From nornes at umich.edu  Mon Dec  3 13:37:48 2018
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 3 Dec 2018 13:37:48 -0500
Subject: [KineJapan] Film Art Recollections
Message-ID: <CANoSnpDC=+_zV1VBcm3R4HLx+qC3sHBAuoJ+dVzDvWgvsFBShw@mail.gmail.com>

The publisher Film Art is celebrating its 50th anniversary (!), and with
500+ books in their list I'm sure many of you have their volumes on your
shelves. They've enlisted a number of interesting authors and book sellers
to write essays on the publisher, including Kaneko Yu, Ono Yoshito, Yomota
Inuhiko, and others. Here is the latest, by Iwamoto Kenji.

http://www.kaminotane.com/2018/11/30/3775/

They are worth checking out. I write this shortly after visiting the film
section of Shinjuku's Kinokuniya, which is now housed in the bekkan behind
the main building. The paucity of titles, and the truly poor selection was
really disheartening. They should get their act together. It's embarrassing
and a not a little sad.

Markus


---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From earljac at gmail.com  Mon Dec  3 16:16:09 2018
From: earljac at gmail.com (Earl Jackson)
Date: Tue, 4 Dec 2018 05:16:09 +0800
Subject: [KineJapan] Film Art Recollections
In-Reply-To: <CANoSnpDC=+_zV1VBcm3R4HLx+qC3sHBAuoJ+dVzDvWgvsFBShw@mail.gmail.com>
References: <CANoSnpDC=+_zV1VBcm3R4HLx+qC3sHBAuoJ+dVzDvWgvsFBShw@mail.gmail.com>
Message-ID: <CABhbz8Pz8k6g-dfYD1V6bLKd-J5UpryDgLsgcquSqg6+4LjHYQ@mail.gmail.com>

Thank you for letting us know about this - what a valuable series! I also
was shocked this summer when I went to the film section of Kinokuniya. I
kept finding other clerks to ask where the film books were because I was
sure I just wasn't looking in the right place. So awful.
ej
Earl Jackson
Professor
Chair, Foreign Languages and Literatures
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute


On Tue, Dec 4, 2018 at 2:55 AM Markus Nornes <nornes at umich.edu> wrote:

> The publisher Film Art is celebrating its 50th anniversary (!), and with
> 500+ books in their list I'm sure many of you have their volumes on your
> shelves. They've enlisted a number of interesting authors and book sellers
> to write essays on the publisher, including Kaneko Yu, Ono Yoshito, Yomota
> Inuhiko, and others. Here is the latest, by Iwamoto Kenji.
>
> http://www.kaminotane.com/2018/11/30/3775/
>
> They are worth checking out. I write this shortly after visiting the film
> section of Shinjuku's Kinokuniya, which is now housed in the bekkan behind
> the main building. The paucity of titles, and the truly poor selection was
> really disheartening. They should get their act together. It's embarrassing
> and a not a little sad.
>
> Markus
>
>
> ---
>
> *Markus Nornes*
> *Professor of Asian Cinema*
> Department of Film, Television and Media, Department of Asian Languages
> and Cultures, Penny Stamps School of Art & Design
>
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street*
> *Ann Arbor, MI 48109-1285*
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From nornes at umich.edu  Mon Dec  3 16:24:42 2018
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 3 Dec 2018 16:24:42 -0500
Subject: [KineJapan] Film Art Recollections
In-Reply-To: <CABhbz8Pz8k6g-dfYD1V6bLKd-J5UpryDgLsgcquSqg6+4LjHYQ@mail.gmail.com>
References: <CANoSnpDC=+_zV1VBcm3R4HLx+qC3sHBAuoJ+dVzDvWgvsFBShw@mail.gmail.com>
 <CABhbz8Pz8k6g-dfYD1V6bLKd-J5UpryDgLsgcquSqg6+4LjHYQ@mail.gmail.com>
Message-ID: <CANoSnpDVMoAFC=9OWOS7k__tPNLmO-b7DYWRwaRNoJyyDhoMZg@mail.gmail.com>

Where do people go to look at new film books? I'm curious.

Recently, I've been going to Junkodo in Shibuya (and recall the Ikebukuro
store also has a decent selection). Others?

Markus
---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*



On Mon, Dec 3, 2018 at 4:16 PM Earl Jackson <earljac at gmail.com> wrote:

> Thank you for letting us know about this - what a valuable series! I also
> was shocked this summer when I went to the film section of Kinokuniya. I
> kept finding other clerks to ask where the film books were because I was
> sure I just wasn't looking in the right place. So awful.
> ej
> Earl Jackson
> Professor
> Chair, Foreign Languages and Literatures
> National Chiao Tung University
> Associate Professor, Emeritus
> University of California, Santa Cruz
> Co-Director
> Trans-Asia Screen Cultures Institute
>
>
> On Tue, Dec 4, 2018 at 2:55 AM Markus Nornes <nornes at umich.edu> wrote:
>
>> The publisher Film Art is celebrating its 50th anniversary (!), and with
>> 500+ books in their list I'm sure many of you have their volumes on your
>> shelves. They've enlisted a number of interesting authors and book sellers
>> to write essays on the publisher, including Kaneko Yu, Ono Yoshito, Yomota
>> Inuhiko, and others. Here is the latest, by Iwamoto Kenji.
>>
>> http://www.kaminotane.com/2018/11/30/3775/
>>
>> They are worth checking out. I write this shortly after visiting the film
>> section of Shinjuku's Kinokuniya, which is now housed in the bekkan behind
>> the main building. The paucity of titles, and the truly poor selection was
>> really disheartening. They should get their act together. It's embarrassing
>> and a not a little sad.
>>
>> Markus
>>
>>
>> ---
>>
>> *Markus Nornes*
>> *Professor of Asian Cinema*
>> Department of Film, Television and Media, Department of Asian Languages
>> and Cultures, Penny Stamps School of Art & Design
>>
>> *Department of Film, Television and Media*
>> *6348 North Quad*
>> *105 S. State Street*
>> *Ann Arbor, MI 48109-1285*
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From matteo.boscarol at gmail.com  Mon Dec  3 18:14:01 2018
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Tue, 4 Dec 2018 08:14:01 +0900
Subject: [KineJapan] Film Art Recollections
In-Reply-To: <CANoSnpDVMoAFC=9OWOS7k__tPNLmO-b7DYWRwaRNoJyyDhoMZg@mail.gmail.com>
References: <CANoSnpDC=+_zV1VBcm3R4HLx+qC3sHBAuoJ+dVzDvWgvsFBShw@mail.gmail.com>
 <CABhbz8Pz8k6g-dfYD1V6bLKd-J5UpryDgLsgcquSqg6+4LjHYQ@mail.gmail.com>
 <CANoSnpDVMoAFC=9OWOS7k__tPNLmO-b7DYWRwaRNoJyyDhoMZg@mail.gmail.com>
Message-ID: <424E2310-2D91-4BBE-80B2-C4FA9391565D@gmail.com>

here in Nagoya Maruzen has a huge section dedicated to film/cinema

Matteo Boscarol
????? ????
???????????
- Documentary in Japan and Asia
http://storiadocgiappone.wordpress.com
- Film writer for Il Manifesto
http://ilmanifesto.it



> On Dec 4, 2018, at 6:24, Markus Nornes <nornes at umich.edu> wrote:
> 
> Where do people go to look at new film books? I'm curious. 
> 
> Recently, I've been going to Junkodo in Shibuya (and recall the Ikebukuro store also has a decent selection). Others?
> 
> Markus
> --- 
> 
> Markus Nornes
> Professor of Asian Cinema
> Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design
> 
> Department of Film, Television and Media
> 6348 North Quad
> 105 S. State Street
> Ann Arbor, MI 48109-1285
> 
> 
> 
>> On Mon, Dec 3, 2018 at 4:16 PM Earl Jackson <earljac at gmail.com> wrote:
>> Thank you for letting us know about this - what a valuable series! I also was shocked this summer when I went to the film section of Kinokuniya. I kept finding other clerks to ask where the film books were because I was sure I just wasn't looking in the right place. So awful.
>> ej
>> Earl Jackson
>> Professor
>> Chair, Foreign Languages and Literatures
>> National Chiao Tung University
>> Associate Professor, Emeritus
>> University of California, Santa Cruz
>> Co-Director
>> Trans-Asia Screen Cultures Institute
>> 
>> 
>>> On Tue, Dec 4, 2018 at 2:55 AM Markus Nornes <nornes at umich.edu> wrote:
>>> The publisher Film Art is celebrating its 50th anniversary (!), and with 500+ books in their list I'm sure many of you have their volumes on your shelves. They've enlisted a number of interesting authors and book sellers to write essays on the publisher, including Kaneko Yu, Ono Yoshito, Yomota Inuhiko, and others. Here is the latest, by Iwamoto Kenji. 
>>> 
>>> http://www.kaminotane.com/2018/11/30/3775/ 
>>> 
>>> They are worth checking out. I write this shortly after visiting the film section of Shinjuku's Kinokuniya, which is now housed in the bekkan behind the main building. The paucity of titles, and the truly poor selection was really disheartening. They should get their act together. It's embarrassing and a not a little sad.
>>> 
>>> Markus
>>> 
>>> 
>>> --- 
>>> 
>>> Markus Nornes
>>> Professor of Asian Cinema
>>> Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design
>>> 
>>> Department of Film, Television and Media
>>> 6348 North Quad
>>> 105 S. State Street
>>> Ann Arbor, MI 48109-1285
>>> 
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at mailman.yale.edu
>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
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From mathieucapel at gmail.com  Mon Dec  3 21:55:19 2018
From: mathieucapel at gmail.com (Mathieu Capel)
Date: Tue, 4 Dec 2018 11:55:19 +0900
Subject: [KineJapan] French-Japanese Silent Films Symposium in Nichifutsu
 kaikan
Message-ID: <CAJptavQy6_h98t79rgWSeucbGwGQOjPhrkGOEEPanB8o3E774w@mail.gmail.com>

dear Kinejapaners,

May I draw your attention on a symposium we are hosting next weekend in
Ebisu Nichifutsukaikan/Maison franco-japonaise (not Institut fran?ais in
Iidabashi) ?

The main topic of this event is a examination of French and Japanese silent
films in the 1910's (1908-1919 if we're accurate), as transitional yet
definitory years for cinema, as it evolved from its primitive forms towards
what was then to be understood as classical cinema.
Speakers from France will be Laurent V?ray, Carole Aurouet and Beatrice de
Pastre : from Japan, Komatsu Hiroshi, Shibata K?tar? and Okubo Ry?, with
simultaneous translation.
On saturday night, the symposium will be followed by some kind of world
premiere, as we will have a screening of French films rare and unseen,
shown in the conditions of a screening in France back in the 1910's (at
least, in the closest possible way...), with what used to be called a
"bonimenteur", impersonated by French actor Didier Dabrowski... but these
films will also be told by a Japanese benshi, whom many of you might know,
Kataoka Ichir? (Kozaki Eri will play the piano).
On the first day (friday), filmmaker Yoshida Kij? will come and talk about
his 1995 film ????? ????, about Lumiere camera operator Gabriel Veyre, who
was the first to visit Japan alongside Fran?ois-Constant Girel.
Both screenings and the symposium are free of charge, but you are welcome
to subscribe on MFJ website :
https://www.mfj.gr.jp/agenda/2018/12/07/2018-12-07/index_ja.php
https://www.mfj.gr.jp/agenda/2018/12/08/2018-12-08_colloque_cinema_mue/index_ja.php

Hoping to see you there on friday and saturday,

Mathieu Capel
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From tjgharris at gmail.com  Tue Dec  4 06:37:03 2018
From: tjgharris at gmail.com (Timothy Harris)
Date: Tue, 4 Dec 2018 20:37:03 +0900
Subject: [KineJapan] Alan Booth's film criticism
Message-ID: <CA+u7bWeN8mRSrWf7QJTU_oSTpkRXht+pYetX-AQbuuE-Sz4jDQ@mail.gmail.com>

I am the editor of 'This Great Stage of Fools' ( brightwavemedia.com ) , an
anthology of shorter writings by Alan Booth, author of the very
well-received 'The Roads to Sata' (Weatherhill & Penguin) and 'Looking for
the Lost'' (Kodansha). The introduction is by myself, and there is an
afterword by Karel van Wolferen. These shorter writings include well over
100 pages of the  reviews of Japanese film that Booth wrote for the Asahi
Evening News between  1979 and 1990 (I was his editor). The reviews are
very perceptive and beautifully written, and provide a very good account of
what was happening in Japanese cinema in the decade 1979-1989. The
remainder of the book is given over to pieces on Japanese festivals and
folksongs, two long articles on the great Tsugaru shamisen player Takahashi
Chikuzan and on a walk the length of Shikoku, and some final, and
harrowingly funny essays on what it is like to die from cancer -- Booth
died in 1993.

The book contains some of Booth's best writing, and the film reviews are,
by any standards, extraordinary in their perceptiveness and quality of
judgement. Since I was his close friend, his editor for many years during
his life, and editor of this book after his death, I am obviously
prejudiced in his favour, but I should be very grateful for any advice from
subscribers to kinejapan as to how it might be possible to get this book
better known among those who are interested in Japanese cinema.

Timothy Harris
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From nornes at umich.edu  Tue Dec  4 08:55:59 2018
From: nornes at umich.edu (Markus Nornes)
Date: Tue, 4 Dec 2018 08:55:59 -0500
Subject: [KineJapan] Alan Booth's film criticism
In-Reply-To: <CA+u7bWeN8mRSrWf7QJTU_oSTpkRXht+pYetX-AQbuuE-Sz4jDQ@mail.gmail.com>
References: <CA+u7bWeN8mRSrWf7QJTU_oSTpkRXht+pYetX-AQbuuE-Sz4jDQ@mail.gmail.com>
Message-ID: <CANoSnpC9DNtaYyxAk6FM71x5SGGDGT5HhBOrJ8LNom0qPojsrA@mail.gmail.com>

Timothy, can you post the ISBN, etc, so it?s easy to forward to librarians?

Markus

On Tue, Dec 4, 2018 at 6:37 AM Timothy Harris <tjgharris at gmail.com> wrote:

> I am the editor of 'This Great Stage of Fools' ( brightwavemedia.com ) ,
> an anthology of shorter writings by Alan Booth, author of the very
> well-received 'The Roads to Sata' (Weatherhill & Penguin) and 'Looking for
> the Lost'' (Kodansha). The introduction is by myself, and there is an
> afterword by Karel van Wolferen. These shorter writings include well over
> 100 pages of the  reviews of Japanese film that Booth wrote for the Asahi
> Evening News between  1979 and 1990 (I was his editor). The reviews are
> very perceptive and beautifully written, and provide a very good account of
> what was happening in Japanese cinema in the decade 1979-1989. The
> remainder of the book is given over to pieces on Japanese festivals and
> folksongs, two long articles on the great Tsugaru shamisen player Takahashi
> Chikuzan and on a walk the length of Shikoku, and some final, and
> harrowingly funny essays on what it is like to die from cancer -- Booth
> died in 1993.
>
> The book contains some of Booth's best writing, and the film reviews are,
> by any standards, extraordinary in their perceptiveness and quality of
> judgement. Since I was his close friend, his editor for many years during
> his life, and editor of this book after his death, I am obviously
> prejudiced in his favour, but I should be very grateful for any advice from
> subscribers to kinejapan as to how it might be possible to get this book
> better known among those who are interested in Japanese cinema.
>
> Timothy Harris
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
-- 
---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From tjgharris at gmail.com  Wed Dec  5 02:31:03 2018
From: tjgharris at gmail.com (Timothy Harris)
Date: Wed, 5 Dec 2018 16:31:03 +0900
Subject: [KineJapan] KineJapan Digest, Vol 7, Issue 4
In-Reply-To: <mailman.668.1543931776.8874.kinejapan@mailman.yale.edu>
References: <mailman.668.1543931776.8874.kinejapan@mailman.yale.edu>
Message-ID: <CA+u7bWf1ihjA8_PE_CXDoeFvmZ2N_JDjXwBYfRZiwAGekL5Csw@mail.gmail.com>

Dear Marcus,

Thank you for your response.

The full title is:

This Great Stage of Fools: An anthology of uncollected writings

by Alan Booth

edited by Timothy Harris, with an afterword by Karel van Wolferen.

Published by Bright Wave Media Inc, Yokohama
(connexion: books at brightwavemedia.com -- it can be ordered directly from
the publisher, as well as from amazon.com)

ISBN 978-0-9899163-1-8

Yours,
Timothy Harris

On Tue, 4 Dec 2018 at 22:56, <kinejapan-request at mailman.yale.edu> wrote:

> Send KineJapan mailing list submissions to
>         kinejapan at mailman.yale.edu
>
> To subscribe or unsubscribe via the World Wide Web, visit
>         https://mailman.yale.edu/mailman/listinfo/kinejapan
> or, via email, send a message with subject or body 'help' to
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>
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>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of KineJapan digest..."
>
>
> Today's Topics:
>
>    1. Alan Booth's film criticism (Timothy Harris)
>    2. Re: Alan Booth's film criticism (Markus Nornes)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Tue, 4 Dec 2018 20:37:03 +0900
> From: Timothy Harris <tjgharris at gmail.com>
> To: kinejapan at mailman.yale.edu
> Subject: [KineJapan] Alan Booth's film criticism
> Message-ID:
>         <
> CA+u7bWeN8mRSrWf7QJTU_oSTpkRXht+pYetX-AQbuuE-Sz4jDQ at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> I am the editor of 'This Great Stage of Fools' ( brightwavemedia.com ) ,
> an
> anthology of shorter writings by Alan Booth, author of the very
> well-received 'The Roads to Sata' (Weatherhill & Penguin) and 'Looking for
> the Lost'' (Kodansha). The introduction is by myself, and there is an
> afterword by Karel van Wolferen. These shorter writings include well over
> 100 pages of the  reviews of Japanese film that Booth wrote for the Asahi
> Evening News between  1979 and 1990 (I was his editor). The reviews are
> very perceptive and beautifully written, and provide a very good account of
> what was happening in Japanese cinema in the decade 1979-1989. The
> remainder of the book is given over to pieces on Japanese festivals and
> folksongs, two long articles on the great Tsugaru shamisen player Takahashi
> Chikuzan and on a walk the length of Shikoku, and some final, and
> harrowingly funny essays on what it is like to die from cancer -- Booth
> died in 1993.
>
> The book contains some of Booth's best writing, and the film reviews are,
> by any standards, extraordinary in their perceptiveness and quality of
> judgement. Since I was his close friend, his editor for many years during
> his life, and editor of this book after his death, I am obviously
> prejudiced in his favour, but I should be very grateful for any advice from
> subscribers to kinejapan as to how it might be possible to get this book
> better known among those who are interested in Japanese cinema.
>
> Timothy Harris
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL: <
> http://mailman.yale.edu/pipermail/kinejapan/attachments/20181204/48df7dda/attachment-0001.html
> >
>
> ------------------------------
>
> Message: 2
> Date: Tue, 4 Dec 2018 08:55:59 -0500
> From: Markus Nornes <nornes at umich.edu>
> To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> Subject: Re: [KineJapan] Alan Booth's film criticism
> Message-ID:
>         <
> CANoSnpC9DNtaYyxAk6FM71x5SGGDGT5HhBOrJ8LNom0qPojsrA at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Timothy, can you post the ISBN, etc, so it?s easy to forward to librarians?
>
> Markus
>
> On Tue, Dec 4, 2018 at 6:37 AM Timothy Harris <tjgharris at gmail.com> wrote:
>
> > I am the editor of 'This Great Stage of Fools' ( brightwavemedia.com ) ,
> > an anthology of shorter writings by Alan Booth, author of the very
> > well-received 'The Roads to Sata' (Weatherhill & Penguin) and 'Looking
> for
> > the Lost'' (Kodansha). The introduction is by myself, and there is an
> > afterword by Karel van Wolferen. These shorter writings include well over
> > 100 pages of the  reviews of Japanese film that Booth wrote for the Asahi
> > Evening News between  1979 and 1990 (I was his editor). The reviews are
> > very perceptive and beautifully written, and provide a very good account
> of
> > what was happening in Japanese cinema in the decade 1979-1989. The
> > remainder of the book is given over to pieces on Japanese festivals and
> > folksongs, two long articles on the great Tsugaru shamisen player
> Takahashi
> > Chikuzan and on a walk the length of Shikoku, and some final, and
> > harrowingly funny essays on what it is like to die from cancer -- Booth
> > died in 1993.
> >
> > The book contains some of Booth's best writing, and the film reviews are,
> > by any standards, extraordinary in their perceptiveness and quality of
> > judgement. Since I was his close friend, his editor for many years during
> > his life, and editor of this book after his death, I am obviously
> > prejudiced in his favour, but I should be very grateful for any advice
> from
> > subscribers to kinejapan as to how it might be possible to get this book
> > better known among those who are interested in Japanese cinema.
> >
> > Timothy Harris
> >
> >
> > _______________________________________________
> > KineJapan mailing list
> > KineJapan at mailman.yale.edu
> > https://mailman.yale.edu/mailman/listinfo/kinejapan
> >
> --
> ---
>
> *Markus Nornes*
> *Professor of Asian Cinema*
> Department of Film, Television and Media, Department of Asian Languages and
> Cultures, Penny Stamps School of Art & Design
>
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street*
> *Ann Arbor, MI 48109-1285*
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>
> ------------------------------
>
> Subject: Digest Footer
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
>
> ------------------------------
>
> End of KineJapan Digest, Vol 7, Issue 4
> ***************************************
>
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From macyroger at yahoo.co.uk  Fri Dec  7 19:00:40 2018
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sat, 8 Dec 2018 00:00:40 +0000 (UTC)
Subject: [KineJapan] SOAS library cuts
References: <681011699.938787.1544227240021.ref@mail.yahoo.com>
Message-ID: <681011699.938787.1544227240021@mail.yahoo.com>


Dear KineJapaners,

Please excuse the parochial appeal but large-scale cuts at SOAS libraryhave been announced, including half of all subject librarians, of which I understandthe actual selection has not yet been made.

As a lowly external reference user, I have found Fujiko Kobayashi alwaysincredibly helpful, even though it can be quite hard to find her behind thepile of books to process. I feel there must be other members who have benefitedfrom these services either directly or indirectly.

Signing the petition below might help ?

https://www.change.org/p/soas-university-of-london-stop-the-cuts-at-soas-library

Kind regards,

Roger
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From aaron.gerow at yale.edu  Sat Dec  8 12:59:36 2018
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sat, 8 Dec 2018 12:59:36 -0500
Subject: [KineJapan] =?utf-8?b?RndkOiBCYXppbiBDb25mZXJlbmNlIOS8muWToQ==?=
 =?utf-8?b?6Zai5L+C5LyB55S744Gu44GU57S55LuL77yI5aCA5r2k5LmL5Lya5ZOh77yJ?=
References: <CAEq-HjmZsUdi6OACbqW3wPhN5OTzwTuo6SPsCtLKwFVJYxMhgQ@mail.gmail.com>
Message-ID: <9605891A-016B-4A06-B046-0745AF8C52FC@yale.edu>

My shisho, Dudley Andrew, will be traveling to Japan next week to take part in a series of Bazin conferences at Todai and Yamagata. It is also a great chance to hear from some of the best film thinkers in Japan.

Aaron Gerow


> ??????????
>  
> ???????????????????????????
> ???????????????
>  
> ???????????
> ?176-8525
> ????????2-42-1
> ?????????
> e-mail?JASIAS at nihon-u.ac.jp <mailto:JASIAS at nihon-u.ac.jp>
>  
>  
> ?????100??????????????12/16?12/20?
> 
> ?????????????????????????????????????
> 
> ??????????????2018?12?16???????????12?20??????????????????????????????????????100???????????????????????????????????http://cahiersandrebazin.blogspot.com/2018/11/100.html <http://cahiersandrebazin.blogspot.com/2018/11/100.html>????????
> 
> ?
> 
> ??????????100????????
> 
> ?????21????????????????
> 
> ????2018?12?16?????13:00-18:30
> ????????????????21 KOMCEE West
> 
> ?????????
> 13:00-14:30
> ????
> ???????????????????????????????????????????????
> Dudley Andrew (Yale University), ?Bazin?s Integral Perspective on Our Cruel World?
> 
> 14:45-16:15
> ??????????????????????????
> ???????????????????????????????????????????????????
> 
> 16:30-18:30
> ??????????????????
> ???????????????????????????????????????????
> ??????????????????????????????????????
> ?????????????????????????????????????????????????
> 
> ????????
> 
> ???????????
> ????????????
> 
> 
> ???????????????????????????????
> 
> ????2018?12?20?????14:00-17:00
> ???????????????1??3??301??
> 
> ?????????
> 14:00-15:00
> ??
> ????????????????????????????????????????????????????
> 
> 15:10-17:00
> ???????????????????????????????????????????????????????????
> ????????????????????????????????????
> ??????????????????????????????????????????????????????????????????????
> 
> ????????????
> 
> ???????????
> ????????????
> 
> ??????????????
> ????????????????????????????????????????????????????????????????????????????
> 
> ?????????????????????????(B)???????????????????????17H02299?????????????????????????????????
> 
> ???????cahiersandrebazin at gmail.com <mailto:cahiersandrebazin at gmail.com>
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From aaron.gerow at yale.edu  Sat Dec  8 15:50:20 2018
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sat, 8 Dec 2018 15:50:20 -0500
Subject: [KineJapan] =?utf-8?b?TmV3IHB1YmxpY2F0aW9uOiDml6XmnKzmiKbliY0=?=
 =?utf-8?b?5pig55S76KuW6ZuG44CA5pig55S755CG6KuW44Gu5YaN55m66KaLICBSZWRp?=
 =?utf-8?q?scovering_Classical_Japanese_Film_Theory=E2=80=94An_Anthology?=
Message-ID: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>

Folks, it is finally out!

As many of you know, Markus Nornes and I have been working on an anthology of Japanese film theory for over a decade. The English one is still in the works (more on that later), but the first volume of the Japanese edition is finally out from Yumani Shobo. It is really the first of its kind even in Japan, and a lot of thanks should go to Iwamoto Kenji, who joined us as one of the editors. Several members of KineJapan like Saito Ayako, Yamamoto Naoki, and Tsunoda Takuya helped as well. 

http://www.yumani.co.jp/np/isbn/9784843349397

Nihon senzen eigaronshu: Eiga riron no saihakken is 745 pages in length with over 65 selections from over 50 authors. It basically covers writings on cinema before 1945, as well as a variety of topics such as early cinema, sound, montage, machine art, criticism, audiences, animation, Japanese film, time and the frame, and nation. We worked hard to keep down the price, and at ?4800 yen, it is much cheaper than a book like this should be. 

It was not easy to publish it. We were turned down by another publisher and Yumani, which published the Japanese translation of our Research Guide to Japanese Film Studies, only came on board when I offered to help subsidize the cost of publication out of my research account. Having to transcribe over 1000 pages of Japanese, check for errors, and then adjust for modern kanji and kana usage, was not easy. Much gratitude goes out to the staff at Yumani. 

Yumani has not printed that many copies and has made no indication yet they want to publish the postwar volume. So if I dare say so: I think it is important for the field that this book sells well. (I should add the editors will not make a dime from this?again, I actually paid to get this published.)

So please buy it if you can. And if you are associated with an institution whose library might buy it, please request a purchase of one or more copies.

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Director of Graduate Studies, Film and Media Studies
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu
website: www.aarongerow.com


?????????????????
Rediscovering Classical Japanese Film Theory??An Anthology
??????????????????????????
??????2018?
ISBN 978-4-8433-5365-3
http://www.yumani.co.jp/np/isbn/9784843349397

????????????????
	?????????

?1????????????
	?????	????????? 
??????????????
?????????????
??????????????????
??????????????????
??????????????????
????????????????

?2?????????
	???????????	????????
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?????????????
?????????????

?3??????????????????? 
	?????	???? 
??????????????
??????????????????????????????
?????????????????
???????????????????
????????????????????

?4???????????????
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??????????????????
???????????????
?????????????????????
???????????????????

?5?????????
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?????????????
??????????????????????
?????????????
??????????????????

?6???????
	?????	???? 
????????????????????
?????????????
??????????????
??????????????????????

?7?????????
	????????????	???????
?????????????????????
???????????
???????????????
????????????????????????
?????????????????
????????????

?8??????????
	?????	???? 
??????????
?????????????
??????????????
?????????????
????????????????????
?????????????????????

?9???????
	?????	???? 
??????????????????
?????????????????
??????????????
??????????????

?10?????????????
	??????	???????????
?????????????????
???????????????????????
???????????????
?????????????
??????????????

?11??????????????????
	???????????	???????
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????????????
??????????????
???????????????
??????????????

?12?????????	
	?????	????????? 
?????????????
??????????????
????????????
????????????
??????????????????????
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?13?????????????
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???????????????
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????	????????????? 




















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From raine.michael.j at gmail.com  Sat Dec  8 16:12:08 2018
From: raine.michael.j at gmail.com (Michael Raine)
Date: Sat, 8 Dec 2018 16:12:08 -0500
Subject: [KineJapan] 
	=?utf-8?b?TmV3IHB1YmxpY2F0aW9uOiDml6XmnKzmiKbliY0=?=
	=?utf-8?b?5pig55S76KuW6ZuG44CA5pig55S755CG6KuW44Gu5YaN55m66KaLIFJl?=
	=?utf-8?q?discovering_Classical_Japanese_Film_Theory=E2=80=94An_An?=
	=?utf-8?q?thology?=
In-Reply-To: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
References: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
Message-ID: <CAH_CNbeVsKa9aJXTTDfJTyC7EW+87GMAjTVdDPiuS5vD0WHp_Q@mail.gmail.com>

A fantastic achievement! Thank you to Aaron and all those involved.

I'll pick up my own copy and ask my library to buy this. For others like me
who teach at institutions that don't usually buy Japanese materials, I
think we can make the argument that this opens up an entire field to those
students we may have with the inclination and the skills to take advantage
of it.

The link to the new collection is
http://www.yumani.co.jp/np/isbn/9784843353653

Michael

Michael Raine, Film Studies
Western University, Canada



On Sat, Dec 8, 2018 at 3:50 PM Gerow Aaron <aaron.gerow at yale.edu> wrote:

> Folks, it is finally out!
>
> As many of you know, Markus Nornes and I have been working on an anthology
> of Japanese film theory for over a decade. The English one is still in the
> works (more on that later), but the first volume of the Japanese edition is
> finally out from Yumani Shobo. It is really the first of its kind even in
> Japan, and a lot of thanks should go to Iwamoto Kenji, who joined us as one
> of the editors. Several members of KineJapan like Saito Ayako, Yamamoto
> Naoki, and Tsunoda Takuya helped as well.
>
> http://www.yumani.co.jp/np/isbn/9784843349397
>
> *Nihon senzen eigaronshu: Eiga riron no saihakken* is 745 pages in length
> with over 65 selections from over 50 authors. It basically covers writings
> on cinema before 1945, as well as a variety of topics such as early cinema,
> sound, montage, machine art, criticism, audiences, animation, Japanese
> film, time and the frame, and nation. We worked hard to keep down the
> price, and at ?4800 yen, it is much cheaper than a book like this should
> be.
>
> It was not easy to publish it. We were turned down by another publisher
> and Yumani, which published the Japanese translation of our *Research
> Guide to Japanese Film Studies*, only came on board when I offered to
> help subsidize the cost of publication out of my research account. Having
> to transcribe over 1000 pages of Japanese, check for errors, and then
> adjust for modern kanji and kana usage, was not easy. Much gratitude goes
> out to the staff at Yumani.
>
> Yumani has not printed that many copies and has made no indication yet
> they want to publish the postwar volume. So if I dare say so: I think it is
> important for the field that this book sells well. (I should add the
> editors will not make a dime from this?again, I actually paid to get this
> published.)
>
> So please buy it if you can. And if you are associated with an institution
> whose library might buy it, please request a purchase of one or more copies.
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Director of Graduate Studies, Film and Media Studies
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
> *???????? ????????Rediscovering Classical Japanese Film Theory??An
> Anthology*?? ???????????????????????
> ??????2018?
> ISBN 978-4-8433-5365-3
> http://www.yumani.co.jp/np/isbn/9784843349397
>
> ?? ?????????????
> ?????????
>
> ?1? ??????????
> ????? ?????????
> ??????????????
> ?????????????
> ??????????????????
> ??????????????????
> ??????????????????
> ????????????????
>
> ?2? ???????
> ?? ???????? ?? ?????
> ???????????????
> ?????????????
> ?????????????????
> ?????????????
> ?????????????
>
> ?3? ?????????????????
> ????? ????
> ??????????????
> ??????????????????????????????
> ?????????????????
> ???????????????????
> ????????????????????
>
> ?4? ?????????????
> ????? ????
> ??????????????????
> ??????????? ???
> ?????????????????????
> ???????????????????
>
> ?5? ???????
> ????? ????
> ???????????
> ?????????????
> ??????????????????????
> ?????????????
> ??????????????????
>
> ?6? ?????
> ????? ????
> ????????????????????
> ?????????????
> ??????????????
> ??????????????????????
>
> ?7? ???????
> ?? ????????? ?? ????
> ?????????????????????
> ???????????
> ???????????????
> ????????????????????????
> ?????????????????
> ????????????
>
> ?8? ????????
> ????? ????
> ??????????
> ?????????????
> ??????????????
> ?????????????
> ????????????????????
> ?????????????????????
>
> ?9? ?????
> ????? ????
> ??????????????????
> ?????????????????
> ??????????????
> ??????????????
>
> ?10? ???????????
> ?? ??? ?? ????????
> ?????????????????
> ???????????????????????
> ???????????????
> ?????????????
> ??????????????
>
> ?11? ????????????????
> ?? ???????? ?? ????
> ?????????????????
> ??????????????
> ????????????
> ??????????????
> ???????????????
> ??????????????
>
> ?12? ???????
> ????? ?????????
> ?????????????
> ??????????????
> ????????????
> ????????????
> ??????????????????????
> ??????????
>
> ?13? ???????????
> ????? ????
> ???????????????????
> ???????????????
> ???????????????
> ?????????????????
>
> ???? ?????????????
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From earljac at gmail.com  Sat Dec  8 16:26:55 2018
From: earljac at gmail.com (Earl Jackson)
Date: Sun, 9 Dec 2018 05:26:55 +0800
Subject: [KineJapan] 
	=?utf-8?b?TmV3IHB1YmxpY2F0aW9uOiDml6XmnKzmiKbliY0=?=
	=?utf-8?b?5pig55S76KuW6ZuG44CA5pig55S755CG6KuW44Gu5YaN55m66KaLIFJl?=
	=?utf-8?q?discovering_Classical_Japanese_Film_Theory=E2=80=94An_An?=
	=?utf-8?q?thology?=
In-Reply-To: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
References: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
Message-ID: <CABhbz8N3H1bEH3zaH8ffAAHkLik_UDd5fAYivvy=gWrFZx1H0g@mail.gmail.com>

Dear Aaron
This is a watershed moment for Japanese cinema studies. I keep tracking my
copy through amazon. We owe you, Markus, and Iwamoto-sensei a real debt of
gratitude.
best
ej
Earl Jackson
Professor
Chair, Foreign Languages and Literatures
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute


On Sun, Dec 9, 2018 at 4:50 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:

> Folks, it is finally out!
>
> As many of you know, Markus Nornes and I have been working on an anthology
> of Japanese film theory for over a decade. The English one is still in the
> works (more on that later), but the first volume of the Japanese edition is
> finally out from Yumani Shobo. It is really the first of its kind even in
> Japan, and a lot of thanks should go to Iwamoto Kenji, who joined us as one
> of the editors. Several members of KineJapan like Saito Ayako, Yamamoto
> Naoki, and Tsunoda Takuya helped as well.
>
> http://www.yumani.co.jp/np/isbn/9784843349397
>
> *Nihon senzen eigaronshu: Eiga riron no saihakken* is 745 pages in length
> with over 65 selections from over 50 authors. It basically covers writings
> on cinema before 1945, as well as a variety of topics such as early cinema,
> sound, montage, machine art, criticism, audiences, animation, Japanese
> film, time and the frame, and nation. We worked hard to keep down the
> price, and at ?4800 yen, it is much cheaper than a book like this should
> be.
>
> It was not easy to publish it. We were turned down by another publisher
> and Yumani, which published the Japanese translation of our *Research
> Guide to Japanese Film Studies*, only came on board when I offered to
> help subsidize the cost of publication out of my research account. Having
> to transcribe over 1000 pages of Japanese, check for errors, and then
> adjust for modern kanji and kana usage, was not easy. Much gratitude goes
> out to the staff at Yumani.
>
> Yumani has not printed that many copies and has made no indication yet
> they want to publish the postwar volume. So if I dare say so: I think it is
> important for the field that this book sells well. (I should add the
> editors will not make a dime from this?again, I actually paid to get this
> published.)
>
> So please buy it if you can. And if you are associated with an institution
> whose library might buy it, please request a purchase of one or more copies.
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Director of Graduate Studies, Film and Media Studies
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
> *???????? ????????Rediscovering Classical Japanese Film Theory??An
> Anthology*?? ???????????????????????
> ??????2018?
> ISBN 978-4-8433-5365-3
> http://www.yumani.co.jp/np/isbn/9784843349397
>
> ?? ?????????????
> ?????????
>
> ?1? ??????????
> ????? ?????????
> ??????????????
> ?????????????
> ??????????????????
> ??????????????????
> ??????????????????
> ????????????????
>
> ?2? ???????
> ?? ???????? ?? ?????
> ???????????????
> ?????????????
> ?????????????????
> ?????????????
> ?????????????
>
> ?3? ?????????????????
> ????? ????
> ??????????????
> ??????????????????????????????
> ?????????????????
> ???????????????????
> ????????????????????
>
> ?4? ?????????????
> ????? ????
> ??????????????????
> ??????????? ???
> ?????????????????????
> ???????????????????
>
> ?5? ???????
> ????? ????
> ???????????
> ?????????????
> ??????????????????????
> ?????????????
> ??????????????????
>
> ?6? ?????
> ????? ????
> ????????????????????
> ?????????????
> ??????????????
> ??????????????????????
>
> ?7? ???????
> ?? ????????? ?? ????
> ?????????????????????
> ???????????
> ???????????????
> ????????????????????????
> ?????????????????
> ????????????
>
> ?8? ????????
> ????? ????
> ??????????
> ?????????????
> ??????????????
> ?????????????
> ????????????????????
> ?????????????????????
>
> ?9? ?????
> ????? ????
> ??????????????????
> ?????????????????
> ??????????????
> ??????????????
>
> ?10? ???????????
> ?? ??? ?? ????????
> ?????????????????
> ???????????????????????
> ???????????????
> ?????????????
> ??????????????
>
> ?11? ????????????????
> ?? ???????? ?? ????
> ?????????????????
> ??????????????
> ????????????
> ??????????????
> ???????????????
> ??????????????
>
> ?12? ???????
> ????? ?????????
> ?????????????
> ??????????????
> ????????????
> ????????????
> ??????????????????????
> ??????????
>
> ?13? ???????????
> ????? ????
> ???????????????????
> ???????????????
> ???????????????
> ?????????????????
>
> ???? ?????????????
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From aaron.gerow at yale.edu  Sat Dec  8 16:27:24 2018
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sat, 8 Dec 2018 16:27:24 -0500
Subject: [KineJapan] 
 =?utf-8?b?TmV3IHB1YmxpY2F0aW9uOiDml6XmnKzmiKbliY0=?=
 =?utf-8?b?5pig55S76KuW6ZuG44CA5pig55S755CG6KuW44Gu5YaN55m66KaLIFJlZGlz?=
 =?utf-8?q?covering_Classical_Japanese_Film_Theory=E2=80=94An_Anthology?=
In-Reply-To: <CAH_CNbeVsKa9aJXTTDfJTyC7EW+87GMAjTVdDPiuS5vD0WHp_Q@mail.gmail.com>
References: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
 <CAH_CNbeVsKa9aJXTTDfJTyC7EW+87GMAjTVdDPiuS5vD0WHp_Q@mail.gmail.com>
Message-ID: <ED81E7AA-A244-47F3-895C-0D01CE4E2D27@yale.edu>

Michael:

Thanks for correcting the link! Yes it should be:

http://www.yumani.co.jp/np/isbn/9784843353653

Aaron

> 2018/12/08 ??4:12?Michael Raine <raine.michael.j at gmail.com> ?????
> 
> A fantastic achievement! Thank you to Aaron and all those involved. 
> 
> I'll pick up my own copy and ask my library to buy this. For others like me who teach at institutions that don't usually buy Japanese materials, I think we can make the argument that this opens up an entire field to those students we may have with the inclination and the skills to take advantage of it. 
> 
> The link to the new collection is http://www.yumani.co.jp/np/isbn/9784843353653 <http://www.yumani.co.jp/np/isbn/9784843353653>
> 
> Michael 
> 
> Michael Raine, Film Studies
> Western University, Canada
> 

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From stephensarra at hotmail.com  Sun Dec  9 21:16:47 2018
From: stephensarra at hotmail.com (stephen sarrazin)
Date: Mon, 10 Dec 2018 02:16:47 +0000
Subject: [KineJapan] 
 =?utf-8?b?TmV3IHB1YmxpY2F0aW9uOiDml6XmnKzmiKbliY0=?=
 =?utf-8?b?5pig55S76KuW6ZuG44CA5pig55S755CG6KuW44Gu5YaN55m66KaLICBSZWRp?=
 =?utf-8?q?scovering_Classical_Japanese_Film_Theory=E2=80=94An_Anthology?=
In-Reply-To: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
References: <DC9F7055-B3E8-4987-877B-E96B3B1DE0E5@yale.edu>
Message-ID: <MWHPR20MB15515B424D0C35DB6BA0C540CDA50@MWHPR20MB1551.namprd20.prod.outlook.com>

Congratulations Aaron!

copy ordered and will forward information to Paris 8 colleagues.

Stephen Sarrazin
lecturer Paris 8, Tokyo Geidai
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Gerow Aaron <aaron.gerow at yale.edu>
Sent: Sunday, December 9, 2018 5:50 AM
To: Japanese Cinema Discussion Forum
Subject: [KineJapan] New publication: ????????????????? Rediscovering Classical Japanese Film Theory?An Anthology

Folks, it is finally out!

As many of you know, Markus Nornes and I have been working on an anthology of Japanese film theory for over a decade. The English one is still in the works (more on that later), but the first volume of the Japanese edition is finally out from Yumani Shobo. It is really the first of its kind even in Japan, and a lot of thanks should go to Iwamoto Kenji, who joined us as one of the editors. Several members of KineJapan like Saito Ayako, Yamamoto Naoki, and Tsunoda Takuya helped as well.

http://www.yumani.co.jp/np/isbn/9784843349397

Nihon senzen eigaronshu: Eiga riron no saihakken is 745 pages in length with over 65 selections from over 50 authors. It basically covers writings on cinema before 1945, as well as a variety of topics such as early cinema, sound, montage, machine art, criticism, audiences, animation, Japanese film, time and the frame, and nation. We worked hard to keep down the price, and at ?4800 yen, it is much cheaper than a book like this should be.

It was not easy to publish it. We were turned down by another publisher and Yumani, which published the Japanese translation of our Research Guide to Japanese Film Studies, only came on board when I offered to help subsidize the cost of publication out of my research account. Having to transcribe over 1000 pages of Japanese, check for errors, and then adjust for modern kanji and kana usage, was not easy. Much gratitude goes out to the staff at Yumani.

Yumani has not printed that many copies and has made no indication yet they want to publish the postwar volume. So if I dare say so: I think it is important for the field that this book sells well. (I should add the editors will not make a dime from this?again, I actually paid to get this published.)

So please buy it if you can. And if you are associated with an institution whose library might buy it, please request a purchase of one or more copies.

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Director of Graduate Studies, Film and Media Studies
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu
website: www.aarongerow.com


?????????????????
Rediscovering Classical Japanese Film Theory??An Anthology
??????????????????????????
??????2018?
ISBN 978-4-8433-5365-3
http://www.yumani.co.jp/np/isbn/9784843349397

????????????????
?????????

?1????????????
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?10?????????????
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???? ?????????????




















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From macyroger at yahoo.co.uk  Tue Dec 11 17:29:28 2018
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Tue, 11 Dec 2018 22:29:28 +0000 (UTC)
Subject: [KineJapan] =?utf-8?q?Films_at_MCJP=2C_Ot=C5=8Dto=2C_and_a_book?=
 =?utf-8?q?=2E?=
References: <1501397793.4159304.1544567368304.ref@mail.yahoo.com>
Message-ID: <1501397793.4159304.1544567368304@mail.yahoo.com>


Dear KineJapaners,

I took the opportunity last week to take a look at Ichikawa Kon?s Ot?to,showing at the Maison de la Culture du Japon ? Paris. They are screening aseries of series of ?grands classiques? from new digital transfers. I had seen Ot?tobefore, in fact it was my first review for Midnight Eye, andso I thought I?d cope without english subtitles. But it was a nice surprise todiscover when it started that it was showing with english subtitles (withfrench underneath). I mentioned this afterwards and asked whether this was infact the norm. The answer was no, and they didn?t know which ones would be likethat. (But the subtitlers must know).

The print was in brilliant condition, although arguably too brilliant forthe special muted process by which the color stock was supposedly developed(although I also thought that when I watched it at the NFT on a celluloid printin 2008). It?s also against the grain for the best preserved print to have beenthe subtitled one. More usually, one needs to go back beyond the hard-subtitledJapan Foundation 16mm print to find a good copy of a film. The preservedsubtitles on this were below and above the bottom edge of the scope frame, sothere must be more to anamorphic lens compression than I can squeeze into mymind.

The film - the work itself - still stands up very well. 

There?s an accompanying book for the Paris festival is now out - 100ans de cin?ma japonais - http://www.editionsdelamartiniere.fr/ouvrage/100-ans-de-cinema-japonais/9782732488196.In reality, it?s a posh catalogue of the films of the three seasons at theCin?math?que fran?aise and the one at MCJP. It?s lavishly illustrated with ashort piece on each film, some at least by people we know. For Ot?to,here titled Tendreet folle adolescence, the words are by ?Mayu Honda?,translated into french by L?a Le Dimna. Honda doesn?t complicate things byhesitating upon sole authorship, although she name-checks K?da Aya as thedaughter of K?da Rohan. This time, I timed how long the present-but-absentRohan took to say a word - 35 minutes. Looking back, although I still see MoriMasayuki as relishing his role in a decapitating portrayal of Rohan, myshortcoming was to have barely mentioned Tanaka Kinuyo. It?s hard to embraceher role: fat and fifty, decrepit, with a very unappealing prim piety, andreduced to powerlessly sniping from the sideline. Mori risked nothing in hisportrayal and might even have gained prestige. Tanaka, although she didn?t needto knock out any more teeth, risked seriously damaging her persona. I think Ididn?t comment back then, because I didn?t have anything reliable about howK?da Aya herself saw her relationship with her stepmother, and didn?t reallyknow whose view was being portrayed. Focuses on mother-daughter relationshipson film were rarer then, and we have largely had to wait for women directors tobring them to the fore (about the one thing I remember was the trouble I tookto line up the sentence, ?Reader, it seems they had to marry them.?).

Tendre et folle adolescencehas a repeat screening at MCJP on 18th December. Incidentally, somescreenings are supposed to be presented there by cast or crew members. Ithought I saw something on a poster at MCJP about that, but I can?t find namesonline.

And, finally, with a full retrospective of Kawase Naomi at the CentrePompidou running, there are some other opportunities to look at mother -stepmother relationships.

Thanks, if you got this far,

Roger

?
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From matteo.boscarol at gmail.com  Fri Dec 14 00:00:20 2018
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Fri, 14 Dec 2018 14:00:20 +0900
Subject: [KineJapan] New Uplink theater
Message-ID: <51201054-74A4-49B0-BA48-7BC9D250EB00@gmail.com>

Dear all, 

Uplink has opened a new 5-screen indie cineplex in Kichijoji from today (screening a mix of old and new movies): 

https://joji.uplink.co.jp/



Matteo Boscarol
????? ????
???????????
- Documentary in Japan and Asia
http://storiadocgiappone.wordpress.com
- Film writer for Il Manifesto
http://ilmanifesto.it


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From aaron.gerow at yale.edu  Sat Dec 15 13:10:20 2018
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sat, 15 Dec 2018 13:10:20 -0500
Subject: [KineJapan] Rediscovering Japanese Film Theory
Message-ID: <E82EB5F4-18E4-4510-8DDB-23ECCF93D94F@yale.edu>

I announced the publication of our anthology of prewar Japanese film theory last week, but I wanted to let you know I wrote up a blog post about the book and the difficulties in publishing it.

http://www.aarongerow.com/news/rediscovering-classical.html

I also noticed that the book is now ranked no. 20 in the ?Eigaron, eizoron? category on Amazon.jp. I doubt that means much, but somebody must be buying it.

Thanks,

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Director of Graduate Studies, Film and Media Studies
Yale University
143 Elm Street, Room 210
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

















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From alexanderjacoby at brookes.ac.uk  Sun Dec 16 06:09:29 2018
From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby)
Date: Sun, 16 Dec 2018 11:09:29 +0000
Subject: [KineJapan] Rediscovering Japanese Film Theory
In-Reply-To: <E82EB5F4-18E4-4510-8DDB-23ECCF93D94F@yale.edu>
References: <E82EB5F4-18E4-4510-8DDB-23ECCF93D94F@yale.edu>
Message-ID: <CANN9ZtS9ukd6A62BC832Fnz37+MB+qjFB69Z8YqLOcE7-T2EZg@mail.gmail.com>

Congratulations to you and all involved in this very laudable project.

May I add, I can't wait for it to be out in English. Many of my students
are taking my module as a component of a Film Studies degree and so can't
read Japanese at all; those who are studying the language are often still
be at a relative elementary level, since we teach ab initio, and not yet
able to engage with scholarly Japanese.

It will be absolutely fantastic to be able to set my students more readings
from Japanese theorists and scholars in due course! In the meantime, I'll
swell the "Eigaron, eizoron" numbers by ordering a copy of the Japanese
edition.

Best wishes,


ALEX



(Dr) Alexander Jacoby
Senior Lecturer in Japanese Studies
Oxford Brookes University
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From jmthfrsa at gmail.com  Mon Dec 17 06:03:13 2018
From: jmthfrsa at gmail.com (jacline MORICEAU)
Date: Mon, 17 Dec 2018 12:03:13 +0100
Subject: [KineJapan] Rediscovering Japanese Film Theory
In-Reply-To: <CANN9ZtS9ukd6A62BC832Fnz37+MB+qjFB69Z8YqLOcE7-T2EZg@mail.gmail.com>
References: <E82EB5F4-18E4-4510-8DDB-23ECCF93D94F@yale.edu>
 <CANN9ZtS9ukd6A62BC832Fnz37+MB+qjFB69Z8YqLOcE7-T2EZg@mail.gmail.com>
Message-ID: <CAMnAxfLvfEq000_a29fX=apd1A4tQzr2GjNZ+VNqKg_3C1rVyw@mail.gmail.com>

Congratulations to all of you for the very important realization you made.

 As Alex Scholars I am not able to read scholarly Japanese.  However I'll
ask The MCJP (Maison du Japon ? Paris) and the BNF ( Grande biblioth?que
Fran?ois Mitterand Paris) to buy your Anthology. (if not already scheduled).
I hope to reading soon the English version

Best Wishes

Jacline Moriceau
Cinema Independent Researcher

Le dim. 16 d?c. 2018 ? 12:10, Alexander Jacoby <
alexanderjacoby at brookes.ac.uk> a ?crit :

> Congratulations to you and all involved in this very laudable project.
>
> May I add, I can't wait for it to be out in English. Many of my students
> are taking my module as a component of a Film Studies degree and so can't
> read Japanese at all; those who are studying the language are often still
> be at a relative elementary level, since we teach ab initio, and not yet
> able to engage with scholarly Japanese.
>
> It will be absolutely fantastic to be able to set my students more
> readings from Japanese theorists and scholars in due course! In the
> meantime, I'll swell the "Eigaron, eizoron" numbers by ordering a copy of
> the Japanese edition.
>
> Best wishes,
>
>
> ALEX
>
>
>
> (Dr) Alexander Jacoby
> Senior Lecturer in Japanese Studies
> Oxford Brookes University
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From jeremyharley at gmail.com  Mon Dec 17 09:40:29 2018
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Mon, 17 Dec 2018 23:40:29 +0900
Subject: [KineJapan] Mabashi Wonderland Movie Festival
Message-ID: <CAD3BKu8XdjODb5TZNEhru+CwY5=7jHpoik6bZQ3FxQH6L_yy5A@mail.gmail.com>

Dear everyone,
I am starting a new festival "next month!!" in Koenji called the Mabashi
Wonderland Movie Festival.
Dates are Jan 18, 19, 20 (Fri, Sat, Sun).

I have tried to describe it below, but some clarification is surely needed
here and there, please don't hesitate to ask.

Most but not all films have English subtitles (or are in English to begin
with), but I don't know how much I'll be able be to promote this festival
in English in its first year, so please pass this along to friends and
students or anyone at all whom you think might be interested!
(prefer it's not posted on Facebook or online, if you don't mind. It's not
fully polished, perhaps.)

A more official flyer (in Japanese) will follow in the next few days.

Below are the films decided so far, which will be complemented with older
Mabashi shorts and perhaps new shorts by Mabashi directors (TBA).

*Features*:
*Diary of a Rambling Woman* (in JP with ENG subs) by Mari Terashima
*Bamseom Pirates,  Seoul Inferno* (in KR with JP and ENG subs) by Yoonsuk
Jung
*I'm Not Here *(in JP with ENG subs) by Shintaro Hihara

*Shorts programs*:
*Koki Ebata's Mabashi Movies*  (in JP)
*Chess Forum Movies *(in JP with ENG subs)

and more....

Further descriptions of the movies follow below, and you may find a
description of the original *Mabashi Movie Festival (now resting?) at the
very bottom. That festival was founded by three of us. This time, I'm doing
a different kind of festival under this new-ish name.

Dates: Jan 18, 19, 20 (Fri, Sat, Sun)
Venue: Shiroto no Ran #12 (Fudeno bldg. 2f 3-8-12 Koenji-kita Suginami-ku
Tokyo 1660002 Japan)

Hope to see you at the movies....!
peace to all,
Jeremy


?We will premiere the English-subtitled version (my translation) of *Diary
of a Rambling Woman*. Mari Terashima has been making movies for a long
time, you may be familiar with Princess Plum Pudding (1999) and Alice in
the Underworld: the Dark M?rchen Show!! (2009).
Diary of a Rambling Woman is a brooding batty and uproarious self-mocking
self-documentary.

?The band in *Bamseom Pirates,  Seoul Inferno *-Bamseom Pirates - has close
ties to Koenji, especially to Shiroto no Ran (Amateur Revolt/Riot), and the
movie will be showing there for the first time, so it should be great fun.
The band's satirical lyrics jibe well with the Shiroto no Ran view on life.
The movie's garish envisioning of the band's songs has its own style, that
complements them eloquently.

 ?Both of these are laugh out loud movies, made to be seen with people, in
public.

?*I'm Not Here* is a fiction feature shot by an employee of the film
division of an arts college. He shot in the college itself, using film
students as his actors, but the film's message is to harshly criticize the
school and its administration as it becomes more and more commercial to the
detriment of its students, a ubiquitous problem in Japan today. Unhurried
at 2 hrs 20 min, and yet completely engrossing.

?Koki Ebata might be best known for Transgender Trouble, which showed at
Yamagata in 2011, and she also filmed a daring chronicle of her boyfriend's
arrest in a protest in September 2011 entitled My Boyfriend Was Arrested!
She made 6 shorts for Mabashi over the years, all shown here. The first
three chronicle the work of the collective RLL, who were centered in and
around Shiroto no Ran. The third shows anti-nuclear protests from April
2011 through early summer of 2011. The last two are more diary-like. All
shorts are 10 min or a few seconds under, so it's an hour-long program.

?Chess Forum is a chess store where I used to work in Greenwich Village in
New York, and a number of shorts (fiction and documentary) have been made
in and about it, so I thought I'd show a few, with Japanese subtitles. It's
a last vestige of a New York that once was, watched over by the son of
Palestian refugees, and I hope we can express at least a tiny bit of what
the store is about, and hopefully transport viewers to someplace
interesting.

*The Mabashi Movie Festival was a community film festival held in ?Mabashi?
(the old name for an area between Koenji and Asagaya in Tokyo) a total of
ten times between August 2007 and February 2013. Participating directors
made new films of up to ten minutes each, which we screened for one another
in person (and mostly didn?t upload on YouTube, which became popular in the
same period).
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From timiles2003 at yahoo.com  Mon Dec 17 15:21:20 2018
From: timiles2003 at yahoo.com (Tim Iles)
Date: Mon, 17 Dec 2018 20:21:20 +0000 (UTC)
Subject: [KineJapan] New Content on the ejcjs
References: <935112354.5707622.1545078080962.ref@mail.yahoo.com>
Message-ID: <935112354.5707622.1545078080962@mail.yahoo.com>

The electronic journal of contemporary japanese studies is pleased to announce the release of Volume 18, Issue 3, available online at:

<http://www.japanesestudies.org.uk/ejcjs/vol18/iss3/index.html>


The content is as follows:

Peer-reviewed articles

Andrew Watson "Probation and lowering the age of Criminal Majority in Japan"

Barbara Greene "High School of the Dead and the Profitable Use of Japanese Nationalistic Imagery"

Christian Etzrodt "Nitobe Inaz??s Bushido: Science or Fiction?"

Ariunaa Enkhtur "Government sponsored Mongolian graduates from Japan: Perceptions of Learning Experience"

Discussion papers

Noboru Sakai "?Hate speech? in Japan as a daily-use word: its explosive expansion throughout the country"

Hiroko Matsuzaki "Dis/Re-Connecting Japan to Taiwan: The Complex Feelings of Different Japanese Generations toward Taiwan in Yoshida Sh?ichi?s Road"

Book reviews

Simon Paxton "Intoxicants, Stimulants and Pseudoscience: A History of Modern Japanese Alcohol and Drug Culture"

Simon Gough "Review of Lamarre, Thomas, The Anime Ecology: A Genealogy of Television, Animation, and Game Media"

H. D. P. Envall "Abe?s Doctrine: How Proactive? How Pacifist?"

Marcos P. Centeno Martin "Interrogating Forms of Dissidence: An Approach to Physical and Mental Escapes from Japan"



As ever, we are grateful for the support of our contributors, readers, and volunteer production staff around the world. Many thanks to all, and best wishes for the coming New Year.

Timothy Iles
General Editor, the ejcjs
 

From annekmcknight at gmail.com  Thu Dec 27 08:06:28 2018
From: annekmcknight at gmail.com (Anne McKnight)
Date: Thu, 27 Dec 2018 22:06:28 +0900
Subject: [KineJapan] Query on hippopotamus movies
Message-ID: <58469546-26E2-4865-B7D4-E05DF6FD4FF2@gmail.com>

Hi everyone, and happy almost new year~

I have a query about a specific film I have read about a couple of times?yet it is never attributed a name, director, or even year. My best guess is Taisho 12. 

One account says it is a movie about ?hippopotamus hunting,? and mentions the commentary by Tokugawa Musei, whereas the other just focuses on how the hippo can be accessed better on the screen as a phenomenology project, mentioning no bench or even story. The first account (the more entertainment-oriented one) remarks that people laughed at various parts of the film, coaxed by the commentary, where the other (the more ?critical? one) doesn?t mention the audience at all. Both critics mention Africa, hippos, hippo splashing behavior, around the same time?so I am pretty sure they are the same film. They just show very different attitudes about how to use photo-realism to understand ?nature.? 

I am curious if anyone else has seen references to this movie, or even the movie itself. No idea where it comes from, but in the memoir I am reading, the author typically mentions if it is an Ufa film, so it might not be Ufa. And if it is a dramaturged ?documentary,? at least it is more real than, say, Baboona (1935), which I have also seen referenced as a scientific (??) film.

Thanks for any help or wild guesses!

Anne


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From nornes at umich.edu  Thu Dec 27 11:32:45 2018
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 27 Dec 2018 09:32:45 -0700
Subject: [KineJapan] Query on hippopotamus movies
In-Reply-To: <58469546-26E2-4865-B7D4-E05DF6FD4FF2@gmail.com>
References: <58469546-26E2-4865-B7D4-E05DF6FD4FF2@gmail.com>
Message-ID: <CANoSnpAqzxhnECPOyySc=tKfUJoHtY4mbrNP7w4L77pyWg3zOQ@mail.gmail.com>

I?m not sure about this, but if you troll the Kagakushoin dictionary, you
might very well stumble on it.

Markus


?Hakurai kinema sakuhin jiten: Nihon de senzen ni j?ei sareta gaikoku eiga
ichiran = Complete dictionary of imported movies up to 1945 August, edited
by Sekai Eigashi Kenky?kai
Tokyo: Kagaku Shoin, 1997.?





On Thu, Dec 27, 2018 at 6:06 AM Anne McKnight <annekmcknight at gmail.com>
wrote:

> Hi everyone, and happy almost new year~
>
> I have a query about a specific film I have read about a couple of
> times?yet it is never attributed a name, director, or even year. My best
> guess is Taisho 12.
>
> One account says it is a movie about ?hippopotamus hunting,? and mentions
> the commentary by Tokugawa Musei, whereas the other just focuses on how the
> hippo can be accessed better on the screen as a phenomenology project,
> mentioning no bench or even story. The first account (the more
> entertainment-oriented one) remarks that people laughed at various parts of
> the film, coaxed by the commentary, where the other (the more ?critical?
> one) doesn?t mention the audience at all. Both critics mention Africa,
> hippos, hippo splashing behavior, around the same time?so I am pretty sure
> they are the same film. They just show very different attitudes about how
> to use photo-realism to understand ?nature.?
>
> I am curious if anyone else has seen references to this movie, or even the
> movie itself. No idea where it comes from, but in the memoir I am reading,
> the author typically mentions if it is an Ufa film, so it might not be Ufa.
> And if it is a dramaturged ?documentary,? at least it is more real than,
> say, *Baboona* (1935), which I have also seen referenced as a scientific
> (??) film.
>
> Thanks for any help or wild guesses!
>
> Anne
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
-- 
---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From mroberts37 at mail-central.com  Thu Dec 27 23:59:28 2018
From: mroberts37 at mail-central.com (Mark Roberts)
Date: Fri, 28 Dec 2018 13:59:28 +0900
Subject: [KineJapan] Query on hippopotamus movies
In-Reply-To: <58469546-26E2-4865-B7D4-E05DF6FD4FF2@gmail.com>
References: <58469546-26E2-4865-B7D4-E05DF6FD4FF2@gmail.com>
Message-ID: <C3B9DCCC-1EDE-43B8-9F74-21F505F24A23@mail-central.com>

Anne,

These are guesses and I have no idea if they were distributed in Japan, but...

Chasse ? l'hippopotame sur le Nil bleu <http://filmographie.fondation-jeromeseydoux-pathe.com/2333-chasse-a-l-hippopotame-dans-le-nil-bleu-la> (1908) and Une grande chasse ? l'hippopotame sur le Haut Nil <http://filmographie.fondation-jeromeseydoux-pathe.com/8206-une-grande-chasse-a-l> (1910), both directed by Alfred Machin, who did a number of other films about hunting animals in Africa.

Chasse ? l?hippopotame en haute Gambie <https://www.youtube.com/watch?v=LPFJj5wclEw> (1917), directed by M. Livier.

All three were documentaries for Path?. The one by Livier is on YouTube.

There is also Jean Rouch's first film in Africa, Bangawi: chasse traditionnelle ? l?hippopotame <http://www.comitedufilmethnographique.com/film/bangawi-chasse-traditionnelle-a-lhippopotame/>, but it's from 1947.

HTH,

Mark


> On Dec 27, 2018, at 22:06, Anne McKnight <annekmcknight at gmail.com> wrote:
> 
> Hi everyone, and happy almost new year~
> 
> I have a query about a specific film I have read about a couple of times?yet it is never attributed a name, director, or even year. My best guess is Taisho 12. 
> 
> One account says it is a movie about ?hippopotamus hunting,? and mentions the commentary by Tokugawa Musei, whereas the other just focuses on how the hippo can be accessed better on the screen as a phenomenology project, mentioning no bench or even story. The first account (the more entertainment-oriented one) remarks that people laughed at various parts of the film, coaxed by the commentary, where the other (the more ?critical? one) doesn?t mention the audience at all. Both critics mention Africa, hippos, hippo splashing behavior, around the same time?so I am pretty sure they are the same film. They just show very different attitudes about how to use photo-realism to understand ?nature.? 
> 
> I am curious if anyone else has seen references to this movie, or even the movie itself. No idea where it comes from, but in the memoir I am reading, the author typically mentions if it is an Ufa film, so it might not be Ufa. And if it is a dramaturged ?documentary,? at least it is more real than, say, Baboona (1935), which I have also seen referenced as a scientific (??) film.
> 
> Thanks for any help or wild guesses!
> 
> Anne
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From annekmcknight at gmail.com  Fri Dec 28 04:03:56 2018
From: annekmcknight at gmail.com (Anne McKnight)
Date: Fri, 28 Dec 2018 18:03:56 +0900
Subject: [KineJapan] Query on hippopotamus movies
In-Reply-To: <C3B9DCCC-1EDE-43B8-9F74-21F505F24A23@mail-central.com>
References: <58469546-26E2-4865-B7D4-E05DF6FD4FF2@gmail.com>
 <C3B9DCCC-1EDE-43B8-9F74-21F505F24A23@mail-central.com>
Message-ID: <423516A4-EC8F-4802-BADF-9500A6803815@gmail.com>

Thanks to both of you, Mark and Markus. Indeed, it looks (from the descriptions) to be the Livier film, and I will cross-check the dates along with the other films in the Kagakush?in book.

Many thanks!

Anne

> On Dec 28, 2018, at 13:59, Mark Roberts <mroberts37 at mail-central.com> wrote:
> 
> Anne,
> 
> These are guesses and I have no idea if they were distributed in Japan, but...
> 
> Chasse ? l'hippopotame sur le Nil bleu <http://filmographie.fondation-jeromeseydoux-pathe.com/2333-chasse-a-l-hippopotame-dans-le-nil-bleu-la> (1908) and Une grande chasse ? l'hippopotame sur le Haut Nil <http://filmographie.fondation-jeromeseydoux-pathe.com/8206-une-grande-chasse-a-l> (1910), both directed by Alfred Machin, who did a number of other films about hunting animals in Africa.
> 
> Chasse ? l?hippopotame en haute Gambie <https://www.youtube.com/watch?v=LPFJj5wclEw> (1917), directed by M. Livier.
> 
> All three were documentaries for Path?. The one by Livier is on YouTube.
> 
> There is also Jean Rouch's first film in Africa, Bangawi: chasse traditionnelle ? l?hippopotame <http://www.comitedufilmethnographique.com/film/bangawi-chasse-traditionnelle-a-lhippopotame/>, but it's from 1947.
> 
> HTH,
> 
> Mark
> 
> 
>> On Dec 27, 2018, at 22:06, Anne McKnight <annekmcknight at gmail.com <mailto:annekmcknight at gmail.com>> wrote:
>> 
>> Hi everyone, and happy almost new year~
>> 
>> I have a query about a specific film I have read about a couple of times?yet it is never attributed a name, director, or even year. My best guess is Taisho 12. 
>> 
>> One account says it is a movie about ?hippopotamus hunting,? and mentions the commentary by Tokugawa Musei, whereas the other just focuses on how the hippo can be accessed better on the screen as a phenomenology project, mentioning no bench or even story. The first account (the more entertainment-oriented one) remarks that people laughed at various parts of the film, coaxed by the commentary, where the other (the more ?critical? one) doesn?t mention the audience at all. Both critics mention Africa, hippos, hippo splashing behavior, around the same time?so I am pretty sure they are the same film. They just show very different attitudes about how to use photo-realism to understand ?nature.? 
>> 
>> I am curious if anyone else has seen references to this movie, or even the movie itself. No idea where it comes from, but in the memoir I am reading, the author typically mentions if it is an Ufa film, so it might not be Ufa. And if it is a dramaturged ?documentary,? at least it is more real than, say, Baboona (1935), which I have also seen referenced as a scientific (??) film.
>> 
>> Thanks for any help or wild guesses!
>> 
>> Anne
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From aaron.gerow at yale.edu  Fri Dec 28 21:12:48 2018
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Fri, 28 Dec 2018 21:12:48 -0500
Subject: [KineJapan] Bohemian Rhapsody in Japan
Message-ID: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>

On our last day in Portland, the family and I went to see Bohemian Rhapsody in the theater. I am not really a Queen fan; in fact my main interest was trying to think why this was such a huge hit in Japan. As of today, it?s made $55 million at the Japanese BO (with predictions it will go over $70 million), with Japan being the film?s third biggest non-US market (the South Korean BO numbers are higher, but it opened there earlier). 

I did not like the film that much, for its mythification of Freddie and predictable direction, but I wonder why it has not only made a bunch at the Japanese BO, but also came in number 1 in Pia?s satisfaction survey for all of 2018. 

My inclination is to look at both its melodrama and its depiction of family?and the promise of mass unity?but I was wondering what others think, or what others might have written about this.


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Director of Graduate Studies, Film and Media Studies
Yale University
143 Elm Street, Room 210
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

















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From proquet at mit.edu  Fri Dec 28 23:06:01 2018
From: proquet at mit.edu (Paul Roquet)
Date: Sat, 29 Dec 2018 04:06:01 +0000
Subject: [KineJapan] Bohemian Rhapsody in Japan
In-Reply-To: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
References: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
Message-ID: <etPan.5c26f2a8.664a601f.58a2@mit.edu>

I haven?t seen the film, but I did notice a bunch of stories in the Japanese press about Freddie?s ?lifelong love for Japan,' with all kinds of wild speculation about why. Hard to say how much this drove the BO, but it?s a ready-made narrative for the news and probably ramped up the mythification aspect even further. Pictures of him eating eki-ben on the shinkansen also went viral on Twitter earlier this week: https://twitter.com/tsdebut/status/1077559411554410496

Paul

-------------
Paul Roquet
Associate Professor of Japanese Studies
Massachusetts Institute of Technology
proquet.mit.edu<https://proquet.mit.edu>


On December 29, 2018 at 11:13:02, Gerow Aaron (aaron.gerow at yale.edu<mailto:aaron.gerow at yale.edu>) wrote:

On our last day in Portland, the family and I went to see Bohemian Rhapsody in the theater. I am not really a Queen fan; in fact my main interest was trying to think why this was such a huge hit in Japan. As of today, it?s made $55 million at the Japanese BO (with predictions it will go over $70 million), with Japan being the film?s third biggest non-US market (the South Korean BO numbers are higher, but it opened there earlier).

I did not like the film that much, for its mythification of Freddie and predictable direction, but I wonder why it has not only made a bunch at the Japanese BO, but also came in number 1 in Pia?s satisfaction survey for all of 2018.

My inclination is to look at both its melodrama and its depiction of family?and the promise of mass unity?but I was wondering what others think, or what others might have written about this.


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Director of Graduate Studies, Film and Media Studies
Yale University
143 Elm Street, Room 210
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>

















_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
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From jtj53213 at gmail.com  Fri Dec 28 23:12:19 2018
From: jtj53213 at gmail.com (John Junkerman)
Date: Sat, 29 Dec 2018 13:12:19 +0900
Subject: [KineJapan] Bohemian Rhapsody in Japan
In-Reply-To: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
References: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
Message-ID: <CAH-ugOUj7Sd_orCZa_dO2riepKLg1BmvuTs3YPEQUYKs++CH5g@mail.gmail.com>

I haven't seen the film yet, anticipating feeling the same way Aaron did,
but I was talking about this at a bonenkai last night. A friend pointed out
that Queen's initial popularity was in Japan and then it spread throughout
the world (I haven't verified this), and many of the audience are
middle-aged women who became fans during that time. So nostalgia may be a
factor. Also the ???? participatory screenings are quite an event, it
seems. There are cine-complexes that are running it on all screens, and the
release of other films has been delayed as a result. I'm planning to take
in one of the oen joei, just out of sociological interest.

On Sat, Dec 29, 2018 at 11:12 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:

> On our last day in Portland, the family and I went to see Bohemian
> Rhapsody in the theater. I am not really a Queen fan; in fact my main
> interest was trying to think why this was such a huge hit in Japan. As of
> today, it?s made $55 million at the Japanese BO (with predictions it will
> go over $70 million), with Japan being the film?s third biggest non-US
> market (the South Korean BO numbers are higher, but it opened there
> earlier).
>
> I did not like the film that much, for its mythification of Freddie and
> predictable direction, but I wonder why it has not only made a bunch at the
> Japanese BO, but also came in number 1 in Pia?s satisfaction survey for all
> of 2018.
>
> My inclination is to look at both its melodrama and its depiction of
> family?and the promise of mass unity?but I was wondering what others think,
> or what others might have written about this.
>
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Director of Graduate Studies, Film and Media Studies
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>


-- 
John Junkerman
jtj53213 at gmail.com
2-18-6 Ehara-cho, Nakano
Tokyo 165-0023
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From matt at treyvaud.net  Fri Dec 28 23:55:19 2018
From: matt at treyvaud.net (Matt Treyvaud)
Date: Sat, 29 Dec 2018 13:55:19 +0900
Subject: [KineJapan] Bohemian Rhapsody in Japan
In-Reply-To: <CAH-ugOUj7Sd_orCZa_dO2riepKLg1BmvuTs3YPEQUYKs++CH5g@mail.gmail.com>
References: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
 <CAH-ugOUj7Sd_orCZa_dO2riepKLg1BmvuTs3YPEQUYKs++CH5g@mail.gmail.com>
Message-ID: <5C26FE37.4020304@treyvaud.net>

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From jimharper666 at yahoo.co.uk  Fri Dec 28 23:57:09 2018
From: jimharper666 at yahoo.co.uk (Jim Harper)
Date: Sat, 29 Dec 2018 04:57:09 +0000 (UTC)
Subject: [KineJapan] Bohemian Rhapsody in Japan
References: <857693457.16216669.1546059429083.ref@mail.yahoo.com>
Message-ID: <857693457.16216669.1546059429083@mail.yahoo.com>

I too have been surprised by its reception in Japan. There's been a lot of publicity on TV here. My twitter feed was buzzing heavily about it for a while, with a number of Japanese musicians I follow tweeting enthusiastically about it, as well as Tsuruta Norio. The main focus of their tweets (perhaps not surprising from musicians) has been the music and the live recreations. For many of them it's been a nostalgic opportunity to revisit music they loved when they were younger. There's also been a lot of interest in the accompanying CD.

Jim Harper. 

NOW AVAILABLE: Flowers From Hell: The Modern Japanese Horror Film, by Jim Harper (Noir Publishing). "Fascinating overview of the Japanese horror boom... Comprehensive, in-depth and slickly presented."- DVD Monthly. Available from Noir Publishing, Amazon.co.uk, Waterstones and all good bookstores.

--------------------------------------------
On Sat, 29/12/18, Gerow Aaron <aaron.gerow at yale.edu> wrote:

 Subject: [KineJapan] Bohemian Rhapsody in Japan
 To: "Japanese Cinema Discussion Forum" <kinejapan at mailman.yale.edu>
 Date: Saturday, 29 December, 2018, 11:12
 
 On our last
 day in Portland, the family and I went to see Bohemian
 Rhapsody in the theater. I am not really a Queen fan; in
 fact my main interest was trying to think why this was such
 a huge hit in Japan. As of today, it?s made $55 million at
 the Japanese BO (with predictions it will go over $70
 million), with Japan being the film?s third biggest non-US
 market (the South Korean BO numbers are higher, but it
 opened there earlier).?
 I did
 not like the film that much, for its mythification of
 Freddie and predictable direction, but I wonder why it has
 not only made a bunch at the Japanese BO, but also came in
 number 1 in Pia?s satisfaction survey for all of
 2018.?
 My
 inclination is to look at both its melodrama and its
 depiction of family?and the promise of mass unity?but I
 was wondering what others think, or what others might have
 written about this.
 
 
 Aaron Gerow
 Professor
 Film and Media Studies Program/East
 Asian Languages and LiteraturesDirector of Graduate Studies, Film and
 Media StudiesYale University143 Elm Street, Room 210
 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.eduwebsite: www.aarongerow.com
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 _______________________________________________
 KineJapan mailing list
 KineJapan at mailman.yale.edu
 https://mailman.yale.edu/mailman/listinfo/kinejapan
 
 -----Inline Attachment Follows-----
 
 

From naguib_razak at yahoo.com  Sat Dec 29 00:53:02 2018
From: naguib_razak at yahoo.com (Naguib Razak)
Date: Sat, 29 Dec 2018 13:53:02 +0800
Subject: [KineJapan] Bohemian Rhapsody in Japan
In-Reply-To: <5C26FE37.4020304@treyvaud.net>
References: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
 <CAH-ugOUj7Sd_orCZa_dO2riepKLg1BmvuTs3YPEQUYKs++CH5g@mail.gmail.com>
 <5C26FE37.4020304@treyvaud.net>
Message-ID: <B8C830F8-3B88-4620-99E9-E9F3F24D6811@yahoo.com>

Speaking as a lifelong fan and as one who currently live and watched the film in Tokyo, I cannot say I know exactly what moved the Japanese audience, but I can tell you that the film worked at a different level to most musical biopic films... the key to understanding its  effectiveness I think is in this quote from Freddie in the film: ?Now we?re four misfits who don?t belong together, we?re playing for other misfits. They?re the outcasts right at the back of the room. We?re pretty sure they don?t belong either. We belong to them.? 

The music helped those people who felt they didn?t belong or fit in to navigate and develop their life, imagination and character at a very deep level I believe... so much so that watching the film wasn?t just a nostalgic celebration or reflection on days gone by or one?s favorite songs, it amounted to reliving your deepest feelings during your youth because the music and the stories behind the music somehow became a mirror or a release valve to some of the deepest emotions you felt long ago... reliving a song like ?Love of My Life?, felt like feeling thru and thru his loneliness and pain, but also felt like he knew yours too... his singing invested a lot more into the songs than just what the words conveyed... so watching the film, we understood a little better perhaps what he lived through, but at the same time it affirmed a feeling that he was always in touch with what his audiences felt too... he and Queen really made music for a specific type of audience and there is this indelible connection between the two...

Although I also did not like reading later that the film exaggerated or over dramatized certain events or timelines, I think the film did quite a delicate but effective job of revealing the complexity of what Freddie and Queen gave to their worldwide devotees as well as the complicated dynamics of their musical genius and the strange melange of anomalies and idiosyncrasies that gave rise to that output...

Indeed, there was already a strong following in Japan from the early days, evidenced I think by the very sincere homage-like song Teo Toriatte, adorned with much Japanese lyrics, from one of the early albums... if you listened to that song, you?d get further insight on how connected and close Queen was to their audience, even though in Japan... so I think the audience in Japan really connected well with the material... leading to a strong word-of-mouth effect...

Also I think the overall theme of mortality and the transient nature of life perhaps added further resonance to the overall appeal...

The film has stayed with me and continue to haunt me even after many weeks....

Naguib Razak


> On 29 Dec 2018, at 12:55 PM, Matt Treyvaud <matt at treyvaud.net> wrote:
> 
> I think a lot of it is the sheer and enduring popularity of Freddie Mercury in Japan. He?s an extremely beloved figure here, I?d say ranking no lower than John Lennon; there are references to him in comics, cartoons, etc... I don?t think that nostalgia for the golden age of Queen was more relevant here than anywhere else. The screening I attended was full of young-looking, many of whom (to judge from overheard conversations afterwards) didn?t know much about Queen beforehand, but they all knew and loved Freddie.
> 
> I?d say this also explains the "satisfaction" thing: People wanted to have a good time watching the spectacular story of Freddie Mercury, with colorful period detail (costumes!) and a bunch of great songs (if you like Queen) they mostly knew. And that's exactly what they got.
> 
> --Matt
> 
> John Junkerman wrote:
>> I haven't seen the film yet, anticipating feeling the same way Aaron did, but I was talking about this at a bonenkai last night. A friend pointed out that Queen's initial popularity was in Japan and then it spread throughout the world (I haven't verified this), and many of the audience are middle-aged women who became fans during that time. So nostalgia may be a factor. Also the ???? participatory screenings are quite an event, it seems. There are cine-complexes that are running it on all screens, and the release of other films has been delayed as a result. I'm planning to take in one of the oen joei, just out of sociological interest. 
>> 
>>> On Sat, Dec 29, 2018 at 11:12 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:
>>> On our last day in Portland, the family and I went to see Bohemian Rhapsody in the theater. I am not really a Queen fan; in fact my main interest was trying to think why this was such a huge hit in Japan. As of today, it?s made $55 million at the Japanese BO (with predictions it will go over $70 million), with Japan being the film?s third biggest non-US market (the South Korean BO numbers are higher, but it opened there earlier). 
>>> 
>>> I did not like the film that much, for its mythification of Freddie and predictable direction, but I wonder why it has not only made a bunch at the Japanese BO, but also came in number 1 in Pia?s satisfaction survey for all of 2018. 
>>> 
>>> My inclination is to look at both its melodrama and its depiction of family?and the promise of mass unity?but I was wondering what others think, or what others might have written about this.
>>> 
>>> 
>>> Aaron Gerow
>>> Professor
>>> Film and Media Studies Program/East Asian Languages and Literatures
>>> Director of Graduate Studies, Film and Media Studies
>>> Yale University
>>> 143 Elm Street, Room 210
>>> PO Box 208324
>>> New Haven, CT 06520-8324
>>> USA
>>> Phone: 1-203-432-7082
>>> Fax: 1-203-432-6729
>>> e-mail: aaron.gerow at yale.edu
>>> website: www.aarongerow.com
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> 
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at mailman.yale.edu
>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>> 
>> 
>> -- 
>> John Junkerman
>> jtj53213 at gmail.com
>> 2-18-6 Ehara-cho, Nakano
>> Tokyo 165-0023
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
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From jjesty at protonmail.com  Sat Dec 29 09:07:02 2018
From: jjesty at protonmail.com (jjesty)
Date: Sat, 29 Dec 2018 14:07:02 +0000
Subject: [KineJapan] KineJapan Digest, Vol 7, Issue 18
In-Reply-To: <mailman.1723.1546062912.8935.kinejapan@mailman.yale.edu>
References: <mailman.1723.1546062912.8935.kinejapan@mailman.yale.edu>
Message-ID: <Lf74Vv45c6vbtLscV1UlKp30OKjTx8p5itSXTgYv3FAT7QzrGdz2ZiAJkTwg2afYhmBVdZK-Qtk611RzwcSd4fD60Y1KLv-FvfGWQhUnAmU=@protonmail.com>

I don't know if this gets at the question but, I think the film is popular because Queen (the original group) was and is extremely popular in Japan. They're part of the global/capitalist songbook of 60s-70s rock standards like the Eagles, Beatles, Simon and Garfunkel. Using wikipedia's list of top-selling albums in Japan, if you take out film soundtracks and some anomolies like Scatman John and the Carpenters, Queen's "Jewels" album is about #6.

In the case of South Korea, if I'm reading the wikipedia page correctly, Queen's "Greatest Hits" is the #1 best-selling album by a non-Korean group. More sales than the Beatles "1" album or the Titanic sound track.

I think the anomoly might be the U.S. market, where Queen was relatively less successful than they were globally, largely because of the U.S. audience's discomfort with Freddie Mercury's sexuality. (This is an arguable claim but it's the view held by Brian May, Queen's guitarist.)

All best,
Justin Jesty

washington.academia.edu/JustinJesty

??????? Original Message ???????
On Friday, December 28, 2018 9:55 PM, <kinejapan-request at mailman.yale.edu> wrote:

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> Today's Topics:
>
> 1.  Re: Bohemian Rhapsody in Japan (Jim Harper)
> 2.  Re: Bohemian Rhapsody in Japan (Naguib Razak)
>
>
> Message: 1
> Date: Sat, 29 Dec 2018 04:57:09 +0000 (UTC)
> From: Jim Harper jimharper666 at yahoo.co.uk
> To: Japanese Cinema Discussion Forum kinejapan at mailman.yale.edu
> Subject: Re: [KineJapan] Bohemian Rhapsody in Japan
> Message-ID: 857693457.16216669.1546059429083 at mail.yahoo.com
>
> Content-Type: text/plain; charset="UTF-8"
>
> I too have been surprised by its reception in Japan. There's been a lot of publicity on TV here. My twitter feed was buzzing heavily about it for a while, with a number of Japanese musicians I follow tweeting enthusiastically about it, as well as Tsuruta Norio. The main focus of their tweets (perhaps not surprising from musicians) has been the music and the live recreations. For many of them it's been a nostalgic opportunity to revisit music they loved when they were younger. There's also been a lot of interest in the accompanying CD.
>
> Jim Harper.
>
> NOW AVAILABLE: Flowers From Hell: The Modern Japanese Horror Film, by Jim Harper (Noir Publishing). "Fascinating overview of the Japanese horror boom... Comprehensive, in-depth and slickly presented."- DVD Monthly. Available from Noir Publishing, Amazon.co.uk, Waterstones and all good bookstores.
>
> --------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------
>
> On Sat, 29/12/18, Gerow Aaron aaron.gerow at yale.edu wrote:
>
> Subject: [KineJapan] Bohemian Rhapsody in Japan
> To: "Japanese Cinema Discussion Forum" kinejapan at mailman.yale.edu
> Date: Saturday, 29 December, 2018, 11:12
>
> On our last
> day in Portland, the family and I went to see Bohemian
> Rhapsody in the theater. I am not really a Queen fan; in
> fact my main interest was trying to think why this was such
> a huge hit in Japan. As of today, it?s made $55 million at
> the Japanese BO (with predictions it will go over $70
> million), with Japan being the film?s third biggest non-US
> market (the South Korean BO numbers are higher, but it
> opened there earlier).?
> I did
> not like the film that much, for its mythification of
> Freddie and predictable direction, but I wonder why it has
> not only made a bunch at the Japanese BO, but also came in
> number 1 in Pia?s satisfaction survey for all of
> 2018.?
> My
> inclination is to look at both its melodrama and its
> depiction of family?and the promise of mass unity?but I
> was wondering what others think, or what others might have
> written about this.
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East
> Asian Languages and LiteraturesDirector of Graduate Studies, Film and
> Media StudiesYale University143 Elm Street, Room 210
> 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.eduwebsite: www.aarongerow.com
>
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
> -----Inline Attachment Follows-----
>
>
> --------------------------------------------------------------------------------------------------------------------------------------------
>
> Message: 2
> Date: Sat, 29 Dec 2018 13:53:02 +0800
> From: Naguib Razak naguib_razak at yahoo.com
> To: Japanese Cinema Discussion Forum kinejapan at mailman.yale.edu
> Subject: Re: [KineJapan] Bohemian Rhapsody in Japan
> Message-ID: B8C830F8-3B88-4620-99E9-E9F3F24D6811 at yahoo.com
> Content-Type: text/plain; charset="utf-8"
>
> Speaking as a lifelong fan and as one who currently live and watched the film in Tokyo, I cannot say I know exactly what moved the Japanese audience, but I can tell you that the film worked at a different level to most musical biopic films... the key to understanding its effectiveness I think is in this quote from Freddie in the film: ?Now we?re four misfits who don?t belong together, we?re playing for other misfits. They?re the outcasts right at the back of the room. We?re pretty sure they don?t belong either. We belong to them.?
>
> The music helped those people who felt they didn?t belong or fit in to navigate and develop their life, imagination and character at a very deep level I believe... so much so that watching the film wasn?t just a nostalgic celebration or reflection on days gone by or one?s favorite songs, it amounted to reliving your deepest feelings during your youth because the music and the stories behind the music somehow became a mirror or a release valve to some of the deepest emotions you felt long ago... reliving a song like ?Love of My Life?, felt like feeling thru and thru his loneliness and pain, but also felt like he knew yours too... his singing invested a lot more into the songs than just what the words conveyed... so watching the film, we understood a little better perhaps what he lived through, but at the same time it affirmed a feeling that he was always in touch with what his audiences felt too... he and Queen really made music for a specific type of audience and there is this indeli
> ble connection between the two...
>
> Although I also did not like reading later that the film exaggerated or over dramatized certain events or timelines, I think the film did quite a delicate but effective job of revealing the complexity of what Freddie and Queen gave to their worldwide devotees as well as the complicated dynamics of their musical genius and the strange melange of anomalies and idiosyncrasies that gave rise to that output...
>
> Indeed, there was already a strong following in Japan from the early days, evidenced I think by the very sincere homage-like song Teo Toriatte, adorned with much Japanese lyrics, from one of the early albums... if you listened to that song, you?d get further insight on how connected and close Queen was to their audience, even though in Japan... so I think the audience in Japan really connected well with the material... leading to a strong word-of-mouth effect...
>
> Also I think the overall theme of mortality and the transient nature of life perhaps added further resonance to the overall appeal...
>
> The film has stayed with me and continue to haunt me even after many weeks....
>
> Naguib Razak
>
> > On 29 Dec 2018, at 12:55 PM, Matt Treyvaud matt at treyvaud.net wrote:
> > I think a lot of it is the sheer and enduring popularity of Freddie Mercury in Japan. He?s an extremely beloved figure here, I?d say ranking no lower than John Lennon; there are references to him in comics, cartoons, etc... I don?t think that nostalgia for the golden age of Queen was more relevant here than anywhere else. The screening I attended was full of young-looking, many of whom (to judge from overheard conversations afterwards) didn?t know much about Queen beforehand, but they all knew and loved Freddie.
> > I?d say this also explains the "satisfaction" thing: People wanted to have a good time watching the spectacular story of Freddie Mercury, with colorful period detail (costumes!) and a bunch of great songs (if you like Queen) they mostly knew. And that's exactly what they got.
> > --Matt
> > John Junkerman wrote:
> >
> > > I haven't seen the film yet, anticipating feeling the same way Aaron did, but I was talking about this at a bonenkai last night. A friend pointed out that Queen's initial popularity was in Japan and then it spread throughout the world (I haven't verified this), and many of the audience are middle-aged women who became fans during that time. So nostalgia may be a factor. Also the ???? participatory screenings are quite an event, it seems. There are cine-complexes that are running it on all screens, and the release of other films has been delayed as a result. I'm planning to take in one of the oen joei, just out of sociological interest.
> > >
> > > > On Sat, Dec 29, 2018 at 11:12 AM Gerow Aaron aaron.gerow at yale.edu wrote:
> > > > On our last day in Portland, the family and I went to see Bohemian Rhapsody in the theater. I am not really a Queen fan; in fact my main interest was trying to think why this was such a huge hit in Japan. As of today, it?s made $55 million at the Japanese BO (with predictions it will go over $70 million), with Japan being the film?s third biggest non-US market (the South Korean BO numbers are higher, but it opened there earlier).
> > > > I did not like the film that much, for its mythification of Freddie and predictable direction, but I wonder why it has not only made a bunch at the Japanese BO, but also came in number 1 in Pia?s satisfaction survey for all of 2018.
> > > > My inclination is to look at both its melodrama and its depiction of family?and the promise of mass unity?but I was wondering what others think, or what others might have written about this.
> > > > Aaron Gerow
> > > > Professor
> > > > Film and Media Studies Program/East Asian Languages and Literatures
> > > > Director of Graduate Studies, Film and Media Studies
> > > > Yale University
> > > > 143 Elm Street, Room 210
> > > > PO Box 208324
> > > > New Haven, CT 06520-8324
> > > > USA
> > > > Phone: 1-203-432-7082
> > > > Fax: 1-203-432-6729
> > > > e-mail: aaron.gerow at yale.edu
> > > > website: www.aarongerow.com
> > > >
> > > > KineJapan mailing list
> > > > KineJapan at mailman.yale.edu
> > > > https://mailman.yale.edu/mailman/listinfo/kinejapan
> > >
> > > --
> > > John Junkerman
> > > jtj53213 at gmail.com
> > > 2-18-6 Ehara-cho, Nakano
> > > Tokyo 165-0023
> > >
> > > KineJapan mailing list
> > > KineJapan at mailman.yale.edu
> > > https://mailman.yale.edu/mailman/listinfo/kinejapan
> >
> > KineJapan mailing list
> > KineJapan at mailman.yale.edu
> > https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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> End of KineJapan Digest, Vol 7, Issue 18



From macyroger at yahoo.co.uk  Sun Dec 30 06:54:09 2018
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sun, 30 Dec 2018 11:54:09 +0000 (UTC)
Subject: [KineJapan] Tokyo Filmex
References: <1901652822.16759215.1546170849453.ref@mail.yahoo.com>
Message-ID: <1901652822.16759215.1546170849453@mail.yahoo.com>


Has anyone a review or comments from Tokyo Filmex?? Ican see the awards and the programme which looks potentially interesting ?

Roger
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From jtj53213 at gmail.com  Sun Dec 30 11:35:50 2018
From: jtj53213 at gmail.com (John Junkerman)
Date: Mon, 31 Dec 2018 01:35:50 +0900
Subject: [KineJapan] "Burning" NHK Drama Special broadcast
Message-ID: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>

I had the very curious experience of watching NHK's broadcast of a "tokushu
drama" version of Lee Chang-dong's "Burning" on Dec. 29 (10 pm Sat on NHK
General channel). I was expecting to see the film (which is based on a
Murakami Haruki short story) that won the FIPRESCI Prize at Cannes and has
had a strongly positive response from critics, but what I saw was
beautiful, inventive, very Murakami-esque in its oddly skewed and evocative
slant on the pedestrian lives of its aimless characters, some hints of what
critics raved about... but completely unengaging and unrewarding (it ended
without an ending).

Looking into it after the broadcast, it turned out that someone (NHK
itself?) had cut 53 minutes from the film. Of course, this happens all the
time after a film has finished theatrical release. The "drama special" was
also dubbed...happens all the time, though it ruins the actors'
performances.

But why was this done a month before the film's theatrical release in
Japan? Was this because NHK produced the film and has final cut, and the
right to exploit it as it sees fit? I can't imagine that Lee directed this
version, or signed off on it. I can't imagine Murakami did either.

>From what I understand, NHK has commissioned a number of leading Asian
directors to make films based on Murakami's stories, and this is the first
to be released. There's clearly a lot of juice behind the project (using
hot Korean actors, and hot Japanese actors for the dubbing), but where are
the director's rights in this equation?

Some kind of hyping imperative seems to override the director's vision. To
broadcast this chopped-up, incomprehensible version of a film, under its
original title, with no apparent effort to let the audience know that it is
not the same film--what were they thinking, if they were thinking at all?

I'll look forward to seeing the original film when it is released in
February, but I'd bet that a lot of those who watched the "drama special"
won't bother, because they were left bored and perplexed.

If anyone has heard some back story on all of this, I'd appreciate hearing
it, because to me, it just flummoxes.

-- 
John Junkerman
jtj53213 at gmail.com
2-18-6 Ehara-cho, Nakano
Tokyo 165-0023
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From steven.elworth at gmail.com  Sun Dec 30 11:41:36 2018
From: steven.elworth at gmail.com (Steven Elworth)
Date: Sun, 30 Dec 2018 11:41:36 -0500
Subject: [KineJapan] "Burning" NHK Drama Special broadcast
In-Reply-To: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
References: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
Message-ID: <CAOE+sJ8Kovz+a00TYC6vNBJJMQXyXuGU9P3BYthpnX0t2M6VNA@mail.gmail.com>

I really, really like the film and have already seen it twice. I know some
critics of the film think it is too long but it is not. Why would NHK do it
before it?s opening in Japan makes no sense to me except it looks like they
can

On Sun, Dec 30, 2018 at 11:36 AM John Junkerman <jtj53213 at gmail.com> wrote:

> I had the very curious experience of watching NHK's broadcast of a
> "tokushu drama" version of Lee Chang-dong's "Burning" on Dec. 29 (10 pm Sat
> on NHK General channel). I was expecting to see the film (which is based on
> a Murakami Haruki short story) that won the FIPRESCI Prize at Cannes and
> has had a strongly positive response from critics, but what I saw was
> beautiful, inventive, very Murakami-esque in its oddly skewed and evocative
> slant on the pedestrian lives of its aimless characters, some hints of what
> critics raved about... but completely unengaging and unrewarding (it ended
> without an ending).
>
> Looking into it after the broadcast, it turned out that someone (NHK
> itself?) had cut 53 minutes from the film. Of course, this happens all the
> time after a film has finished theatrical release. The "drama special" was
> also dubbed...happens all the time, though it ruins the actors'
> performances.
>
> But why was this done a month before the film's theatrical release in
> Japan? Was this because NHK produced the film and has final cut, and the
> right to exploit it as it sees fit? I can't imagine that Lee directed this
> version, or signed off on it. I can't imagine Murakami did either.
>
> From what I understand, NHK has commissioned a number of leading Asian
> directors to make films based on Murakami's stories, and this is the first
> to be released. There's clearly a lot of juice behind the project (using
> hot Korean actors, and hot Japanese actors for the dubbing), but where are
> the director's rights in this equation?
>
> Some kind of hyping imperative seems to override the director's vision. To
> broadcast this chopped-up, incomprehensible version of a film, under its
> original title, with no apparent effort to let the audience know that it is
> not the same film--what were they thinking, if they were thinking at all?
>
> I'll look forward to seeing the original film when it is released in
> February, but I'd bet that a lot of those who watched the "drama special"
> won't bother, because they were left bored and perplexed.
>
> If anyone has heard some back story on all of this, I'd appreciate hearing
> it, because to me, it just flummoxes.
>
>
> --
> John Junkerman
> jtj53213 at gmail.com
> 2-18-6 Ehara-cho, Nakano
> Tokyo 165-0023
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From mekerpan2 at gmail.com  Sun Dec 30 12:03:35 2018
From: mekerpan2 at gmail.com (Michael Kerpan)
Date: Sun, 30 Dec 2018 12:03:35 -0500
Subject: [KineJapan] "Burning" NHK Drama Special broadcast
In-Reply-To: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
References: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
Message-ID: <CALt6FypekL3W6QHUCNr5NctYbhj5pfXKDDWGy_UgemN5iLdi5w@mail.gmail.com>

A wonderful (if depressing film).  NHK's mutilation merits excoriation.

On Sun, Dec 30, 2018 at 11:36 AM John Junkerman <jtj53213 at gmail.com> wrote:

> I had the very curious experience of watching NHK's broadcast of a
> "tokushu drama" version of Lee Chang-dong's "Burning" on Dec. 29 (10 pm Sat
> on NHK General channel). I was expecting to see the film (which is based on
> a Murakami Haruki short story) that won the FIPRESCI Prize at Cannes and
> has had a strongly positive response from critics, but what I saw was
> beautiful, inventive, very Murakami-esque in its oddly skewed and evocative
> slant on the pedestrian lives of its aimless characters, some hints of what
> critics raved about... but completely unengaging and unrewarding (it ended
> without an ending).
>
> Looking into it after the broadcast, it turned out that someone (NHK
> itself?) had cut 53 minutes from the film. Of course, this happens all the
> time after a film has finished theatrical release. The "drama special" was
> also dubbed...happens all the time, though it ruins the actors'
> performances.
>
> But why was this done a month before the film's theatrical release in
> Japan? Was this because NHK produced the film and has final cut, and the
> right to exploit it as it sees fit? I can't imagine that Lee directed this
> version, or signed off on it. I can't imagine Murakami did either.
>
> From what I understand, NHK has commissioned a number of leading Asian
> directors to make films based on Murakami's stories, and this is the first
> to be released. There's clearly a lot of juice behind the project (using
> hot Korean actors, and hot Japanese actors for the dubbing), but where are
> the director's rights in this equation?
>
> Some kind of hyping imperative seems to override the director's vision. To
> broadcast this chopped-up, incomprehensible version of a film, under its
> original title, with no apparent effort to let the audience know that it is
> not the same film--what were they thinking, if they were thinking at all?
>
> I'll look forward to seeing the original film when it is released in
> February, but I'd bet that a lot of those who watched the "drama special"
> won't bother, because they were left bored and perplexed.
>
> If anyone has heard some back story on all of this, I'd appreciate hearing
> it, because to me, it just flummoxes.
>
> --
> John Junkerman
> jtj53213 at gmail.com
> 2-18-6 Ehara-cho, Nakano
> Tokyo 165-0023
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From eija at helsinkicineaasia.fi  Sun Dec 30 12:56:35 2018
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Sun, 30 Dec 2018 19:56:35 +0200
Subject: [KineJapan] "Burning" NHK Drama Special broadcast
In-Reply-To: <CALt6FypekL3W6QHUCNr5NctYbhj5pfXKDDWGy_UgemN5iLdi5w@mail.gmail.com>
References: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
 <CALt6FypekL3W6QHUCNr5NctYbhj5pfXKDDWGy_UgemN5iLdi5w@mail.gmail.com>
Message-ID: <CA+FavwMZTd_ZpiZLR2p4Agna7yM7cMunK6xP0mFt9Dry5VAovw@mail.gmail.com>

NHK commissioned films have been treated weirdly by them before. Some 10
years ago they commissioned a series of documentary films by top
documentarists around the world, to be shot on location in Japan. One
Finnish filmmaker, Pirjo Honkasalo made the film Ito
Ito ? a Diary of an Urban Priest
[image: Ito ? a Diary of an Urban Priest.png]
<https://en.wikipedia.org/wiki/File:Ito_%E2%80%93_a_Diary_of_an_Urban_Priest.png>
Directed by Pirjo Honkasalo <https://en.wikipedia.org/wiki/Pirjo_Honkasalo>
Distributed by Cinema Mondo

Release date

   - September 2009 (Nordisk Panorama
   <https://en.wikipedia.org/wiki/Nordisk_Panorama> Film Festival)
   - November 12, 2010

Running time
117 minutes
Country Finland
in this program. The next year after it came out I asked at Yamagata doc
film festival why it was not screening there, as they normally screen the
new Japanese docs there. YIDFF replied that NHK would not let them screen
those films of that particular series.
Eija

su 30. jouluk. 2018 klo 19.03 Michael Kerpan (mekerpan2 at gmail.com)
kirjoitti:

> A wonderful (if depressing film).  NHK's mutilation merits excoriation.
>
> On Sun, Dec 30, 2018 at 11:36 AM John Junkerman <jtj53213 at gmail.com>
> wrote:
>
>> I had the very curious experience of watching NHK's broadcast of a
>> "tokushu drama" version of Lee Chang-dong's "Burning" on Dec. 29 (10 pm Sat
>> on NHK General channel). I was expecting to see the film (which is based on
>> a Murakami Haruki short story) that won the FIPRESCI Prize at Cannes and
>> has had a strongly positive response from critics, but what I saw was
>> beautiful, inventive, very Murakami-esque in its oddly skewed and evocative
>> slant on the pedestrian lives of its aimless characters, some hints of what
>> critics raved about... but completely unengaging and unrewarding (it ended
>> without an ending).
>>
>> Looking into it after the broadcast, it turned out that someone (NHK
>> itself?) had cut 53 minutes from the film. Of course, this happens all the
>> time after a film has finished theatrical release. The "drama special" was
>> also dubbed...happens all the time, though it ruins the actors'
>> performances.
>>
>> But why was this done a month before the film's theatrical release in
>> Japan? Was this because NHK produced the film and has final cut, and the
>> right to exploit it as it sees fit? I can't imagine that Lee directed this
>> version, or signed off on it. I can't imagine Murakami did either.
>>
>> From what I understand, NHK has commissioned a number of leading Asian
>> directors to make films based on Murakami's stories, and this is the first
>> to be released. There's clearly a lot of juice behind the project (using
>> hot Korean actors, and hot Japanese actors for the dubbing), but where are
>> the director's rights in this equation?
>>
>> Some kind of hyping imperative seems to override the director's vision.
>> To broadcast this chopped-up, incomprehensible version of a film, under its
>> original title, with no apparent effort to let the audience know that it is
>> not the same film--what were they thinking, if they were thinking at all?
>>
>> I'll look forward to seeing the original film when it is released in
>> February, but I'd bet that a lot of those who watched the "drama special"
>> won't bother, because they were left bored and perplexed.
>>
>> If anyone has heard some back story on all of this, I'd appreciate
>> hearing it, because to me, it just flummoxes.
>>
>> --
>> John Junkerman
>> jtj53213 at gmail.com
>> 2-18-6 Ehara-cho, Nakano
>> Tokyo 165-0023
>> _______________________________________________
>> KineJapan mailing list
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From jasper_sharp at hotmail.com  Mon Dec 31 06:40:38 2018
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Mon, 31 Dec 2018 11:40:38 +0000
Subject: [KineJapan] "Burning" NHK Drama Special broadcast
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References: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
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This reminds me of the BBC's treatment of 'Liberation Day', the documentary about Laibach in North Korea. The film was not distributed theatrically in the UK, but for its only UK broadcast, BBC4 cut out some 30minutes of it so it could fit into its late night Storyville slot, a ridiculous decision in any case as most people would have watched it on the BBC's iPlayer streaming service rather than stayed up to catch it on a particular broadcast slot, but particularly ironic for a publicly-funded national broadcaster given that the very themes of the film were about artistic freedom in a totalitarian state.


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Available now on Dual-Format Blu-ray/DVD from Arrow Films<https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>.
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"An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter<https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>.
"Strange, eccentric, diverting", Peter Bradshaw, The Guardian<https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>.

________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Eija Niskanen <eija at helsinkicineaasia.fi>
Sent: 30 December 2018 17:56
To: Michael Kerpan; Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] "Burning" NHK Drama Special broadcast

NHK commissioned films have been treated weirdly by them before. Some 10 years ago they commissioned a series of documentary films by top documentarists around the world, to be shot on location in Japan. One Finnish filmmaker, Pirjo Honkasalo made the film Ito
Ito ? a Diary of an Urban Priest
[Ito ? a Diary of an Urban Priest.png]<https://nam03.safelinks.protection.outlook.com/?url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FFile%3AIto_%25E2%2580%2593_a_Diary_of_an_Urban_Priest.png&data=02%7C01%7C%7C65561c017b994ced2f6608d66e802eae%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636817894148274822&sdata=p8qYOAy65DyNRBDcXNTS2dDPGQW4GeyJSV%2BhfuTU8mU%3D&reserved=0>
Directed by     Pirjo Honkasalo<https://nam03.safelinks.protection.outlook.com/?url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FPirjo_Honkasalo&data=02%7C01%7C%7C65561c017b994ced2f6608d66e802eae%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636817894148274822&sdata=eje8uvBRELBo9JyuPG0uw%2FvSoQjCk4mliCFZo16TyC0%3D&reserved=0>
Distributed by  Cinema Mondo
Release date


  *   September 2009 (Nordisk Panorama<https://nam03.safelinks.protection.outlook.com/?url=https%3A%2F%2Fen.wikipedia.org%2Fwiki%2FNordisk_Panorama&data=02%7C01%7C%7C65561c017b994ced2f6608d66e802eae%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636817894148274822&sdata=5CEUukpzZIE8PNXyD8rj6gEv3k9AbIDGyIx3ytWIDyM%3D&reserved=0> Film Festival)
  *   November 12, 2010


Running time
        117 minutes
Country Finland

in this program. The next year after it came out I asked at Yamagata doc film festival why it was not screening there, as they normally screen the new Japanese docs there. YIDFF replied that NHK would not let them screen those films of that particular series.
Eija

su 30. jouluk. 2018 klo 19.03 Michael Kerpan (mekerpan2 at gmail.com<mailto:mekerpan2 at gmail.com>) kirjoitti:
A wonderful (if depressing film).  NHK's mutilation merits excoriation.

On Sun, Dec 30, 2018 at 11:36 AM John Junkerman <jtj53213 at gmail.com<mailto:jtj53213 at gmail.com>> wrote:
I had the very curious experience of watching NHK's broadcast of a "tokushu drama" version of Lee Chang-dong's "Burning" on Dec. 29 (10 pm Sat on NHK General channel). I was expecting to see the film (which is based on a Murakami Haruki short story) that won the FIPRESCI Prize at Cannes and has had a strongly positive response from critics, but what I saw was beautiful, inventive, very Murakami-esque in its oddly skewed and evocative slant on the pedestrian lives of its aimless characters, some hints of what critics raved about... but completely unengaging and unrewarding (it ended without an ending).

Looking into it after the broadcast, it turned out that someone (NHK itself?) had cut 53 minutes from the film. Of course, this happens all the time after a film has finished theatrical release. The "drama special" was also dubbed...happens all the time, though it ruins the actors' performances.

But why was this done a month before the film's theatrical release in Japan? Was this because NHK produced the film and has final cut, and the right to exploit it as it sees fit? I can't imagine that Lee directed this version, or signed off on it. I can't imagine Murakami did either.

>From what I understand, NHK has commissioned a number of leading Asian directors to make films based on Murakami's stories, and this is the first to be released. There's clearly a lot of juice behind the project (using hot Korean actors, and hot Japanese actors for the dubbing), but where are the director's rights in this equation?

Some kind of hyping imperative seems to override the director's vision. To broadcast this chopped-up, incomprehensible version of a film, under its original title, with no apparent effort to let the audience know that it is not the same film--what were they thinking, if they were thinking at all?

I'll look forward to seeing the original film when it is released in February, but I'd bet that a lot of those who watched the "drama special" won't bother, because they were left bored and perplexed.

If anyone has heard some back story on all of this, I'd appreciate hearing it, because to me, it just flummoxes.

--
John Junkerman
jtj53213 at gmail.com<mailto:jtj53213 at gmail.com>
2-18-6 Ehara-cho, Nakano
Tokyo 165-0023
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Eija Niskanen
+358-50-355 3189
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