu, 18 Feb 2016 13:20:02 +0900
> From: kprovenc at gmail.com
> To: kinejapan at lists.osu.edu
> Subject: Re: [KineJapan] 2015 Boxoffice
> 
> Just to follow up on Markus's (and Stephen's) point about CJ Entertainment. It'll be interesting to see what happens when its localized remake of "Miss Granny" comes out in Japan in April. The Chinese and Vietnamese versions did very well. (In Vietnam, it was the #1 film of 2015.) After that, come the Thai and Indonesian versions, then maybe Germany and elsewhere.
> 
> Ken
> 
> On Thu, Feb 18, 2016 at 12:41 PM, <amnornes at umich.edu> wrote:
> That was an amazing post. 
> 
> It makes me curious about the degree to which Japanese cinema depends on foreign markets. That's a missing piece that feels obvious when you hear about CJ making Vietnamese films!
> 
> Markus
> 
> PS: the independent (ie., middle finger saluting the censors) crowd in China is being shit down at the center (Songzhuang, Kunming), but I'm also hearing word of a lively new film festival culture in the hinterlands where all those new theaters are sprouting up. 
> 
> Sent from my iPhone
> 
> On Feb 17, 2016, at 8:03 PM, Stephen Cremin <stephen at asianfilm.info> wrote:
> 
> In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.
> 
> In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).
> 
> We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.
> 
> In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)
> 
> In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.
> 
> The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.
> 
> In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.
> 
> In his article, Jasper wonders about the state of home video and VOD in Japan.
> 
> Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.
> 
> It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.
> 
> As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.
> 
> (Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)
> 
> I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ?2500 purchases. Greedy double dipping.
> 
> In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ?1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.
> 
> In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.
> 
> Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.
> 
> And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.
> 
> Stephen
> _____________________________
> From: Jasper Sharp <jasper_sharp at hotmail.com>
> Sent: Thursday, February 18, 2016 4:43 AM
> Subject: Re: [KineJapan] 2015 Boxoffice
> To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
> 
> 
> Thanks for posting Markus.
> This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.
> 
> 
> 
> 
> 
> The 8th  Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.
> 
> 
> The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
> 
> 
> The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
> 
> ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",  Dennis Harvey, Variety
> 
> "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times
> 
> 
> 
> 
> > From: amnornes at umich.edu 
> > Date: Wed, 17 Feb 2016 15:28:18 -0500 
> > To: kinejapan at lists.service.ohio-state.edu 
> > Subject: [KineJapan] 2015 Boxoffice 
> > 
> > Jasper's excellent analysis of the new Boxoffice figures released by Eiren. 
> > 
> > https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=DgbpjqKj7zuteP0KbOeLx9ducMRK46-394PReBr6H-Y&e=  
> > 
> > Markus 
> > 
> > Sent from my iPhone 
> > _______________________________________________ 
> > KineJapan mailing list 
> > KineJapan at lists.osu.edu 
> > https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=i5gpwpi8uFaq12jeF4gVwMhoCenp56w2F8HRf4G8_Q8&s=jJbwnM_ceIa0W_afhtQWyyAFl0ueByivBivSvOL4nsA&e=  
> 
> 
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From macyroger at yahoo.co.uk  Thu Feb 18 06:41:36 2016
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Thu, 18 Feb 2016 11:41:36 +0000 (UTC)
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <110F595C-5662-499E-BF56-CD92656BD072@gmail.com>
References: <110F595C-5662-499E-BF56-CD92656BD072@gmail.com>
Message-ID: <1281434420.9837867.1455795696354.JavaMail.yahoo@mail.yahoo.com>

Thanks for all this.One other detail that may have assisted the majors in maintaining astoundingly high prices for DVDs? in Japan is that, beside the language barrier, the regional coding, and introspective tastes, there seems to be stronger verical integration with the hardware suppliers.? Typically, Japanese tvs have had an integrated disk player that will lock down if it is offered a foreign disk.? Region-free players do not seem so easily available and home-recorded disks I have got from Japan seem unplayable on anything we can find.? Even if there are workarounds for the technically connected, it has made a substantial additional fence around the market.Roger


 
      From: matteo boscarol <matteo.boscarol at gmail.com>
 To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu> 
 Sent: Thursday, 18 February 2016, 11:18
 Subject: Re: [KineJapan] 2015 Boxoffice
   
I think my mail was sent just to Jasper, I'll paste it below just for the sake of clarity:?
Hello Jasper,?
Great and well written article, just a couple of doubts:?you're writing that there are 2 companies pushing the 4D in Japan,?United Cinemas, and Toho, but how about Korona? They have 8 4DX screens throughout Japan, if I'm not wrong, or is Korona part of United Cinema??
As for the price of DVDs and Blu-ray in Japan, it's true that they're expensive and might bring more people to experience cinema in theatres, but let's not forget that the rental business (Tsutaya, Geo and recently Amazon) is still very popular in Japan and reasonably cheap (400 or 350 yen for a new release).?
Just my 2 cents
All the best

Matteo Boscarol
????? ???????????????- LuccaFilmFestivalAsia and Japan Correspondenthttp://luccafilmfestival.it- Sonatine2010http://www.sonatine2010.blogspot.jp- Storia(e) del Documentario in Giapponehttp://storiadocgiappone.wordpress.com- Screenweek Japan
On Feb 18, 2016, at 7:33 PM, Jasper Sharp <jasper_sharp at hotmail.com> wrote:


#yiv9623788538 #yiv9623788538 --.yiv9623788538hmmessage P{margin:0px;padding:0px;}#yiv9623788538 body.yiv9623788538hmmessage{font-size:12pt;font-family:Calibri;}#yiv9623788538 ?This is turning into a ratherfascinating discussion, so thanks to everyone for engaging, especially Stephenwith the amazing wealth of information about the broader situation across Asia. ?In answer to Markus? question aboutforeign markets, I don?t know about nowadays, but I can imagine it?snegligible. I calculated these stats for the 1950s back in my PhD days, and itfluctuated between 1.4% of gross domestic income in 1948 to a high of 3.1% in1953 but generally remained around the 2% mark, where it stayed for much of the1960s. Back in those days, Okinawa was considered a foreign market, and most ofJapan?s film exports were to neighbouring Asian markets like Hong Kong orTaiwan, or if the US, then to theatres in Japanese communities in places likeHawaii or Los Angeles. The European market earned Japanese distributors littlemore than prestige ? which explains why Daiei eventually tanked while Toeitriumphed. I can?t see the situation being much different today, except thatChina and South Korea would now be bigger markets for Japanese producers. ?Matteo, thanks for mentioning therental market, which has all but died in Europe and America. It?s been a whilesince I was last in Japan, so I?d assumed that Tsutaya was heading down asimilar path as Blockbusters, but it is great to know that it?s still goingstrong. As for Korona, I don?t know muchabout this company, and thanks for raising the issue as again it points toanother area of potential research. My information about 4DX largely came fromthis article in the Japan Times by Shusuke Murai: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_culture_2015_12_18_films_force-2Dawakens-2Dinterest-2Dmotion-2Deffects-2Dtheaters-23.VsWTfITzTt8&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=NXkX0LZqkDF2hrvK92TZmHcME9f-wa2hIFeg5PJD_hA&s=VgOyGPp2oOG5QM3dkXj65hsz-mrOxi8VfxNPtIX3FyE&e=  I think it reinforces the pointthough that while 4DX was quite late to arrive in Japan, its expansion has beenpretty rapid ? a bit like widescreen scope technologies in the 1950s, althoughthis time the expansion is driven within Asia and not by markets in ?the West?.The UK currently has three 4DX installations, and I don?t think the US has manymore. This to me reinforces my observationthat the future of cinema is not with online services such as Netflix but stillin traditional big-screen cinema presentation and those that argue otherwiseare doing so purely from a Eurocentric viewpoint. Thanks Ken for drawing my attentionto the film MISS GRANNY and its various remakes, which again I was not aware of,but this too highlights how little we in the English-language speaking world arekept abreast of wider developments in international cinema. Clearly, as thesituation at the Chinese box office in the past weeks demonstrates, Hollywoodand its dependencies are actually becoming less and less relevant in the wider schemeof things. ?It?s very interesting to compare all thiswith UK stats. Apparently last year?s 11% market share was?the thirdhighest on record, but let?s compare this with other countries: The 11% 2015market share for local films compares with 55.4% in Japan, 35.2% in France, 25%in Germany, and 18.9% in Spain. Look also at the list of the Top 20 ?British?films from 2015 and note how many of them are actually US co-productions, likeostensibly culturally English titles as THE SECOND BEST EXOTIC MARIGOLD HOTELand LADY IN THE VAN (see: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.bfi.org.uk_news-2Dopinion_news-2Dbfi_announcements_bfi-2Dstatistics-2D2015-2Duk-2Dindependent-2Dfilms-2Dwin-2Daudiences&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=NXkX0LZqkDF2hrvK92TZmHcME9f-wa2hIFeg5PJD_hA&s=otp1F07fJlOgyQnlDiYOEa1yz1WG-5KJ_bcCNlPeXHE&e= ) ?So it does look like Japan is in aparticularly strong position with regards to domestic consumption of its ownproduct with its perennially popular franchises, most of which have beenlaunched on TV. Meanwhile, echoing Japan, Britain had its worst ever revenuesfor foreign-language titles last year. It?s all a bit worrying, I think,audiences withdrawing into the safety of the homegrown product and notmanifesting any curiosity about the outside world, counter to the trend aroundthe turn of the millennium. However, this seems to be a worldwide problem fromwhat I can see. 


The?8th?Asia House Film Festival?will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.

The Creeping Garden?- A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them,?directed by Tim Grabham and Jasper Sharp.?


The book,?The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds?out?now from?Alchimia Publishing.
?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",?Dennis Harvey,?Variety
"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times



Date: Thu, 18 Feb 2016 13:20:02 +0900
From: kprovenc at gmail.com
To: kinejapan at lists.osu.edu
Subject: Re: [KineJapan] 2015 Boxoffice

Just to follow up on Markus's (and Stephen's) point about CJ Entertainment. It'll be interesting to see what happens when its localized remake of "Miss Granny" comes out in Japan in April. The Chinese and Vietnamese versions did very well. (In Vietnam, it was the #1 film of 2015.) After that, come the Thai and Indonesian versions, then maybe Germany and elsewhere.
Ken
On Thu, Feb 18, 2016 at 12:41 PM, <amnornes at umich.edu> wrote:

That was an amazing post.?
It makes me curious about the degree to which Japanese cinema depends on foreign markets. That's a missing piece that feels obvious when you hear about CJ making Vietnamese films!
Markus
PS: the independent (ie., middle finger saluting the censors) crowd in China is being shit down at the center (Songzhuang, Kunming), but I'm also hearing word of a lively new film festival culture in the hinterlands where all those new theaters are sprouting up.?

Sent from my iPhone
On Feb 17, 2016, at 8:03 PM, Stephen Cremin <stephen at asianfilm.info> wrote:


 In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.
In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).
We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.
In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)
In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.
The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.
In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.
In his article, Jasper wonders about the state of home video and VOD in Japan.
Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.
It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.
As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.
(Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)
I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ?2500 purchases. Greedy double dipping.
In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ?1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.
In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.
Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.
And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.

Stephen _____________________________
From: Jasper Sharp <jasper_sharp at hotmail.com>
Sent: Thursday, February 18, 2016 4:43 AM
Subject: Re: [KineJapan] 2015 Boxoffice
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>


  Thanks for posting Markus.  This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.   
  
 
 
     
   The?8th ?Asia House Film Festival?will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.   
   
     The Creeping Garden?- A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them,?directed by Tim Grabham and Jasper Sharp.?
   
   
     The book,?The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds?out?now from?Alchimia Publishing.   
   ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",    ?Dennis Harvey,?Variety     
   "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times    
   
   
 
  > From: amnornes at umich.edu 
> Date: Wed, 17 Feb 2016 15:28:18 -0500 
> To: kinejapan at lists.service.ohio-state.edu 
> Subject: [KineJapan] 2015 Boxoffice 
> 
> Jasper's excellent analysis of the new Boxoffice figures released by Eiren. 
> 
> https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=NXkX0LZqkDF2hrvK92TZmHcME9f-wa2hIFeg5PJD_hA&s=LxS8K9ybRpyajq8tRCNmgF3jQIvlvSlVN5HX414X_tw&e=  
> 
> Markus 
> 
> Sent from my iPhone 
> _______________________________________________ 
> KineJapan mailing list 
> KineJapan at lists.osu.edu 
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=NXkX0LZqkDF2hrvK92TZmHcME9f-wa2hIFeg5PJD_hA&s=LtqSDdfoHQV1IAXjVfAVsK-FVBop3k9PpJCB5SKxrMY&e=  
     

 

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From matteo.boscarol at gmail.com  Thu Feb 18 06:52:39 2016
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Thu, 18 Feb 2016 20:52:39 +0900
Subject: [KineJapan] 2015 Boxoffice
In-Reply-To: <1281434420.9837867.1455795696354.JavaMail.yahoo@mail.yahoo.com>
References: <110F595C-5662-499E-BF56-CD92656BD072@gmail.com>
	<1281434420.9837867.1455795696354.JavaMail.yahoo@mail.yahoo.com>
Message-ID: <AD2F554A-FDF3-4FD5-835E-B54C913EE61A@gmail.com>

DVD and Blu-ray prices are still high in Japan, but I think in the last 2-3 years they got cheaper, it's just a feeling based on my buying experience though, not something I can prove. 

Matteo Boscarol
????? ????
???????????
- LuccaFilmFestival
Asia and Japan Correspondent
https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=Zw4aS68AydXfA3SJ9Q_X74KMhyt4oNXjUwDNTtrI_U8&e= 
- Sonatine2010
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=VBE9cInCgmCt6HWzZLKf-o1XDiaBMbDw5b73cQc_kWY&e= 
- Storia(e) del Documentario in Giappone
https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=7oy8aGmOr5EWyfxd8d1ThYwhL2ulRTV64DFab3eJ-ZA&e= 
- Screenweek Japan

> On Feb 18, 2016, at 8:41 PM, Roger Macy <macyroger at yahoo.co.uk> wrote:
> 
> Thanks for all this.
> One other detail that may have assisted the majors in maintaining astoundingly high prices for DVDs  in Japan is that, beside the language barrier, the regional coding, and introspective tastes, there seems to be stronger verical integration with the hardware suppliers.  Typically, Japanese tvs have had an integrated disk player that will lock down if it is offered a foreign disk.  Region-free players do not seem so easily available and home-recorded disks I have got from Japan seem unplayable on anything we can find.  Even if there are workarounds for the technically connected, it has made a substantial additional fence around the market.
> Roger
> 
> 
> From: matteo boscarol <matteo.boscarol at gmail.com>
> To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu> 
> Sent: Thursday, 18 February 2016, 11:18
> Subject: Re: [KineJapan] 2015 Boxoffice
> 
> I think my mail was sent just to Jasper, I'll paste it below just for the sake of clarity: 
> 
> Hello Jasper, 
> 
> Great and well written article, just a couple of doubts: 
> you're writing that there are 2 companies pushing the 4D in Japan, United Cinemas, and Toho, but how about Korona? They have 8 4DX screens throughout Japan, if I'm not wrong, or is Korona part of United Cinema? 
> 
> As for the price of DVDs and Blu-ray in Japan, it's true that they're expensive and might bring more people to experience cinema in theatres, but let's not forget that the rental business (Tsutaya, Geo and recently Amazon) is still very popular in Japan and reasonably cheap (400 or 350 yen for a new release). 
> 
> Just my 2 cents
> 
> All the best
> 
> 
> Matteo Boscarol
> ????? ????
> ???????????
> - LuccaFilmFestival
> Asia and Japan Correspondent
> https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=Zw4aS68AydXfA3SJ9Q_X74KMhyt4oNXjUwDNTtrI_U8&e= 
> - Sonatine2010
> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=VBE9cInCgmCt6HWzZLKf-o1XDiaBMbDw5b73cQc_kWY&e= 
> - Storia(e) del Documentario in Giappone
> https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=7oy8aGmOr5EWyfxd8d1ThYwhL2ulRTV64DFab3eJ-ZA&e= 
> - Screenweek Japan
> 
>> On Feb 18, 2016, at 7:33 PM, Jasper Sharp <jasper_sharp at hotmail.com> wrote:
>> 
>>  
>> This is turning into a rather fascinating discussion, so thanks to everyone for engaging, especially Stephen with the amazing wealth of information about the broader situation across Asia.
>>  
>> In answer to Markus? question about foreign markets, I don?t know about nowadays, but I can imagine it?s negligible. I calculated these stats for the 1950s back in my PhD days, and it fluctuated between 1.4% of gross domestic income in 1948 to a high of 3.1% in 1953 but generally remained around the 2% mark, where it stayed for much of the 1960s. Back in those days, Okinawa was considered a foreign market, and most of Japan?s film exports were to neighbouring Asian markets like Hong Kong or Taiwan, or if the US, then to theatres in Japanese communities in places like Hawaii or Los Angeles. The European market earned Japanese distributors little more than prestige ? which explains why Daiei eventually tanked while Toei triumphed. I can?t see the situation being much different today, except that China and South Korea would now be bigger markets for Japanese producers.
>>  
>> Matteo, thanks for mentioning the rental market, which has all but died in Europe and America. It?s been a while since I was last in Japan, so I?d assumed that Tsutaya was heading down a similar path as Blockbusters, but it is great to know that it?s still going strong.
>> As for Korona, I don?t know much about this company, and thanks for raising the issue as again it points to another area of potential research. My information about 4DX largely came from this article in the Japan Times by Shusuke Murai: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_culture_2015_12_18_films_force-2Dawakens-2Dinterest-2Dmotion-2Deffects-2Dtheaters-23.VsWTfITzTt8&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=2GWMnlAVSIHnIBuhxE3X7ibHC9LLTGjXcHpYKLXK9zA&e= 
>> I think it reinforces the point though that while 4DX was quite late to arrive in Japan, its expansion has been pretty rapid ? a bit like widescreen scope technologies in the 1950s, although this time the expansion is driven within Asia and not by markets in ?the West?. The UK currently has three 4DX installations, and I don?t think the US has many more.
>> This to me reinforces my observation that the future of cinema is not with online services such as Netflix but still in traditional big-screen cinema presentation and those that argue otherwise are doing so purely from a Eurocentric viewpoint.
>> Thanks Ken for drawing my attention to the film MISS GRANNY and its various remakes, which again I was not aware of, but this too highlights how little we in the English-language speaking world are kept abreast of wider developments in international cinema. Clearly, as the situation at the Chinese box office in the past weeks demonstrates, Hollywood and its dependencies are actually becoming less and less relevant in the wider scheme of things.
>>  
>> It?s very interesting to compare all this with UK stats. Apparently last year?s 11% market share was the third highest on record, but let?s compare this with other countries: The 11% 2015 market share for local films compares with 55.4% in Japan, 35.2% in France, 25% in Germany, and 18.9% in Spain. Look also at the list of the Top 20 ?British? films from 2015 and note how many of them are actually US co-productions, like ostensibly culturally English titles as THE SECOND BEST EXOTIC MARIGOLD HOTEL and LADY IN THE VAN (see: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.bfi.org.uk_news-2Dopinion_news-2Dbfi_announcements_bfi-2Dstatistics-2D2015-2Duk-2Dindependent-2Dfilms-2Dwin-2Daudiences&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=25N-rh79yGwQQ18b-y5y2ijdozawltteU85dN6Jzlyo&e= )
>>  
>> So it does look like Japan is in a particularly strong position with regards to domestic consumption of its own product with its perennially popular franchises, most of which have been launched on TV. Meanwhile, echoing Japan, Britain had its worst ever revenues for foreign-language titles last year. It?s all a bit worrying, I think, audiences withdrawing into the safety of the homegrown product and not manifesting any curiosity about the outside world, counter to the trend around the turn of the millennium. However, this seems to be a worldwide problem from what I can see.
>> 
>> 
>> 
>> The 8th Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.
>> 
>> 
>> The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
>> 
>> 
>> The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
>> 
>> ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals", Dennis Harvey, Variety
>> 
>> "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times
>> 
>> 
>> 
>> 
>> Date: Thu, 18 Feb 2016 13:20:02 +0900
>> From: kprovenc at gmail.com
>> To: kinejapan at lists.osu.edu
>> Subject: Re: [KineJapan] 2015 Boxoffice
>> 
>> Just to follow up on Markus's (and Stephen's) point about CJ Entertainment. It'll be interesting to see what happens when its localized remake of "Miss Granny" comes out in Japan in April. The Chinese and Vietnamese versions did very well. (In Vietnam, it was the #1 film of 2015.) After that, come the Thai and Indonesian versions, then maybe Germany and elsewhere.
>> 
>> Ken
>> 
>> On Thu, Feb 18, 2016 at 12:41 PM, <amnornes at umich.edu> wrote:
>> That was an amazing post. 
>> 
>> It makes me curious about the degree to which Japanese cinema depends on foreign markets. That's a missing piece that feels obvious when you hear about CJ making Vietnamese films!
>> 
>> Markus
>> 
>> PS: the independent (ie., middle finger saluting the censors) crowd in China is being shit down at the center (Songzhuang, Kunming), but I'm also hearing word of a lively new film festival culture in the hinterlands where all those new theaters are sprouting up. 
>> 
>> Sent from my iPhone
>> 
>> On Feb 17, 2016, at 8:03 PM, Stephen Cremin <stephen at asianfilm.info> wrote:
>> 
>> In Asia, there are several countries where changes in exhibition patterns have changed the kinds of films being made.
>> 
>> In China, admissions have grown five-fold since 2010 from 250 million a year to 1.25 billion a year in 2015. This is in line with an almost five-fold increase in the number of cinema screens nationwide. Most of the growth is in smaller cities, which has bred a wave of less-sophisticated comedies (and an anti-vulgarity campaign by Xi Jinping).
>> 
>> We saw this in Thailand a decade ago when some of the highest-grossing films were low-brow comedies aimed at audiences outside Bangkok, often financed and produced by Phranakorn Film. Sahamongkol (and briefly GTH) also released films for this market. This go-low approach has probably contributed to the current mistrust in local cinema.
>> 
>> In Indonesia, the dominance of the Cinema 21 chain - which directly or through its subsidiaries - had locked down deals with all the American studios, meant that exhibitor Blitzmegaplex had to branch out and try new things. It's focus on Korean cinema, which Cinema 21 had largely overlooked, gave it a foothold. (It now has a Korean owner.)
>> 
>> In Taiwan, local films could hardly get exhibition outside Taipei in the early 2000s. Or even much distribution in Taipei. When Warner pulled out, to focus on countries with faster-growing exhibition sectors, local films managed to get broader distribution, helped by the national roll-out of multiplexes. And Taiwan has its low-brow phase too.
>> 
>> The Vietnam cinema market is growing at the same or at even a faster pace than the China market. As in China, it's a young audience, and local films are breaking box office records every year. The majority of cinemas in Vietnam are now owned by Korean conglomerates CJ and Lotte; the former is also producing local-language films of increasing quality.
>> 
>> In the Philippines, about 15 years ago the most powerful exhibitor became a born-again Christian and blocked 18-rated films from his cinemas, which overnight decimated the local film industry, which was dominated by "bold" films. Film festivals have stepped in as an alternative distribution platform, majority-financing the local films that they screen.
>> 
>> In his article, Jasper wonders about the state of home video and VOD in Japan.
>> 
>> Compared to the rest of Asia, the home video market is relatively strong in Japan, even if it's not growing. There's no home video market in South Korea and China, East Asia's other two main film markets. Streaming is big in both, although it's become very regulated in China in the past year which has decimated the availability of non-US foreign content.
>> 
>> It costs about US$3 a month in China to subscribe to Netflix-like services that have 1080p HD films about two months after their cinema release. iTunes China sells 1080p HD versions of local Chinese films for less than the price of the pirated DVD9, and usually less than that of a DVD5. There's no fear that such low prices will damage the theatrical box office.
>> 
>> As a price comparison, the number one film on iTunes China right now is SPECTRE, which costs RMB18 (US$2.75) to buy in 1080p HD, compared to US$19.99 on iTunes US. On iTunes Japan, it's ?2500 (US$21.90) on pre-order ahead of its 22 March release. The Japan version has burnt-in Japanese subtitles. In China, the subtitles can be turned off.
>> 
>> (Cinema ticket prices in China are comparable to Japan. Three local films have made more than US$150 million in the past ten days; one of the three - Stephen Chow's MERMAID - has made US$345 million. Box office grew 48.6% last year to US$6.75 billion, with local films taking a 61.6% market share. 686 local films were produced, but just a fraction released.)
>> 
>> I suspect that Japanese copyright owners are so concerned about damaging DVD income that they are not letting VOD take off. Japanese consumers are still waiting longer for an inferior product at a higher price. The number film in iTunes Japan now is THE INTERN which sells in dubbed and subtitled versions as separate ?2500 purchases. Greedy double dipping.
>> 
>> In Japan, nobody is really shaking the boat. I asked Tom Yoda at a group interview during the Tokyo IFF why Gaga doesn't try to lower cinema ticket prices, and he said he wants to but it's impossible to get the cooperation of the exhibitors. When tickets cost ?1800, of course one goes to seen known properties: sequels, manga/novel/TV adaptations.
>> 
>> In a seminar during the Shanghai IFF about three years ago, Bona's Yu Dong said that Chinese producers must let exhibitors have the power for a few more years so that they continue expanding the number of cinemas in China. And the government is keeping them in check, fining and suspending licenses for suspicious box office reporting, and holding back US films.
>> 
>> Nobody is keeping the Japanese exhibitors in check. It's remarkable to me that box office information is much more transparent in China than anywhere else in Asia, including South Korea. I do have sympathy and respect for Kogyo Tsugin-sha, but the government should come in and license their data for the whole film industry.
>> 
>> And Jasper is right that we need to have information on VOD sales/rentals/streams to best understand the market, but even in the US that data is not published by Netflix, etc. In China and Korea where 90% of a film's income is made in theatrical, it's not so much of an issue. But in Japan and the US it more often determines the viability of a film.
>> 
>> Stephen
>> _____________________________
>> From: Jasper Sharp <jasper_sharp at hotmail.com>
>> Sent: Thursday, February 18, 2016 4:43 AM
>> Subject: Re: [KineJapan] 2015 Boxoffice
>> To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
>> 
>> 
>> Thanks for posting Markus.
>> This is an extension of a broader interest of mine, about how local economics shape production and exhibition practices.I actually wrote this before the BFI released its own UK statistics for 2015, which bizarrely claimed the new Star Wars film as "British". But also, I would really love to pursue this kind of research further, on how newly built or newly refurbished flagship individual venues completely change the cinematic landscape and represent a definitive rupture in film history. In London in 2014, a swathe of independent exhibition venues closed down, while in 2015 there were a number of quite significant destination venues opened up. It looks like a similar pattern in Japan, all due to the digitial revolution/transition/switchover, but the economics with regards to attracting audiences are very different. I know academics in the UK have very little interest in looking at this area from an international standpoint, but I think it's fascinating, and would really welcome any feedback on this - after all, Kinejapan has been a little quiet of late compared with the kind of discussions we used to have about ten years ago.
>> 
>> 
>> 
>> 
>> 
>> The 8th  Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.
>> 
>> 
>> The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
>> 
>> 
>> The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
>> 
>> ?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",  Dennis Harvey, Variety
>> 
>> "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times
>> 
>> 
>> 
>> 
>> > From: amnornes at umich.edu 
>> > Date: Wed, 17 Feb 2016 15:28:18 -0500 
>> > To: kinejapan at lists.service.ohio-state.edu      
>> > Subject: [KineJapan] 2015 Boxoffice 
>> > 
>> > Jasper's excellent analysis of the new Boxoffice figures released by Eiren. 
>> > 
>> > https://urldefense.proofpoint.com/v2/url?u=http-3A__blog.alltheanime.com_japan-2Dbox-2Doffice-2Dreport-2D2015_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=okmNxPW86JI4wA1uOUDngXs6qmPl5wHwAC83RALvOto&e=  
>> > 
>> > Markus 
>> > 
>> > Sent from my iPhone 
>> > _______________________________________________ 
>> > KineJapan mailing list 
>> > KineJapan at lists.osu.edu 
>> > https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=0DkWP3FzoTk1ivdfj61DVTpgHbPco6ln_s8qop3ZbY0&e=  
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=0DkWP3FzoTk1ivdfj61DVTpgHbPco6ln_s8qop3ZbY0&e= 
>> 
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>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=0DkWP3FzoTk1ivdfj61DVTpgHbPco6ln_s8qop3ZbY0&e= 
>> 
>> 
>> 
>> _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=zfmEt9dvjUZ0pU0cetBBldNMEeZWxOV1jTQnyzV2wJI&s=0DkWP3FzoTk1ivdfj61DVTpgHbPco6ln_s8qop3ZbY0&e= 
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From stephensarra at hotmail.com  Sun Feb 28 20:59:10 2016
From: stephensarra at hotmail.com (stephen sarrazin)
Date: Mon, 29 Feb 2016 01:59:10 +0000
Subject: [KineJapan] Mondes du Cinema film and media art journal
Message-ID: <CY1PR10MB05216D16883566ADCE4FFDA6CDBA0@CY1PR10MB0521.namprd10.prod.outlook.com>

Dear colleagues,


a first post to let you know of a film and media art journal, Mondes du Cin?ma, published in book form twice a year in France, by les ?ditions Lettmotif, for which I'm co-editor in chief.


https://urldefense.proofpoint.com/v2/url?u=http-3A__www.edition-2Dlettmotif.com_nos-2Dlivres_revue-2Dmondes-2Ddu-2Dcinema_&d=CwIFAw&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=gWlNY4PM-eQfQGoJg6FHWMqyMXIB-LA0GBA0Wl-Ox_M&s=TiHmwZ_3PgnZyHuZOVNPhSxVfu6vxf7aUQa8A8aPtfY&e= 

[https://urldefense.proofpoint.com/v2/url?u=http-3A__www.edition-2Dlettmotif.com_wp-2Dcontent_uploads_2014_08_lettmotif-2Dlogo.png&d=CwIFAw&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=gWlNY4PM-eQfQGoJg6FHWMqyMXIB-LA0GBA0Wl-Ox_M&s=FM_R--FWQvMUtbjhcVjDShdy87IKAWfuVmUNURk2KzY&e= ]<https://urldefense.proofpoint.com/v2/url?u=http-3A__www.edition-2Dlettmotif.com_nos-2Dlivres_revue-2Dmondes-2Ddu-2Dcinema_&d=CwIFAw&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=gWlNY4PM-eQfQGoJg6FHWMqyMXIB-LA0GBA0Wl-Ox_M&s=TiHmwZ_3PgnZyHuZOVNPhSxVfu6vxf7aUQa8A8aPtfY&e= >

Revue Mondes du cin?ma (?dition LettMotif)<https://urldefense.proofpoint.com/v2/url?u=http-3A__www.edition-2Dlettmotif.com_nos-2Dlivres_revue-2Dmondes-2Ddu-2Dcinema_&d=CwIFAw&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=gWlNY4PM-eQfQGoJg6FHWMqyMXIB-LA0GBA0Wl-Ox_M&s=TiHmwZ_3PgnZyHuZOVNPhSxVfu6vxf7aUQa8A8aPtfY&e= >
www.edition-lettmotif.com
Notre revue part de ce principe : il n y a pas qu'un seul monde du cin?ma, comme il n y a pas qu'une seule histoire du cin?ma... 5 num?ros parus





Nearly each of the eight issues published so far have essays or interviews related to Japanese cinema. The last issue, #8, features a selection of essays on Nagisa Oshima, following the 2015 retrospective at the Cin?math?que Fran?aise, and another on critic/screenplay writer/ filmmaker Pascal Bonitzer, who wrote all of Jacques Rivette's films from L'Amour par Terre, as well as being, with Luc Moullet, the first important French critic to write about Oshima, in 1969, in Cahiers du Cin?ma. Tout est en fran?ais bien s?r.


regards,


Stephen Sarrazin
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From akiss00999 at yahoo.co.jp  Mon Feb  1 05:43:41 2016
From: akiss00999 at yahoo.co.jp (akiko sugawa shimada)
Date: Mon, 1 Feb 2016 19:43:41 +0900 (JST)
Subject: [KineJapan] abolition of humanities and social sciences at
	National Universities in Japan
In-Reply-To: <697736074.5887028.1441018210872.JavaMail.root@kansaigaidai.ac.jp>
References: <1440907744708.e0d6f90b@Nodemailer>
	<697736074.5887028.1441018210872.JavaMail.root@kansaigaidai.ac.jp>
Message-ID: <648859.60083.qm@web101808.mail.ssk.yahoo.co.jp>

Dear Kine-Japaners

Paul and others asked about abolition of arts and humanities at national universities last summer.
These discussions somehow seized, but now is the time we should clarify what has been happening and
what will happen to arts and humanities at national universities in Japan.

Professor Muroi, the author of "Bunkei gakubu kaitai" (The reconstructions of Departments of Art and Humanities (social sciences)),
talked about the details at Japan National Press Club.
https://m.youtube.com/watch?v=dQIM2y2g144

Best,
Akiko?


----- Original Message -----
>From: BERRY Paul <hakutaku at kansaigaidai.ac.jp>
>To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu> 
>Date: 2015/8/31, Mon 19:50
>Subject: Re: [KineJapan] abolition of humanities and social sciences at National Universities in Japan
> 
>Dear Stephen and other readers,
>
>So far as I know Yomiuri has not yet published a full list of the national universities that stated they are abolishing their programs in the humanities and social sciences. Various articles give somewhat conflicting accounts of which programs are disappearing and in what manner. It would be helpful if anyone has more detailed information about which specific institutions are involved to post them online. As many institutions have yet to decide their courses of action, it may still be possible to influence their actions if international publicity is brought to bear. Many in Japan are unaware that major "tech" schools like MIT and Caltech have high level departments in the humanities and social sciences that are an integral part of their institutions. The Ministry of Education is pushing for these "reforms" as way of raising the level and reputation of Japanese universities yet there are visible political angles that lie slightly below the surface.
 Namely, many of the best informed opponents to the direction of the Abe administration are university faculty members. Abe's decree that centralized all power in the university presidents sidelined their efforts within their institutions. Additionally, much of the sophisticated opposition to the Abe administration policies comes from various faculty members in the humanities and social sciences and abolishing those programs is a way of directly reducing their impact on students.
>
>I hope that more voices can be heard from various perspectives on these critical issues.
>
>Paul Berry
>Kyoto
>
>----- Original Message -----
>From: "Stephen Cremin" <stephen at asianfilm.info>
>To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
>Cc: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
>Sent: Sunday, August 30, 2015 1:09:05 PM
>Subject: Re: [KineJapan] abolition of humanities and social sciences at National Universities in Japan
>
>Thanks, Paul
>
>
>To clarify this may affect filmmaking studies as well as film theory classes? And do we know the position of Waseda University, Nagoya University, Nihon University, Rikkyo University and Meiji Gakuin University? And have Japanese filmmakers or film professors made public statements as they did at the time the state secrecy laws were proposed/enacted?
>
>
>
>
>Perhaps the Japanese government's actions is the most direct, but the pressure to push students away from the humanities is an international phenomenon. The dependence on student loans for example is a major stick in the West. When we look back, the shift to using words like "content" and "I.P." by bureacrats (and film festivals) will be seen as forebears to these policies/trends that devalue the humanities.
>
>
>
>
>I was very shocked when Abe was permitted to hijack the Tokyo International Film Festival's opening ceremony to shake hands with Tom Hanks. In Taiwan, the Golden Horse festival/awards has been strict on not letting politicians give speeches, including the president, even at the risk of having their budget cut. But perhaps that's something unique to Taiwan. And for sure, the separate Taipei festival was more politicised.
>
>
>
>
>I don't know if in South Korea there's been any moves against the humanities in universities, but for sure when the right-wing government came in they did launch investigations of left-leaning organisations, including the country's film festivals that had their accouting books (and the personal bank accounts of senior staff) scrutinised for corruption/irregularities. And the "humanities" seems to equal "left-leaning".
>
>
>
>
>Of course, if Abe wants more engineers, he could always relax immigration policies...
>
>
>
>
>Stephen
>
>On Sun, Aug 30, 2015 at 10:43 AM, BERRY Paul <hakutaku at kansaigaidai.ac.jp>
>wrote:
>
>> The following information relates to the future of film studies in Japanese education:
>> The Abe administration is directing the abolition of humanities and social sciences at National Universities in Japan.
>> Although the new Japanese secrecy laws, encouragement of international arms sales, promotion of international roles for Japanese military, the ianfu problems, and history issues have been getting most of the attention from the international press, equally important moves against aspects of Japanese universities have been little noted. Earlier this year Abe issued a directive that stripped faculty and faculty committees of any decision making powers. By this directive the Presidents of all universities, both public and private, have been given absolute decision making powers with any faculty input being strictly advisory. This was followed on June 8th of 2015 by the minister of education appointed by Abe directing the national university to abolish their undergraduate departments and graduate school programs in the humanities and the social sciences. (see article by Shiga University President, note 1 below). Universities will be reviewed and those that
 do not comply have been threatened with unspecified cuts to their budgets and other punitive measures. On August 25th the Yomiuri Shinbun published the results of their own survey of Japanese national universities in this regard (see their article in note 2 below). Of the 60 national universities that have humanities and social science programs, 26 responded that they will abolish their programs commencing with not taking any new students in them? in the coming year as part of a gradual phase out of the programs. Only 6 universities (including Tokyo Daigaku and Kyoto Daigaku) have openly refused to abolish their programs, while the others are still considering the situation. Film studies, will of course, be one of the disciplines being abolished by the universities adopting the government position.
>> These changes are a part of the Abe administrations efforts to "improve" the state of Japanese education and make it more internationally competitive. These Orwellian measures are chillingly parallel to the relations of the State to the University in the 1930s. Given the massive changes that are being attempted it is almost quibbling to complain about the impact on film studies yet this will affect all of us in the field, including our Japanese colleagues. It behooves us as individuals and perhaps in terms of organizations to formulate a response to these draconian changes. (see the editorial from Social Science Space, note 3 below)
>> I would hope that these events might serve as basis for discussion in KineJapan and elsewhere.
>> Paul Berry
>> Kyoto 
>> Notes
>> 1
>> Humanities under attack? AUG 23, 2015 Japan Times
>> HIKONE, SHIGA PREFECTURE ? On June 8, all presidents of national universities received a notice from the education minister telling them to either abolish their undergraduate departments and graduate schools devoted to the humanities and social sciences or shift their curricula to fields with greater utilitarian values. The bad tradition of evaluating academic learning and sciences in terms of their utility, with private-sector enterprises meddling in higher education, is still alive in Japan.? Indeed, policies related to higher education are under the control of the Council on Industrial Competitiveness, which is made up of nine Cabinet ministers, seven corporate managers and two scholars. One of the scholars is from the field of engineering while the other comes from economics.? A member of the education ministry?s panel of learned persons even said that the humanities and social sciences departments should be allowed to remain as they are
 only at the seven former Imperial universities and Keio University, and that those at other universities should be transformed into vocational training schools.? This person even went so far as to assert that students majoring in the humanities and social sciences at schools other than those eight institutions should be taught the Building Lots and Building Transaction Business Law instead of the Constitution, software programming for bookkeeping and accounting in place of Paul Samuelson?s ?Economics,? and the skills of orally translating between Japanese and English rather than reading Shakespeare?s works.? These are outrageous proposals and I cannot tolerate anti-intellectuals distorting the government?s policies related to higher education.? During World War II, students of the natural sciences and engineering at high schools and universities were exempt from conscription and only those who were studying the humanities and social
 sciences were drafted into military service.?  In March 1960, the education minister in Prime Minister Nobusuke Kishi?s Cabinet said that all departments of the humanities and social sciences at national universities should be abolished so that those schools would concentrate on the natural sciences and engineering. He also said that education in the humanities and social sciences should be placed in the hands of private universities.?  A certain well-known entrepreneur predicted, meanwhile, that before long a majority of high posts in politics, the bureaucracy and business would be occupied by those with natural science and engineering backgrounds.?  One of the principal features of the ?income doubling plan,? which Prime Minister Hayato Ikeda announced in December 1960 as his major platform, was to promote education in the natural sciences and engineering at universities.? All of these events still remain clearly in my memory as they came
 while I was preparing for my university entrance examinations.? Fortunately, the prediction made by the famous entrepreneur proved to be off the mark. A majority of Japanese political, bureaucratic and business leaders today are still those who studied the humanities and social sciences. This is because those who studied these subjects have superior faculties of thinking, judgment and expression, which are required of political, bureaucratic and business leaders. And the foundation for these faculties is a robust critical spirit.
>> The countries in which the famous entrepreneur?s prediction was on target were socialist. In the Soviet Union, many of those who climbed to the position of general-secretary of the Communist Party had engineering backgrounds. Mikhail Gorbachev did not. Successive Chinese presidents also had engineering backgrounds.? The foundation of democratic and liberal societies is a critical spirit, which is nurtured by knowledge of the humanities. Without exception, totalitarian states invariably reject knowledge in the humanities, and states that reject such knowledge always become totalitarian.?  The administration of Prime Minister Shinzo Abe has set an ambitious target of making 10 of the nation?s universities rank among the world?s top 100 within the next decade.?  This target appears utterly impossible to achieve because at present only two universities in Japan are among the global top 100 ? the University of Tokyo at 23rd and Kyoto University
 at 59th. Moreover, only three others ? the Tokyo Institute of Technology, Osaka University and Tohoku University ? are among those ranking between 101st and 200th.? The Abe administration?s target is tantamount to demanding the impossible. Why is it then that Japanese universities rank so low? One big reason is the low levels of education and research in the humanities and social sciences. Schools like the University of Oxford, the University of Cambridge, Stanford University and Harvard University, all of which are among the world?s top 10, are highly reputed in these fields.? The Massachusetts Institute of Technology, which ranks sixth in the world, is often thought to be an institution devoted exclusively to engineering. But the fact is that it offers a wide variety of curricula in the humanities and social sciences, and the standards of its research in these fields are reputed to be among the highest in the world.?  The University of
 Tokyo is the only Japanese university that is among at the global top 100 in the humanities and social sciences. Although it ranks 87th in social sciences, no Japanese universities, including the University of Tokyo, rank among the top 100 in the humanities.? Stanford University ranks first in both the humanities and social sciences, while MIT places second in social sciences. The London School of Economics and Political Science, which specializes in social sciences, ranks 34th overall, which is below the 23rd spot held by the University of Tokyo but far above Kyoto University?s rank of 59th.? I believe that I am not alone in thinking that if Japan is serious about getting 10 of its universities into the world?s top 100, it will be far more cost-effective and advantageous to promote, rather than abolish or curtail, education and research in the humanities and social sciences.? ? ? Takamitsu Sawa is the president of Shiga University.
>> 2
>> August 25, 2015
>> 26 natl universities to abolish humanities, social sciences
>> The Yomiuri Shimbun
>> Nearly half of the 60 national universities with humanities and social science faculties plan to abolish those departments in the 2016 academic year or later, according to a survey conducted by The Yomiuri Shimbun.? Conducted among presidents of national universities across the country, the survey found that 26 intended to eliminate these departments. The universities will stop recruiting students for a combined total of at least 1,300 places, mainly in their teacher training faculties. Some of these slots will be allocated to newly established faculties. The survey highlighted the wave of reform sweeping over humanities and social science faculties.? The Education, Culture, Sports, Science and Technology Ministry issued a notice to national universities this June calling for their humanities and social science faculties to be abolished or converted to other fields.? The faculties it sought to have eliminated or converted included law and economics
 departments and teacher training faculties, both at the undergraduate and graduate levels.? The Yomiuri Shimbun conducted a survey among the presidents of all 86 national universities across the nation to ask about their faculty reform and abolition plans as of the end of July, and how they reacted to the education ministry?s notice. The Yomiuri received responses from 81 universities. Of the 60 universities with humanities and social science faculties, 58 responded to the survey and 26 said they had plans to abolish such faculties or convert them to other fields. Of the 26 universities, 17 plan to stop recruiting students for these departments, which contain at least 1,300 students. Many universities plan to abolish ?no-certificate? courses that do not require students to obtain a teaching certificate in their teacher training faculty and allocate their existing quota to newly established faculties.? The University of Fukui has decided not to
 recruit students for the 2016 academic year for its regional science course, which is a no-certificate course in its faculty of education and regional studies. The course?s quota of 60 students will be allotted to a new faculty for international and regional studies.? Shinshu University plans to stop recruiting students for two courses in its faculty of education, and convert its existing faculty of economics to a new one of law and economic studies.? Japanese universities are being forced to review their organizations from the ground up, due to the declining birthrate and severe international competition among universities.? Compared with the creation of new industries and technological innovations that stem from science and technology studies, it is difficult for humanities and social science studies to demonstrate tangible accomplishments.? Some in industrial circles criticize universities for not fostering personnel who enter the workplace
 with practical skills after graduation.? Opinions divided?  These are the circumstances amid which the education ministry?s notice was issued, a move that drew praise and criticism in the survey.? Niigata University said, ?The study of humanities and social sciences is important in a university education, but it must be reviewed to ensure the quality of education.?? However, Shiga University said, ?Democracy cannot be preserved if the ?intellectual knowledge? of humanities and social science studies is cast aside.?? Universities that said they have no plans to abolish or change organizations included the University of Tokyo, Kyoto University and some single-department colleges such as Otaru University of Commerce.? Twenty-six universities have already stopped recruiting students for no-certificate courses, and six universities said they had not decided or were considering the matter.? The education ministry?s notice also called
 for each university to choose one of three future targets ? regional contribution, specializing in a certain field, and reaching a global standard of education ? for the financial support they receive from the ministry from the 2016 academic year on.? The survey put this question to all 86 national universities, including those without humanities and social science faculties. ?Regional contribution? was chosen by 54 universities, ?specialization ? by 12 and ?reaching a global standard? by 15.
>> 3
>> Japan?s Education Ministry Says to Axe Social Science and Humanities
>> By Social Science Space | Published: August 25, 2015
>> The government of Prime Minister Shinzo Abe, second from left, has called for ending university-level support for studying and training teachers in social science and humanities.
>> At least 26 of Japan?s 60 national universities that have departments of the humanities or the social sciences plan to close those faculties after a ministerial request from the Japanese government, according to a new survey of university presidents by The Yomiuri Shimbun newspaper.
>> A June 8 letter from Hakubun Shimomura, the Minister of Education, Culture, Sports, Science and Technology, to all of Japan?s 86 national universities and all of the nation?s higher education organizations asks them to take ?active steps to abolish [social science and humanities] organizations or to convert them to serve areas that better meet society?s needs.? The call focuses on undergraduate departments and graduate programs that train teachers, and includes the areas of law and economics.? To back up the request ? which was made ?in the light of the decrease of the university-age population, the demand for human resources and the quality control of research and teaching institutions and the function of national universities? ? the ministry pointed to the financial support it provides the schools in the coming fiscal year.? ? ? This focus on bending universities to serve ?areas which have strong needs? (and the implication
 that social science and humanities can?t help in that regard) are of a piece with Prime Minister Shinzo Abe?s economic ideas, or ?Abenomics,? that focus resolutely on direct and immediate industrial and employment benefits, argues an editorial in The Japan Times. The newspaper recalled Abe?s remarks in 2014 before the Organization for Economic Cooperation and Development, in which he said, ?Rather than deepening academic research that is highly theoretical, we will conduct more practical vocational education that better anticipates the needs of society.? (With Abenomics now stalling, Abe has also portrayed Japanese science and technology as in peril, telling the nation?s Council for Science, Technology and Innovation in June that ?the frontlines of Japan?s research fields have weakened, causing our research capabilities to lag behind others).?? ? The Times criticized Abe for shortsightedness:?  Pursuing studies of humanities and
 social sciences may not produce quick economic results. But shunning them risks producing people who are only interested in the narrow fields of their majors. Studies of literature, history, philosophy and social sciences are indispensable in creating people who can view developments in society and politics with a critical eye. In this sense, Shimomura?s move may be interpreted as an attempt by the government to produce people who accept what it does without criticism. Abe, Shimomura and education ministry officials should realize that a decline in the study of humanities and social sciences will likely hamper the growth of creative work even in the fields of technology.? ? According to The Yomiuri Shimbun, of the 26 universities cutting their humanities and social science offerings, 17 intend to stop recruiting students in the areas and all of the 26 plan to stop offering so-called ?no certificate? courses that don?t require latent
 prospective teaches to obtain a teaching certificate in those areas.? ?  While some organizations, such as the executive board of the Science Council of Japan, made quick and strident objections to the ministry?s request, even some ostensible supports of the disciplines couched their support deferentially. For example, Shojiro Nishio, the new president of Osaka University (the largest national university in Japan), both backed the idea of the value but also encouraged them to ?think proactively about what you can do,? reported Kiyomi Arai of The Yomiuri Shimbum.?  According to Arai:? Nishio says achievements are not easily seen in the fields of humanities and social sciences, but these studies are indispensable as they bring diversity to society. Specializing in data engineering, Nishio is a world leader in information technology, particularly in analyzing big data. As a researcher, he believes studies in the humanities field do not tend to
 have a ?strong focus on responding to the demands of society.??  Not every university was so circumspect, and some notable institutions, such as the University of Tokyo and Kyoto University, said they had no current intention of complying. The president?s office of Shiga University told Nomiura that, ?Democracy cannot be preserved if the ?intellectual knowledge? of humanities and social science studies is cast aside.?? ? The Science Council of Japan put out a statement late last month expressing its ?profound concern over the potentially grave impact that such an administrative directive implies for the future of the HSS {humanities and social sciences] in Japan and the very idea of the university itself, irrespective of whether it is privately or publicly funded.? That statement acknowledges that HSS could do a better job of clarifying its value, even as it stresses how integral HSS is to a ?balanced? university and to the
 larger Japanese society.? The International Social Science Council (to which the Science Council of Japan belongs) applauded the council?s statement and for addressing how HSS is ?integral to advancing knowledge on the challenges facing society today, both in Japan and internationally. They play a unique and vital role in critically thinking about and assessing the human condition, and for the understanding, foresight, governance and continued development of contemporary societies.?
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>_______________________________________________
>KineJapan mailing list
>KineJapan at lists.osu.edu
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>
>
>
?
******
Akiko Sugawa-Shimada
akiss00999 at yahoo.co.jp
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From akiss00999 at yahoo.co.jp  Mon Feb  1 06:46:11 2016
From: akiss00999 at yahoo.co.jp (akiko sugawa shimada)
Date: Mon, 1 Feb 2016 20:46:11 +0900 (JST)
Subject: [KineJapan] Fw: abolition of humanities and social sciences at
	National Universities in Japan
References: <1440907744708.e0d6f90b@Nodemailer>
	<697736074.5887028.1441018210872.JavaMail.root@kansaigaidai.ac.jp>
Message-ID: <383015.62260.qm@web101807.mail.ssk.yahoo.co.jp>

Sorry, mistypo. I meant to say, "These discussions somehow ceased", ?not "seized".
>
>
>I'm sorry about the confusion that it might cause.
>
>
>----Akiko
>
>
>
>Dear Kine-Japaners
>
>
>Paul and others asked about abolition of arts and humanities at national universities last summer.
>These discussions somehow seized, but now is the time we should clarify what has been happening and
>what will happen to arts and humanities at national universities in Japan.
>
>
>Professor Muroi, the author of "Bunkei gakubu kaitai" (The reconstructions of Departments of Art and Humanities (social sciences)),
>talked about the details at Japan National Press Club.
>https://m.youtube.com/watch?v= dQIM2y2g144
>
>
>Best,
>Akiko?
>
>
>
>>
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From seuffedit at gmail.com  Sat Feb 13 17:22:31 2016
From: seuffedit at gmail.com (Kirsten Seuffert)
Date: Sat, 13 Feb 2016 17:22:31 -0500
Subject: [KineJapan] documentaries on the "comfort women" (Linda Ehrlich)
Message-ID: <CANsRKT94fLNsHF8_JN4j9eCmJy_FY2aLgUNeDQfwyqAaD199NQ@mail.gmail.com>

Dai Sil Kim-Gibson?s Silence Broken: Korean Comfort Woman (2000) is also a
good resource.



Trailer: https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3Dn2kHnTRn4d8&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=UqF6fgZ8vptRpUzzCo9qJz5xDYbVTOI1VhbUQPR0cxY&s=OocbXXcLpd_PqE2Ft560qCd3NgasNVtslwpOTd_9dbk&e= 





Best,

Kirsten
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From earljac at gmail.com  Sat Feb 13 17:38:57 2016
From: earljac at gmail.com (Earl Jackson)
Date: Sun, 14 Feb 2016 06:38:57 +0800
Subject: [KineJapan] documentaries on the "comfort women" (Linda Ehrlich)
Message-ID: <CABhbz8PBLX8EGHiJyuOKKuO0cy5rQdNyH704GJGzt4Rj747_Hw@mail.gmail.com>

Dear Linda
I echo the recommendation of Byeong  Young-joo's The Murmuring. But this is
the first part of a vital trilogy. The other two are Habitual Sadness and
My Own Breathing.
Byeon lived with the comfort women for several months to get their trust.
The Murmuring arises out of that. The second film was the comfort women's
idea - showing them working, their creative practices, etc. And in the
third one Byeon has taught them how to use the camera and microphone and
she and the comfort women go to other parts of asia where the korean
comfort women talk to comfort women from elsewhere. It is really powerful.
best
earl
Earl Jackson
Professor
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute
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From matteo.boscarol at gmail.com  Sun Feb 28 03:37:59 2016
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Sun, 28 Feb 2016 17:37:59 +0900
Subject: [KineJapan] Kazuo Hara's new doc
Message-ID: <97D98A38-4764-439F-B1B0-AEEC43D13769@gmail.com>

Dear all, 

As many people on this list might already know, Hara Kazuo has his new work out ??????????????????????????, his first documentary for the big screen after 22 years of absence. As far as I know, the movie is about the victims of asbestos exposure in Sennan city where Hara has been intermittently filming for more than a decade, while working also on another project about Minamata's victims. The film has been screened at Shibuya Cinema Vera in February during a special event called  ????????????????????????, has anyone had the chance to see it? 

Regards

Matteo Boscarol
????? ????
???????????
- LuccaFilmFestival
Asia and Japan Correspondent
https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=SMQjaH2pBVtBicd2nHFh4ILmZT5YmlD8S7vAcImU4po&s=7To0ZtwxjthXXG1aBQpJe-ebkYXZSTjATt6QQFSheDY&e= 
- Sonatine2010
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=SMQjaH2pBVtBicd2nHFh4ILmZT5YmlD8S7vAcImU4po&s=q9eTLK3zumSKBklnrOVM5GI2OKKL0YcyPdK9tPuCuYc&e= 
- Storia(e) del Documentario in Giappone
https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=SMQjaH2pBVtBicd2nHFh4ILmZT5YmlD8S7vAcImU4po&s=ieMhvGJNgQTp4L30kjGqbYaHHEQpjvpiVuQoq-xmD50&e= 
- Screenweek Japan
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From eija.niskanen at gmail.com  Tue Feb  2 05:16:41 2016
From: eija.niskanen at gmail.com (Eija Niskanen)
Date: Tue, 2 Feb 2016 12:16:41 +0200
Subject: [KineJapan] Mainichi Film Awards
In-Reply-To: <35E74FBA-6164-44D1-B801-99D15CA7EB6B@yale.edu>
References: <35E74FBA-6164-44D1-B801-99D15CA7EB6B@yale.edu>
Message-ID: <FD5097F0-EA56-4E4A-BE99-AD9A33F25609@gmail.com>

The Finnish distributor of Umimachi no Diary, when I emailed him about Ayase?s actress award, asks: who are the Mainichi film awards? 

Meaning: how do they select the award winners? Who selects? Why is this relevant in Japan?

Eija

> Gerow Aaron <aaron.gerow at yale.edu> kirjoitti 21.1.2016 kello 3.05:
> 
> The Mainichi Film Awards were announced, with Hashiguchi Ryosuke's Koibitotachi getting best film. Kurosawa Kiyoshi's Kishibe no tabi got the award for excellence (second place). Tsukamoto Shin'ya was chosen as both best director and best actor, while Ayase Haruka got best actress. Best documentary was John Junkerman?'s Okinawa: The Afterburn. Hara Keiichi's Miss Hokusai got the best animated film award.
> 
> The Awards are celebrating their 70th anniversary this year.
> 
> http://mainichi.jp/articles/20160121/k00/00m/040/131000c <http://mainichi.jp/articles/20160121/k00/00m/040/131000c>
> 
> 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 <mailto:aaron.gerow at yale.edu>
> website: www.aarongerow.com <http://www.aarongerow.com/>
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _______________________________________________
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> KineJapan at lists.osu.edu
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From aaron.gerow at yale.edu  Wed Feb  3 11:24:49 2016
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Wed, 3 Feb 2016 11:24:49 -0500
Subject: [KineJapan] Mainichi Film Awards
In-Reply-To: <FD5097F0-EA56-4E4A-BE99-AD9A33F25609@gmail.com>
References: <35E74FBA-6164-44D1-B801-99D15CA7EB6B@yale.edu>
	<FD5097F0-EA56-4E4A-BE99-AD9A33F25609@gmail.com>
Message-ID: <705D33EF-955F-4D1D-A05C-3445806F9435@yale.edu>

The Mainichi awards are some of the oldest in the business (70 years!), so they do have that aura of authority. Unlike the Japan Academy awards, which are picked by the membership, or the KineJun awards, which are selected by a large number of critics, the Mainichi awards are selected by small committees, which vary depending on the award. Details are here:

https://urldefense.proofpoint.com/v2/url?u=http-3A__mainichi.jp_mfa-2Dselection_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=z-_DVH3iVxEwy_aSjImV0p9pDEcvBVFXfd9RzbYs51o&s=2EprN_V16IrZtO4qrEBh6jd0PFOUjfSX6rrpIqVVpbQ&e=  <https://urldefense.proofpoint.com/v2/url?u=http-3A__mainichi.jp_mfa-2Dselection_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=z-_DVH3iVxEwy_aSjImV0p9pDEcvBVFXfd9RzbYs51o&s=2EprN_V16IrZtO4qrEBh6jd0PFOUjfSX6rrpIqVVpbQ&e= >

One can look over their history to see the trends, but in general the Mainichi tends to be rather middle of the road, rarely making bold or unusual awards. But it can come up with results that differ from other awards.

Since it is backed by the Mainichi, it does get a lot of publicity. I think they have broadcast the awards ceremony on some occasions.

One thing I like about the Mainichi is that, apart from the Japan Academy awards, this is one of the few that has awards for the staff and for animation. The Ofuji Noburo Award is arguably the most prestigious award for animation in Japan.

Perhaps others have a different sense, but that?s mine.

Aaron


> 2016/02/02 ??5:16?Eija Niskanen <eija.niskanen at gmail.com> ?????
> 
> The Finnish distributor of Umimachi no Diary, when I emailed him about Ayase?s actress award, asks: who are the Mainichi film awards? 
> 
> Meaning: how do they select the award winners? Who selects? Why is this relevant in Japan?
> 
> Eija
> 
>> Gerow Aaron <aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>> kirjoitti 21.1.2016 kello 3.05:
>> 
>> The Mainichi Film Awards were announced, with Hashiguchi Ryosuke's Koibitotachi getting best film. Kurosawa Kiyoshi's Kishibe no tabi got the award for excellence (second place). Tsukamoto Shin'ya was chosen as both best director and best actor, while Ayase Haruka got best actress. Best documentary was John Junkerman?'s Okinawa: The Afterburn. Hara Keiichi's Miss Hokusai got the best animated film award.
>> 
>> The Awards are celebrating their 70th anniversary this year.
>> 
>> https://urldefense.proofpoint.com/v2/url?u=http-3A__mainichi.jp_articles_20160121_k00_00m_040_131000c&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=z-_DVH3iVxEwy_aSjImV0p9pDEcvBVFXfd9RzbYs51o&s=y6PIsaf6mwGTIUmEwDUNkRMU3PszvotJDxAHcbfjAfQ&e=  <https://urldefense.proofpoint.com/v2/url?u=http-3A__mainichi.jp_articles_20160121_k00_00m_040_131000c&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=7gQmEevSyZWUjCyQgUt53fGOPiSutFMjzDxJFpDYMzg&m=Ze2ShXt7I4aOPtNH-d-MAMKiqXKHG7LwpczQUl2PQ1c&s=2y2UvPhLt4AYXcR4hECxRFLNt7Z9FVyCrTIAJ00lSTA&e=>
>> 
>> 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 <mailto:aaron.gerow at yale.edu>
>> website: www.aarongerow.com <https://urldefense.proofpoint.com/v2/url?u=http-3A__www.aarongerow.com_&d=AwMFaQ&c=-dg2m7zWuuDZ0MUcV7Sdqw&r=7gQmEevSyZWUjCyQgUt53fGOPiSutFMjzDxJFpDYMzg&m=Ze2ShXt7I4aOPtNH-d-MAMKiqXKHG7LwpczQUl2PQ1c&s=5uOgwjfT-2Ho5nfNGx5lQRemPIZhq1KK_EEZ3vNIv-I&e=>
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu <mailto:KineJapan at lists.osu.edu>
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=z-_DVH3iVxEwy_aSjImV0p9pDEcvBVFXfd9RzbYs51o&s=-X0f6anZfiG1Yfh0-riZ1yBBLUAYisK9uJu4JiXkKmk&e= 
> 
> _______________________________________________
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> KineJapan at lists.osu.edu
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From lucile.druet at gmail.com  Sat Feb 13 17:06:17 2016
From: lucile.druet at gmail.com (lucile druet)
Date: Sun, 14 Feb 2016 07:06:17 +0900
Subject: [KineJapan] Irezumi in Film
In-Reply-To: <CAGv-j4Ksw+En_+EdDRGF7z6YFyaoT_8yHUcreNKp+Xi4_UEChA@mail.gmail.com>
References: <CAGv-j4Ksw+En_+EdDRGF7z6YFyaoT_8yHUcreNKp+Xi4_UEChA@mail.gmail.com>
Message-ID: <CANGGgPwBOgJDMi_6yZ2XQ24vzRTycArzXiAZY6Xwe4V2DaSpPg@mail.gmail.com>

Dear Yalimar,

Interesting topic !
I put below a little list of references, I hope you'll find them useful.
(sorry if you already know about them)

*movies*
- Masumura Yasuzo / ????, Irezumi / ?? (1966)
https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DiBU1SmEJpGs&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=23KqXud7WBVQXLBYAEsm-Y_j4ElqqzIJ7_YBZvPSvpY&s=NMqGzISYF5u5wUkaG5ZPYu60wGzpYuG3Qy2bxgZIao8&e= 

- Saito Buichi / ?? ??, Lone Wolf and cub Vol.4 : Baby cart in peril /
???????:?????? (1972)

- Takabayashi Yoichi / ????, Irezumi : spirit of Tattoo / ????? (1982)
https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3D3U03PdvKswc&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=23KqXud7WBVQXLBYAEsm-Y_j4ElqqzIJ7_YBZvPSvpY&s=sca0h6FVTSYob-wpNentbe3r62YLZ_6Dm88llp56o1M&e= 

- Tsukamoto Shinya / ????, Tokyo Fist / ?????? (1995)

- Iwai Shunji / ?? ?? , Swallowtail butterfly / ??????? (1996)

- Okuda Eiji / ????, An adolescent / ?? (2001)

*exhibition*
Perseverance : Japanese Tattoo Tradition in a modern World (March 8 ~ Sept.
14, 2014)
(JANM - Japanese American National Museum, Los Angeles / Yokohama Tattoo
Museum)
Japan times article here :
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_community_2014_03_03_issues_loved-2Dabroad-2Dhated-2Dat-2Dhome-2Dthe-2Dart-2Dof-2Djapanese-2Dtattooing_-23.Vr-2Df-2DenfjHg&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=23KqXud7WBVQXLBYAEsm-Y_j4ElqqzIJ7_YBZvPSvpY&s=4aVSamzGHUNeLfzGlYbZ25JFfw-7_Xy_BRIUtHD4TGg&e= 
Official Homepage there :
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.janm.org_exhibits_perseverance_&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=23KqXud7WBVQXLBYAEsm-Y_j4ElqqzIJ7_YBZvPSvpY&s=PoK5r086RZyZpK_7sQiAgGxppHzSLAi8ND-ZqUjlOLU&e= 
-> the exhibition is traveling : it is in Florida right now and will be
held in Vermont later this year



Best,

Lucile Druet

2016-02-14 4:56 GMT+09:00 Yalimar Pagan <yalimar.pagan at gmail.com>:

> Dear all,
>
> I am currently writing my thesis on Japanese tattoos and their place in
> Japanese society.  I am looking for any films that feature Irezumi.  What I
> hope to achieve through the use of these films is to show how media
> representations of Irezumi affect people's mindset on them.  The film's
> don't have to be just about the tattoo and its owner, they could also be
> just something on one of the characters that is either commented directly
> on or alluded to via screenshots in a positive or negative way.
>
> Please let me know if you know of any films where tattoos are displayed.
>
> Thank you,
> --
> Yalimar Pagan
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=23KqXud7WBVQXLBYAEsm-Y_j4ElqqzIJ7_YBZvPSvpY&s=h16yOFrP81GTdgntUuyrERNUt9EqxUeMQsDYFgQ4pLI&e= 
>
>
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From amnornes at umich.edu  Sat Feb 13 17:41:24 2016
From: amnornes at umich.edu (amnornes at umich.edu)
Date: Sat, 13 Feb 2016 17:41:24 -0500
Subject: [KineJapan] Irezumi in Film
In-Reply-To: <CANGGgPwBOgJDMi_6yZ2XQ24vzRTycArzXiAZY6Xwe4V2DaSpPg@mail.gmail.com>
References: <CAGv-j4Ksw+En_+EdDRGF7z6YFyaoT_8yHUcreNKp+Xi4_UEChA@mail.gmail.com>
	<CANGGgPwBOgJDMi_6yZ2XQ24vzRTycArzXiAZY6Xwe4V2DaSpPg@mail.gmail.com>
Message-ID: <7501C2A3-CEBB-4127-833C-F4AD26F78B0F@umich.edu>

There are so many, but one of the most interesting is Kyakurabaa by Kawase Naomi for its intense exchange between the director and a  artist about the seriousness of a tattoo?a huge back tattoo duplicating the one her dad had. It's one of her best films. 

Markus 

Sent from my iPhone

> On Feb 13, 2016, at 5:06 PM, lucile druet <lucile.druet at gmail.com> wrote:
> 
> Dear Yalimar,
> 
> Interesting topic ! 
> I put below a little list of references, I hope you'll find them useful.
> (sorry if you already know about them)
> 
> movies
> - Masumura Yasuzo / ????, Irezumi / ?? (1966)
> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DiBU1SmEJpGs&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=cNihCIMuSDTcrwR_CHuT37QeZMHv0ZxrwkVAfwHy7V0&s=gqITrxgU1wcS2ukl4j86vhePwSp2K7srADsTsXKFutA&e= 
> 
> - Saito Buichi / ?? ??, Lone Wolf and cub Vol.4 : Baby cart in peril / ???????:?????? (1972)
> 
> - Takabayashi Yoichi / ????, Irezumi : spirit of Tattoo / ????? (1982)
> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3D3U03PdvKswc&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=cNihCIMuSDTcrwR_CHuT37QeZMHv0ZxrwkVAfwHy7V0&s=GxyxNBfAqA1Q6Mtg1pLL8P3XaUvwjH2b_mKnSTWP6yM&e= 
> 
> - Tsukamoto Shinya / ????, Tokyo Fist / ?????? (1995)
> 
> - Iwai Shunji / ?? ?? , Swallowtail butterfly / ??????? (1996)
> 
> - Okuda Eiji / ????, An adolescent / ?? (2001)
> 
> exhibition
> Perseverance : Japanese Tattoo Tradition in a modern World (March 8 ~ Sept. 14, 2014)
> (JANM - Japanese American National Museum, Los Angeles / Yokohama Tattoo Museum)
> Japan times article here :
> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japantimes.co.jp_community_2014_03_03_issues_loved-2Dabroad-2Dhated-2Dat-2Dhome-2Dthe-2Dart-2Dof-2Djapanese-2Dtattooing_-23.Vr-2Df-2DenfjHg&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=cNihCIMuSDTcrwR_CHuT37QeZMHv0ZxrwkVAfwHy7V0&s=B770JFjxhAQI6YsFYxFS0cPSt4LNM6ajBD1CWzMNISE&e= 
> Official Homepage there :
> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.janm.org_exhibits_perseverance_&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=cNihCIMuSDTcrwR_CHuT37QeZMHv0ZxrwkVAfwHy7V0&s=fMkKN8tq7J_J1BXpgCIAFaP0mQgaRrvLbetxiA9t9Ww&e= 
> -> the exhibition is traveling : it is in Florida right now and will be held in Vermont later this year
> 
> 
> 
> Best,
> 
> Lucile Druet
> 
> 2016-02-14 4:56 GMT+09:00 Yalimar Pagan <yalimar.pagan at gmail.com>:
>> Dear all, 
>> 
>> I am currently writing my thesis on Japanese tattoos and their place in Japanese society.  I am looking for any films that feature Irezumi.  What I hope to achieve through the use of these films is to show how media representations of Irezumi affect people's mindset on them.  The film's don't have to be just about the tattoo and its owner, they could also be just something on one of the characters that is either commented directly on or alluded to via screenshots in a positive or negative way.
>> 
>> Please let me know if you know of any films where tattoos are displayed.
>> 
>> Thank you, 
>> -- 
>> Yalimar Pagan
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=cNihCIMuSDTcrwR_CHuT37QeZMHv0ZxrwkVAfwHy7V0&s=sY0SASzjK3Gwfk19faye1ymNOOUMoLqh04tG3uTOnq4&e= 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=cNihCIMuSDTcrwR_CHuT37QeZMHv0ZxrwkVAfwHy7V0&s=sY0SASzjK3Gwfk19faye1ymNOOUMoLqh04tG3uTOnq4&e= 
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From jasper_sharp at hotmail.com  Mon Feb  8 08:38:44 2016
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Mon, 8 Feb 2016 13:38:44 +0000
Subject: [KineJapan] 8th Asia House Film Festival, London,
	from 22nd Feb to 5th March
Message-ID: <DUB115-W99F968270440D3A985C3DEF7D50@phx.gbl>


















 

 

Dear fellow listmembers, 

 

This is not exclusively
Japanese film related, but I just wanted to let everyone know that the 8th
Asia House Film Festival will be taking place in London at the end of this
month, from 22nd Feb to 5th March, with most of the
screenings at the newly reopened Regent Street Cinema, the birthplace of cinema
in the United Kingdom, with a day devoted to ?Singaporeana?, or
British/American productions of the 1960s-70s set in Singapore and panel
discussion happening on 5 March at the Cinema Museum.

 

The full details of the
programme can be seen here:

https://urldefense.proofpoint.com/v2/url?u=http-3A__asiahouse.org_events_category_asia-2Dhouse-2Dfilm-2Dfestival-2D2016_&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=L35yJr0ng-ibd1H5FmtcstlKllFEsAssepyqn5T3aWw&s=EYKHYRpqXfJl9o58q3UQ_hHpsXDZqvkUCNIJRG6_p5E&e= 

 

And to whet your appetite,
the festival trailer can be viewed here: https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DWj7E31sacqs&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=L35yJr0ng-ibd1H5FmtcstlKllFEsAssepyqn5T3aWw&s=0JZoSWeBFh3q8Gek28tDPyT9nMe3FGQaKr0HugzKCQQ&e= 

 

The Japan-related aspects of
the programme include Shunji Iwai?s first anime, The Case of Hana and Alice (Hana
to Alice satsujin jiken) and the short film Panchagavya by New York-based Hana Kitasei, shot in India.

 

Elsewhere there are plenty of
films from other countries less well-represented on the world stage, including Mina Walking from Afghanistan, The Monk from Myanmar, 40 Days of Silence from Uzbekistan, Factory Boss from China, and Stranger and Little Brother - two wonderful works from one of my most exciting
discoveries in years, the Kazakh director Yermek Tursunov.

 

Also I should draw attention
to the highly enjoyable Seoul Searching,
by Korean-American director Benson Lee, a wonderful teen movie set in the
summer of 1986 and featuring a diverse group of Korean teenagers from around
the world who arrive in Seoul to take part in a special summer camp where they
have been sent by their parents to learn what it truly means to be Korean.
There?s going to be a special themed party for all ticket holders to this movie
after the screening.

 

Hope to see some of you
there!

 

Thanks,

 

Jasper

 

 

 

 

 

 




The 8th Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.

The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 


The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals", Dennis Harvey, Variety
"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times

 		 	   		  
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From drumej at gmail.com  Sat Feb 13 15:58:04 2016
From: drumej at gmail.com (Eun Choi)
Date: Sat, 13 Feb 2016 15:58:04 -0500
Subject: [KineJapan] documentaries on the "comfort women"
In-Reply-To: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
References: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
Message-ID: <CAG9=pfbnsgd7O8UG-VDoEdv0Qag2euxsUUebooa6CA3OjYxLxg@mail.gmail.com>

Hello.

You might want to check Young-joo Byun's "The Murmuring (1995)."
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.koreafilm.org_feature_50-5F43.asp&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=SPSbwUayWc2jW0sy37MuUVEWqicnvpsR9YP3Y6HUNoM&s=o7V5jnBx0yjzsY_QbQXScS0hNAj1r6ZBJz9ZhgS8Bv8&e= 


The film with french subtitles has been uploaded on Youtube.
https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DT6BGqL0TayI&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=SPSbwUayWc2jW0sy37MuUVEWqicnvpsR9YP3Y6HUNoM&s=vEKKeJGdQfCm8GhJ3VC46F4AcQ6weRvMxrjpD9s4IAw&e= 

Hope it helps!

Best,
Eun




On Sat, Feb 13, 2016 at 3:18 PM, Linda Ehrlich <linda.ehrlich at gmail.com>
wrote:

> I?m mentoring a senior who is doing her thesis on Japanese government
> response to the ?comfort women? issue.
> Are there documentaries that record the testimony of the (aged) survivors?
> I?m familiar with Imamura?s KARAYUKI-SAN and with the feature film SANDAKAN
> #8. But I?d like to learn about more attempts to present the truth of this
> issue, through Japanese (or other) cinema.
>
> Thanks,
>
> Linda Ehrlich
> linda.ehrlich at gmail.com
> braidednarrative.com
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=SPSbwUayWc2jW0sy37MuUVEWqicnvpsR9YP3Y6HUNoM&s=fbE37oKMi37ns_yFFqnPS4OaDWb0lxWMlwWpjADzodA&e= 
>
>
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From matteo.boscarol at gmail.com  Sat Feb 13 19:21:30 2016
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Sun, 14 Feb 2016 09:21:30 +0900
Subject: [KineJapan] documentaries on the "comfort women"
In-Reply-To: <CAG9=pfbnsgd7O8UG-VDoEdv0Qag2euxsUUebooa6CA3OjYxLxg@mail.gmail.com>
References: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
	<CAG9=pfbnsgd7O8UG-VDoEdv0Qag2euxsUUebooa6CA3OjYxLxg@mail.gmail.com>
Message-ID: <72B9DEAE-337A-48CB-B6E8-31B30D87352C@gmail.com>

Dear Linda, 
 
You might want to recommend also Toshikuni Doi's "Live With the Memory" (??????, 2015): 
https://urldefense.proofpoint.com/v2/url?u=http-3A__doi-2Dtoshikuni.net_j_kioku_&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=mN5lPyctS7rZk1csvqbOb5qRoMtsTs0sOrjlOFJ7Pqg&e= 

Regards

Matteo Boscarol
????? ????
???????????
- LuccaFilmFestival
Asia and Japan Correspondent
https://urldefense.proofpoint.com/v2/url?u=http-3A__luccafilmfestival.it&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=CzFZJNJAvSFBozG9szRu-665GrZUWKkn9kC_EIzp_2M&e= 
- Sonatine2010
https://urldefense.proofpoint.com/v2/url?u=http-3A__www.sonatine2010.blogspot.jp&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=OliNIx9DY5ttBdHmY-SI2gcQApr_gFT1irQTJvWVaGI&e= 
- Storia(e) del Documentario in Giappone
https://urldefense.proofpoint.com/v2/url?u=http-3A__storiadocgiappone.wordpress.com&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=mgljURhLwwynyMhawfJfCQzmD_wVWVXxhx6cH141pX0&e= 
- Screenweek Japan

> On Feb 14, 2016, at 5:58 AM, Eun Choi <drumej at gmail.com> wrote:
> 
> Hello.
> 
> You might want to check Young-joo Byun's "The Murmuring (1995)."
> https://urldefense.proofpoint.com/v2/url?u=http-3A__www.koreafilm.org_feature_50-5F43.asp&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=mzk5OMIhIthJRpRFrCG18mEIJu0sblV_1icDk6S6M1I&e=  
> 
> 
> The film with french subtitles has been uploaded on Youtube. 
> https://urldefense.proofpoint.com/v2/url?u=https-3A__www.youtube.com_watch-3Fv-3DT6BGqL0TayI&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=sqVxdglfKjPxj9SbjNxYyDYBGskLwkMsY8D5uEx74IY&e= 
> 
> Hope it helps!
> 
> Best,
> Eun
> 
> 
> 
> 
>> On Sat, Feb 13, 2016 at 3:18 PM, Linda Ehrlich <linda.ehrlich at gmail.com> wrote:
>> I?m mentoring a senior who is doing her thesis on Japanese government response to the ?comfort women? issue.
>> Are there documentaries that record the testimony of the (aged) survivors? I?m familiar with Imamura?s KARAYUKI-SAN and with the feature film SANDAKAN #8. But I?d like to learn about more attempts to present the truth of this issue, through Japanese (or other) cinema.
>> 
>> Thanks,
>> 
>> Linda Ehrlich
>> linda.ehrlich at gmail.com
>> braidednarrative.com
>> 
>> 
>> 
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=mLgc4gCfjU7ygt7pPO8eizxsIVtCoT9tYNPl4oteUfU&e= 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIFJg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=mLgc4gCfjU7ygt7pPO8eizxsIVtCoT9tYNPl4oteUfU&e= 
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KineJapan at lists.osu.edu
https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwICAg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=GT8dW2kd_GcD50Akehhz3phNeRQx0DxS9i_Vkre-wd0&s=mLgc4gCfjU7ygt7pPO8eizxsIVtCoT9tYNPl4oteUfU&e= 

From desser at illinois.edu  Sat Feb 13 21:22:48 2016
From: desser at illinois.edu (Desser, David M)
Date: Sun, 14 Feb 2016 02:22:48 +0000
Subject: [KineJapan] documentaries on the "comfort women"
In-Reply-To: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
References: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
Message-ID: <u6jy3fpsq7eko40k2qaawsp8.1455416565216@email.android.com>

Frances Gateward has a monumental essay on the Comfort Women trilogy from Korea in her book, Seoul Searching.



Sent from my Verizon Wireless 4G LTE smartphone


-------- Original message --------
From: Linda Ehrlich <linda.ehrlich at gmail.com>
Date: 2/13/2016 12:19 PM (GMT-08:00)
To: KineJapan <kinejapan at lists.acs.ohio-state.edu>
Subject: [KineJapan] documentaries on the "comfort women"

I?m mentoring a senior who is doing her thesis on Japanese government response to the ?comfort women? issue.
Are there documentaries that record the testimony of the (aged) survivors? I?m familiar with Imamura?s KARAYUKI-SAN and with the feature film SANDAKAN #8. But I?d like to learn about more attempts to present the truth of this issue, through Japanese (or other) cinema.

Thanks,

Linda Ehrlich
linda.ehrlich at gmail.com<mailto:linda.ehrlich at gmail.com>
braidednarrative.com<https://urldefense.proofpoint.com/v2/url?u=http-3A__braidednarrative.com&d=BQMFaQ&c=8hUWFZcy2Z-Za5rBPlktOQ&r=9-5YyG917_cS5upwo3ze9Q&m=cjtOEZEEYHkoy8HxMKPOXwoviNoG56mzQ0U_0ER11Qs&s=NM2yYu2HfhvgymFIusUfJneFlawmRfVoYs5aHpZrSAE&e=>




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KineJapan at lists.osu.edu
https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwICAg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=Im-OWVqD95somZ-8BOpaS3QCsdfJoC6AxlPG47Lguxg&s=CoCh_-MCmksf9NgdrR1iRQN5cucVHBnge-Mp6pXQtc8&e= 

From jtj at rf7.so-net.ne.jp  Sat Feb 13 22:05:02 2016
From: jtj at rf7.so-net.ne.jp (John Junkerman)
Date: Sun, 14 Feb 2016 12:05:02 +0900
Subject: [KineJapan] documentaries on the "comfort women"
In-Reply-To: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
References: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
Message-ID: <EAD069A9-C3B3-43D1-AAC7-549D9ED82F32@rf7.so-net.ne.jp>

Ban Zhongyi's film "Gai Shanxi and Her Sisters," about sexual slavery in China, is available for download here:
https://urldefense.proofpoint.com/v2/url?u=http-3A__dgeneratefilms.com_catalog_gai-2Dshanxi-2Dand-2Dher-2Dsisters-2Dgai-2Dshan-2Dxi-2Dhe-2Dta-2Dde-2Djie-2Dmei-2Dmen&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=wGGzjQPIAgJNJ5waEBfdPLFDrCcQ49ffLGxoYIiNXkY&s=FXPk7O5sb-3TvmVXBM-5Zb2P1xyyC7fAPFFnaTSBapg&e= 

"Senso Daughters" (1989) was the first documentary to depict comfort women in New Guinea.
https://urldefense.proofpoint.com/v2/url?u=http-3A__icarusfilms.com_cat97_p-2Ds_senso-5Fda.html&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=wGGzjQPIAgJNJ5waEBfdPLFDrCcQ49ffLGxoYIiNXkY&s=9BK16QN_WVYACwBYTBOXAp-2r3AJETiAVccFK9glikA&e= 

On Feb 14, 2016, at 5:18 AM, Linda Ehrlich wrote:

> I?m mentoring a senior who is doing her thesis on Japanese government response to the ?comfort women? issue.
> Are there documentaries that record the testimony of the (aged) survivors? I?m familiar with Imamura?s KARAYUKI-SAN and with the feature film SANDAKAN #8. But I?d like to learn about more attempts to present the truth of this issue, through Japanese (or other) cinema.
> 
> Thanks,
> 
> Linda Ehrlich
> linda.ehrlich at gmail.com
> braidednarrative.com
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=wGGzjQPIAgJNJ5waEBfdPLFDrCcQ49ffLGxoYIiNXkY&s=jzUkYQGs7MPjU3bbvn15ZA3T5sruUvxgbhhpM-3Jhes&e= 

John Junkerman
jtj at rf7.so-net.ne.jp

2-18-6 Ehara-cho
Nakano-ku, Tokyo 165-0023
Phone/Fax +813-3951-3963
(in Japan: 03-3951-3963)



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From n8_heneghan at hotmail.com  Sun Feb 14 03:24:35 2016
From: n8_heneghan at hotmail.com (Nate Heneghan)
Date: Sun, 14 Feb 2016 00:24:35 -0800
Subject: [KineJapan] documentaries on the "comfort women"
In-Reply-To: <EAD069A9-C3B3-43D1-AAC7-549D9ED82F32@rf7.so-net.ne.jp>
References: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>
	<EAD069A9-C3B3-43D1-AAC7-549D9ED82F32@rf7.so-net.ne.jp>
Message-ID: <BLU436-SMTP451B6696D7C96131D1679BC0AB0@phx.gbl>

It?s not a documentary, but the highly anticipated and much delayed film spirits? homecoming (kwihyang, dir. cho jung-rae) is slated to be released later this month.  It received a write-up in the ny times last year (see below):

https://urldefense.proofpoint.com/v2/url?u=http-3A__www.nytimes.com_2015_03_25_movies_from-2Dcho-2Djunglae-2Da-2Dfilm-2Don-2Djapanese-2Dwartime-2Dbrothels.html-3Fhpw-26rref-3Dmovies-26action-3Dclick-26pgtype-3DHomepage-26module-3Dwell-2Dregion-26region-3Dbottom-2Dwell-26WT.nav-3Dbottom-2Dwell-26-5Fr-3D0&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=-oJ1NqUgSVz3z9ym-iKZ4W4cfjgnTxFPnPnBKufamK0&e= 

n8 heneghan


> On Feb 13, 2016, at 7:05 PM, John Junkerman <jtj at rf7.so-net.ne.jp> wrote:
> 
> Ban Zhongyi's film "Gai Shanxi and Her Sisters," about sexual slavery in China, is available for download here:
> https://urldefense.proofpoint.com/v2/url?u=http-3A__dgeneratefilms.com_catalog_gai-2Dshanxi-2Dand-2Dher-2Dsisters-2Dgai-2Dshan-2Dxi-2Dhe-2Dta-2Dde-2Djie-2Dmei-2Dmen&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=XDHp8liAAvYbbgrZNc5GtNPgrX8LmB8peG8LrquVtrk&e=  <https://urldefense.proofpoint.com/v2/url?u=http-3A__dgeneratefilms.com_catalog_gai-2Dshanxi-2Dand-2Dher-2Dsisters-2Dgai-2Dshan-2Dxi-2Dhe-2Dta-2Dde-2Djie-2Dmei-2Dmen&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=XDHp8liAAvYbbgrZNc5GtNPgrX8LmB8peG8LrquVtrk&e= >
> 
> "Senso Daughters" (1989) was the first documentary to depict comfort women in New Guinea.
> https://urldefense.proofpoint.com/v2/url?u=http-3A__icarusfilms.com_cat97_p-2Ds_senso-5Fda.html&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=sAVwyzrBlF1cnQpK9M8heawrHtjK8J4eyzC0P0OiptM&e=  <https://urldefense.proofpoint.com/v2/url?u=http-3A__icarusfilms.com_cat97_p-2Ds_senso-5Fda.html&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=sAVwyzrBlF1cnQpK9M8heawrHtjK8J4eyzC0P0OiptM&e= >
> 
> On Feb 14, 2016, at 5:18 AM, Linda Ehrlich wrote:
> 
>> I?m mentoring a senior who is doing her thesis on Japanese government response to the ?comfort women? issue.
>> Are there documentaries that record the testimony of the (aged) survivors? I?m familiar with Imamura?s KARAYUKI-SAN and with the feature film SANDAKAN #8. But I?d like to learn about more attempts to present the truth of this issue, through Japanese (or other) cinema.
>> 
>> Thanks,
>> 
>> Linda Ehrlich
>> linda.ehrlich at gmail.com <mailto:linda.ehrlich at gmail.com>
>> braidednarrative.com <https://urldefense.proofpoint.com/v2/url?u=http-3A__braidednarrative.com_&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=K3u13wk2Fj2NNhqiYNXP5ej_rqyOuwucszKjRpxUKG4&e= >
>> 
>> 
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu <mailto:KineJapan at lists.osu.edu>
>> https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=eVzV9yNtp3rUNrIsclk6OwWXhZsuiheEBU8xwy6PWkQ&s=hx5Lzj6Q9D99Y2tDfUHuhtn9YqgSs0XRjLaBM1xRLdk&e= 
> 
> John Junkerman
> jtj at rf7.so-net.ne.jp <mailto:jtj at rf7.so-net.ne.jp>
> 
> 2-18-6 Ehara-cho
> Nakano-ku, Tokyo 165-0023
> Phone/Fax +813-3951-3963
> (in Japan: 03-3951-3963)
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
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From jasper_sharp at hotmail.com  Sun Feb 14 08:57:09 2016
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Sun, 14 Feb 2016 13:57:09 +0000
Subject: [KineJapan] documentaries on the "comfort women"
In-Reply-To: <u6jy3fpsq7eko40k2qaawsp8.1455416565216@email.android.com>
References: <2A1049AA-FA8D-4B42-B110-FC69120F2315@gmail.com>,
	<u6jy3fpsq7eko40k2qaawsp8.1455416565216@email.android.com>
Message-ID: <DUB115-W10964C0AE0628BABC9BC5FDF7AB0@phx.gbl>

There's been a woman's group quite active in making and promoting such films in Japan, called Video Juku.A number of films made since the 90s are currently available in English versions: https://urldefense.proofpoint.com/v2/url?u=http-3A__www.jca.apc.org_video-2Djuku_index-2Deng.html&d=CwIF-g&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=wdlr9JY0Q4AbFcs1puGs0xbq5tbzkXviIuoZG56R92g&s=jTVl_dIibqfaVl7LsjV3NXCoPhRoF3uy-9Bwarp52fw&e= 
hope this helps,
Jasper


The 8th Asia House Film Festival will take place from 22 February to 5 March 2016, with a line-up that includes 11 feature films, three documentaries and five short films coming from countries including Japan, China, Kazakhstan, Myanmar and Afghanistan.

The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 


The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds out now from Alchimia Publishing.
?An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals", Dennis Harvey, Variety
"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times



From: desser at illinois.edu
To: kinejapan at lists.osu.edu
Date: Sun, 14 Feb 2016 02:22:48 +0000
Subject: Re: [KineJapan] documentaries on the "comfort women"






Frances Gateward has a monumental essay on the Comfort Women trilogy from Korea in her book, Seoul Searching.










Sent from my Verizon Wireless 4G LTE smartphone







-------- Original message --------
From: Linda Ehrlich <linda.ehrlich at gmail.com> 
Date: 2/13/2016 12:19 PM (GMT-08:00) 
To: KineJapan <kinejapan at lists.acs.ohio-state.edu> 
Subject: [KineJapan] documentaries on the "comfort women" 



I?m mentoring a senior who is doing her thesis on Japanese government response to the ?comfort women? issue.
Are there documentaries that record the testimony of the (aged) survivors? I?m familiar with Imamura?s KARAYUKI-SAN and with the feature film SANDAKAN #8. But I?d like to learn about more attempts to present the truth of this issue, through Japanese
 (or other) cinema.



Thanks,



Linda Ehrlich
linda.ehrlich at gmail.com
braidednarrative.com















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From amnornes at umich.edu  Tue Feb 23 20:45:40 2016
From: amnornes at umich.edu (Markus Nornes)
Date: Tue, 23 Feb 2016 20:45:40 -0500
Subject: [KineJapan] Vicki Fan Subbing Site
Message-ID: <CANoSnpBgdDad0vVLbVsOOp+qwrE47ZCR1pt9btaXPmqxVK1Qhg@mail.gmail.com>

Thanks to an online essay by Tessa Dwyer, one of the scholars writing about
subtitling, I discovered the fascinating website Viki. This was a
fan-created website created at Stanford and Harvard, based in Singapore,
that crowd-sourced subtitling of Asian films and TV. Tessa explains:

https://urldefense.proofpoint.com/v2/url?u=https-3A__www.academia.edu_21900320_Welcome-5Fto-5FViki-5FFansubbing-5Fand-5FMedia-5FChange-3Fauto-3Dview-26campaign-3Dweekly-5Fdigest&d=CwIBaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=Jt_OTolqI-lCsyl3PYgyyBk4uj_9SZyC-Tp7SD_5RMQ&s=FknkjTn65MxJaQLrOiX-6CGKTAg69pxX-jWqJ8fO6gE&e= 

They seem to have borrowed the model used by the major Chinese fan subbing
organizations, where you have leaders at the top of teams that manage
various steps in the subtitling process. But anyone can join as a
subtitler, contributing to spotting, or subtitling or quality control. It's
pretty fascinating.

A couple years ago Rakuten bought the site out for a reported $200 million
or more. The business model uses ads, which can be turned off if you
subscribe. And it looks like you get the subscription if you start
subtitling.

It has more Korean and Chinese-language content than anything else, and
mainly the popular stuff. Definitely worth checking out, and keeping an eye
on.

https://urldefense.proofpoint.com/v2/url?u=https-3A__www.viki.com&d=CwIBaQ&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=Jt_OTolqI-lCsyl3PYgyyBk4uj_9SZyC-Tp7SD_5RMQ&s=UzHAWI0vQFzb8BUmSiuI5lc75TmRYRClD9AnE7wHG0o&e= 

Markus
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From sfred at bu.edu  Tue Feb 23 21:28:31 2016
From: sfred at bu.edu (Frederick, Sarah)
Date: Wed, 24 Feb 2016 02:28:31 +0000
Subject: [KineJapan] Vicki Fan Subbing Site
In-Reply-To: <CANoSnpBgdDad0vVLbVsOOp+qwrE47ZCR1pt9btaXPmqxVK1Qhg@mail.gmail.com>
References: <CANoSnpBgdDad0vVLbVsOOp+qwrE47ZCR1pt9btaXPmqxVK1Qhg@mail.gmail.com>
Message-ID: <1212189F-37BA-4128-A7A5-640FFC694E2E@bu.edu>

I have not looked recently but it was an interesting site last time I looked. At the Kyoto Consortium when I taught a class on translation some years ago, I gave an assignment for students to try doing a certain amount of subtitling on this site and then write about it. It was an easy way for undergraduates to get a practical sense of what it is like to do that work, and good listening practice as well.

Sarah Frederick
Associate Professor of Japanese
Dept. Modern Languages
   and Comparative Literature
Boston University


On Feb 23, 2016, at 8:45 PM, Markus Nornes <amnornes at umich.edu<mailto:amnornes at umich.edu>> wrote:

Thanks to an online essay by Tessa Dwyer, one of the scholars writing about subtitling, I discovered the fascinating website Viki. This was a fan-created website created at Stanford and Harvard, based in Singapore, that crowd-sourced subtitling of Asian films and TV. Tessa explains:

https://urldefense.proofpoint.com/v2/url?u=https-3A__www.academia.edu_21900320_Welcome-5Fto-5FViki-5FFansubbing-5Fand-5FMedia-5FChange-3Fauto-3Dview-26campaign-3Dweekly-5Fdigest&d=CwIFAg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=_GN5_kYyZ59DTRapdXtCiRAShA9sXP4yn-uziBxCcgE&s=f6DG-LF5vkYxexdvtTK4j-yWMgSv9kHpOgl8-3G7KG4&e= 

They seem to have borrowed the model used by the major Chinese fan subbing organizations, where you have leaders at the top of teams that manage various steps in the subtitling process. But anyone can join as a subtitler, contributing to spotting, or subtitling or quality control. It's pretty fascinating.

A couple years ago Rakuten bought the site out for a reported $200 million or more. The business model uses ads, which can be turned off if you subscribe. And it looks like you get the subscription if you start subtitling.

It has more Korean and Chinese-language content than anything else, and mainly the popular stuff. Definitely worth checking out, and keeping an eye on.

https://urldefense.proofpoint.com/v2/url?u=https-3A__www.viki.com&d=CwIFAg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=_GN5_kYyZ59DTRapdXtCiRAShA9sXP4yn-uziBxCcgE&s=rbV64CN7ioPCtZRkuCTAgMdQ51_GsTUnldwMOGGO11M&e= <https://urldefense.proofpoint.com/v2/url?u=https-3A__www.viki.com_&d=CwIFAg&c=clK7kQUTWtAVEOVIgvi0NU5BOUHhpN0H8p7CSfnc_gI&r=e7qMG9KFq7WNnPQWULWHJA&m=_GN5_kYyZ59DTRapdXtCiRAShA9sXP4yn-uziBxCcgE&s=ZYGwppM2iAB4WrKBkTHsBl53i_uOzffIjIWE3n1yZ20&e= >

Markus
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