From kinejapan at lists.osu.edu  Wed Jan 31 17:40:33 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 1 Feb 2018 07:40:33 +0900
Subject: [KineJapan] apologies for mail misdirection
In-Reply-To: <CABhbz8PfwD6-JbbSWznMCK3O=JnuznNUNwsC6Twzzo8FpKtn5Q@mail.gmail.com>
References: <CABhbz8PfwD6-JbbSWznMCK3O=JnuznNUNwsC6Twzzo8FpKtn5Q@mail.gmail.com>
Message-ID: <mailman.3886.1517438439.52321.kinejapan@lists.osu.edu>

Dear Earl,
Very sorry for my mistaken and misdirected mail on Kinejapan. It was sent out when I was very sleepy around midnight after many hours of rereading a dissertation whose defense is going to be today at Nichibunken. Only reallized my mistake this morning.
Also sent an apology to Roland who is the one I had meant to send it to originally. 
Sorry to have troubled you.
Best regards,
Paul


* Quote messages from < "Earl Jackson" <earljac at gmail.com>> : Dear Professor FitzgeraldThank you for responding,For one thing, I see now my typo in the title. The film is actually called "hito mo arukeba" - which of course refers to the saying, "inu mo arukeba, boo ni ataru."
best
ej
Earl Jackson
Professor
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director

Trans-Asia Screen Cultures Institute
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From kinejapan at lists.osu.edu  Wed Jan 31 08:45:56 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 31 Jan 2018 22:45:56 +0900
Subject: [KineJapan] Kinema Club XVII - Call for Papers
In-Reply-To: <mailman.4773.1514149986.54247.kinejapan@lists.osu.edu>
References: <mailman.4773.1514149986.54247.kinejapan@lists.osu.edu>
Message-ID: <mailman.3036.1517406361.52321.kinejapan@lists.osu.edu>

Dear Earl,
Although I would like to have submitted a talk proposal, I have a conflict with a talk I am giving on the 22nd at UC Davis. I will arrange to be at Meiji Gakuin University to attend the first day of talks at Kinema Club XVII and hope to participate in the discussions.
Looking forward to hearing the titles of the presentations and getting the location details, etc.
Thanks for organizing this!
Best regards,
Paul Berry
KyotoFrom: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>To: "kinejapan at lists.osu.edu" <kinejapan at lists.osu.edu>Cc: Bcc: Date: Sat, 23 Dec 2017 21:17:18 +0000Subject: [KineJapan] Kinema Club XVII - Call for PapersCall for Papers for:
Kinema Club XVII
at Meiji Gakuin University 
Japanese Film Studies ?Abroad?
Dates: February 20?21, 2018
Meiji Gakuin University, Department of Art Studies

Deadine for submissions: January 31, 2018
 
We welcome submissions for the 17th Kinema Club Conference on Film and Moving Images from Japan.
This Kinema Club is a follow-up to the conference ?From the Distant Observer ? Japanese Film Studies Abroad? which took place in November 2016 at Meiji Gakuin University and will also focus on Japanese Film Studies outside of Japan. 
While last year?s conference focused on the formative years of ?Japanese Film Studies? as a field of research, the upcoming Kinema Club aims to broaden the perspective and reflect about the challenges, achievements, problems and tasks of studying Japanese film in the past, the present, and the future.
 

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
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From kinejapan at lists.osu.edu  Tue Jan 30 03:15:18 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 30 Jan 2018 17:15:18 +0900
Subject: [KineJapan] Japanese BO figures for 2017
Message-ID: <mailman.1988.1517300126.46473.kinejapan@lists.osu.edu>

Eiren has released their statistics for the Japanese box office for 2017. 

http://eiren.org/toukei/index.html

Some of our colleagues have already published some write-ups on the data:

http://variety.com/2018/film/asia/japan-box-office-slides-in-2017-hollywood-gains-1202676519/
http://blog.alltheanime.com/japanese-box-office-in-2017/

The general impression is that this was a mediocre year. Total box office was down 3% and BO for Japanese films was down 16%, though domestic productions still have the majority market share (55 to 45). There was no huge hit like Your Name to buoy the market. The top film overall was Beauty and the Beast, with Detective Conan being the top Japanese film. Six of the top 10 Japanese films were anime, only one of which was not part of some series. 

Always of concern is that Toho distributed 15 of the top 20 Japanese films. Only Warner Bros. had more than one film in the top 20. Of the old-time majors, Toei only had one film in the top 20 and Shochiku?s top grosser was at number 27. 

For famous filmmakers, KItano came in at 18 and Koreeda at 22. 

The number of films and the number of screens both increased slightly. The average ticket price rose 3 yen to 1310 yen. 


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Yale University
320 York Street, Room 311
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com














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From kinejapan at lists.osu.edu  Sun Jan 28 21:17:03 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 29 Jan 2018 11:17:03 +0900
Subject: [KineJapan] Sawashima Tadashi
In-Reply-To: <mailman.288.1517183104.46473.kinejapan@lists.osu.edu>
References: <mailman.6656.1517112988.28222.kinejapan@lists.osu.edu>
	<mailman.288.1517183104.46473.kinejapan@lists.osu.edu>
Message-ID: <mailman.443.1517192230.46473.kinejapan@lists.osu.edu>

Yes, I noticed that the Sponichi article first said 92 (which is when I first passed it on) and then changed it later to 91.

Aaron 
 
> 2018/01/29 ??8:44?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
> 
> Sad news. There seems to be some minor disagreement about his age, as several other sources, including Mainichi and Yomiuri, are saying he was 91.
> 
> On Sun, Jan 28, 2018 at 1:16 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
> The film director Sawashima Tadashi has died at the age of 92. Sawashima joined Toei in 1950 and after working under such directors as Makino Masahiro debuted as a director in 1957. He is most known for his work in the ninkyo yakuza genre, but I am a particular fan of his films with Misora Hibari, which reveal a wonderful sense of play. I have shown ??????????????? in class. His sense of theatricality is one reason he also directed many stage productions. His last film is listed as 1977, but he had been trying to film Chushingura in the last years of his life to no avail. R.I.P.
> 
> https://www.sponichi.co.jp/entertainment/news/2018/01/28/kiji/20180127s00041000249000c.html <https://www.sponichi.co.jp/entertainment/news/2018/01/28/kiji/20180127s00041000249000c.html>
> 
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
> website: www.aarongerow.com <http://www.aarongerow.com/>
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu <mailto:KineJapan at lists.osu.edu>
> https://lists.osu.edu/mailman/listinfo/kinejapan <https://lists.osu.edu/mailman/listinfo/kinejapan>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan

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From kinejapan at lists.osu.edu  Sun Jan 28 18:44:50 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 28 Jan 2018 23:44:50 +0000
Subject: [KineJapan] Sawashima Tadashi
In-Reply-To: <mailman.6656.1517112988.28222.kinejapan@lists.osu.edu>
References: <mailman.6656.1517112988.28222.kinejapan@lists.osu.edu>
Message-ID: <mailman.288.1517183104.46473.kinejapan@lists.osu.edu>

Sad news. There seems to be some minor disagreement about his age, as
several other sources, including Mainichi and Yomiuri, are saying he was 91.

On Sun, Jan 28, 2018 at 1:16 PM Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> The film director Sawashima Tadashi has died at the age of 92. Sawashima
> joined Toei in 1950 and after working under such directors as Makino
> Masahiro debuted as a director in 1957. He is most known for his work in
> the ninkyo yakuza genre, but I am a particular fan of his films with Misora
> Hibari, which reveal a wonderful sense of play. I have shown
> ??????????????? in class. His sense of theatricality is one reason he also
> directed many stage productions. His last film is listed as 1977, but he
> had been trying to film Chushingura in the last years of his life to no
> avail. R.I.P.
>
>
> https://www.sponichi.co.jp/entertainment/news/2018/01/28/kiji/20180127s00041000249000c.html
>
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
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From kinejapan at lists.osu.edu  Sat Jan 27 23:16:20 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 28 Jan 2018 13:16:20 +0900
Subject: [KineJapan] Sawashima Tadashi
Message-ID: <mailman.6656.1517112988.28222.kinejapan@lists.osu.edu>

The film director Sawashima Tadashi has died at the age of 92. Sawashima joined Toei in 1950 and after working under such directors as Makino Masahiro debuted as a director in 1957. He is most known for his work in the ninkyo yakuza genre, but I am a particular fan of his films with Misora Hibari, which reveal a wonderful sense of play. I have shown ??????????????? in class. His sense of theatricality is one reason he also directed many stage productions. His last film is listed as 1977, but he had been trying to film Chushingura in the last years of his life to no avail. R.I.P.

https://www.sponichi.co.jp/entertainment/news/2018/01/28/kiji/20180127s00041000249000c.html


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Yale University
320 York Street, Room 311
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com














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From kinejapan at lists.osu.edu  Fri Jan 26 04:31:36 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 26 Jan 2018 18:31:36 +0900
Subject: [KineJapan] =?utf-8?q?Fwd=3A_Japan-China_Cinema_Symposium_?=
 =?utf-8?b?4peP4oCV4oCVIDIw5LiW57SA44Oh44OH44Kj44Ki56CU56m25omAIO+8miA=?=
 =?utf-8?b?56ysMTE35ZueMjDkuJbntIDjg6Hjg4fjgqPjgqLnoJTnqbbkvJrvvJrlm70=?=
 =?utf-8?b?6Zqb44K344Oz44Od44K444Km44Og44CM6LKr5oim5pyf44Gr44GK44GR44KL?=
 =?utf-8?b?5pel5Lit5pig55S744CN44Gu44GU5qGI5YaF44CQ44Oq44Oe44Kk44Oz44OJ?=
 =?utf-8?b?44CRIOKAleKAleKXjw==?=
References: <TY1PR01MB10555DB3E991D5E9E4417389DDEC0@TY1PR01MB1055.jpnprd01.prod.outlook.com>
Message-ID: <mailman.5693.1516959106.2223.kinejapan@lists.osu.edu>

Note this symposium that will be taking place at Waseda on Saturday, January 27, on Japanese-Chinese films.

Aaron Gerow

> 
> ??? 20????????? ? ?117?20?????????????????????????????????????????? ??? 
> 
> ?117?20???????????????????????????????????????????
> ??????????????????????
> ????????????????????????
> ???????????????????????????
> ???????????????????????
>  
> ???????????????????????????SNS???????????????????????????????
>  
> ? ??????????????????????
> ??? ????? ? 1?27????????????????????
> ???10:00-12:00???????????????1952??26??????
> ???13:30-17:30????????1??3?301??
>  
> ? ?????????????
> 1????????????????????????????????????
> ?????????????????????????????
>  
> 2?????????????????
> ?????????????????????????????????????
>  
> 3??????????????????????
> ?????????????????????????????
>  
> ???????????????????????????
> ?????????????????????????????
>  
> ?2017?12?????????????????????????(?????)???????????????????????????????????
> ?????????????????????
> 
> ???????
> ?????Intelligence?18???????????Intelligence????????9?????????????????????????????????20?????????????????????????????????????????????????????????????????????????????
> http://www.waseda.jp/prj-intelligence//index.html#contribution <http://www.waseda.jp/prj-intelligence/index.html#contribution>
> ????????????????????????????????
> ??????Fax?(03)3811-0296?Email? info at bunsei.co.jp <mailto:info at bunsei.co.jp>
> 
> ????Intelligence????????
> ???????????????????????
> ???Intelligence?????????????????
> ??????????Intelligence????????????3,000???????????????????????????????????????????????
> ??????????????????????????????????????????????????????????????????????????????21?????????????????????????????????????????????????????????
>  
> ??????(???)?????3,000?
> ??????(??????)???????5,000?
>  
> ???????????m20th at list.waseda.jp <mailto:m20th at list.waseda.jp>????
> ????????????????????????????????????????????
> ?????http://www.waseda.jp/prj-intelligence/ <http://www.waseda.jp/prj-intelligence/>??????????
> ?????????????
>  
>  
> ???????????????????????????????????
> ??20?????????
> ??????169-8050 ??? ????????-?-?
> ????????????? ???????????
> ????????FAX?03-5286-1988
> ?????Email: m20th at list.waseda.jp <mailto:m20th at list.waseda.jp>
> ?????URL? http://www.waseda.jp/prj-m20th/ <http://www.waseda.jp/prj-m20th/>
> ?????? ?????????????????URL?http://m20thdb.jp/ <http://m20thdb.jp/>
> ?????????????????????????????????????
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From kinejapan at lists.osu.edu  Sat Jan 20 06:47:25 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 20 Jan 2018 20:47:25 +0900
Subject: [KineJapan] Kazuo Hara's Sennan Asbestos Disaster at FCCJ
In-Reply-To: <mailman.6407.1516431609.14364.kinejapan@lists.osu.edu>
References: <mailman.6407.1516431609.14364.kinejapan@lists.osu.edu>
Message-ID: <mailman.4336.1516860076.2223.kinejapan@lists.osu.edu>

The date February 13 is right, but note that it Tuesday.

Thanks for the posting.

On Sat, Jan 20, 2018 at 3:59 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Dear KineJapaners,
>
>
> The Foreign Correspondents' Club in Yurakucho is screening Hara Kazuo?s
> award-winning masterpiece *Sennan Asbestos Disaster* in its entirety on
> February 13, with the director on hand for the Q&A session following the
> screening.
>
>
> Since FCCJ is a private club, you must reserve your seats through
> Screenings Curator Karen Severns: karenseverns at gmail.com.
>
>
> Be sure to reserve at least two days before the screening, as seats are
> limited.
>
>
> *MONDAY, FEBRUARY 13 at 5:00 pm**
>
> **Note very early start time; there will be one intermission.*
>
> *SENNAN ASBESTOS DISASTER *
>
> *(Nipponkoku vs. Sennan Ishiwata mura)*
>
> Japan, 2017  215 minutes    Japanese with English subtitles
>
> Followed by a Q&A session with director Kazuo Hara
>
> The long-awaited new documentary from legendary filmmaker Kazuo Hara (?The
> Emperor?s Naked Army Marches On?) has already won coveted Audience Awards
> at the Yamagata International Documentary Film Festival and Tokyo FILMeX
> International Film Festival, and received the Best Asian Documentary Award
> upon its international premiere at the Busan International Film Festival.
> Despite its length (nearly 4 hours), its festival screenings have drawn
> standing-room-only crowds and ignited passionate post-viewing discussions.
> It is essential viewing.
>
> For more (in Japanese): http://docudocu.jp/ishiwata/
>
> ----
>
> Posted by Eija Niskanen
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>


-- 
John Junkerman
jtj53213 at gmail.com
2-18-6 Ehara-cho, Nakano
Tokyo 165-0023
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From kinejapan at lists.osu.edu  Wed Jan 24 12:46:56 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 24 Jan 2018 17:46:56 +0000
Subject: [KineJapan] English subtitled print of BALLAD OF ORIN?
In-Reply-To: <mailman.6304.1516447314.54185.kinejapan@lists.osu.edu>
References: <mailman.6071.1516401755.54185.kinejapan@lists.osu.edu>
	<mailman.6304.1516447314.54185.kinejapan@lists.osu.edu>
Message-ID: <mailman.3725.1516816020.2223.kinejapan@lists.osu.edu>

Thank you Jasper!
We tried JF library but they sadly don't have a good condition.
Will try to see about the embassy.

Many thanks!
Aiko

From: KineJapan [mailto:kinejapan-bounces at lists.osu.edu] On Behalf Of Japanese Cinema Discussion Forum via KineJapan
Sent: Saturday, January 20, 2018 6:22 AM
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] English subtitled print of BALLAD OF ORIN?


I'm almost certain that a subtitled 35mm print of THE LOVE SUICIDES OF SONEZAKI is in the Japan Foundation library, somewhere across the world. I also believe that the Japanese Embassy in the UK had a bunch of 16mm subbed prints in their holdings, and this film was included amongst them. I know they've screened it several times over the past few decades. I certainly don't think you'll be able to find a print of any description in Japan.



best



Jasper Sharp





The Creeping Garden<http://www.creepinggarden.com/> - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp.

Available to own and rent on iTunes<https://itunes.apple.com/us/movie/the-creeping-garden/id1084002158> in the US and Canada from 22 March 2016m and to schools, universities and libraries in through The Cinema Guild<http://store.cinemaguild.com/nontheatrical/product/2529.html>.

The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds book out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.

???An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",
 Dennis Harvey, Variety<http://variety.com/2015/film/reviews/film-review-the-creeping-garden-1201485006/>

"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>


________________________________
From: KineJapan <kinejapan-bounces+jasper_sharp=hotmail.com at lists.osu.edu<mailto:kinejapan-bounces+jasper_sharp=hotmail.com at lists.osu.edu>> on behalf of Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>>
Sent: 19 January 2018 22:42:31
To: kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>
Subject: [KineJapan] English subtitled print of BALLAD OF ORIN?


Hello KineJapan!



We're having trouble finding where to source an English subtitled print of BALLAD OF ORIN by Shinoda.

It wasn't that long ago when it was last screened in the US so we think it still exists somewhere...



I'm less optimistic about the following but if you know whereabouts of an English-subtitled print (ideally 35mm) of THE LOVE SUICIDES OF SONEZAKI by Midori Kurisaki... would love to know too.



Would appreciate any tips you may have! Please feel free to contact me off list.



Thank you so much!

Aiko



Aiko Masubuchi

Senior Film Programmer



[cid:image001.jpg at 01D39511.1AFCE3C0]



333 E. 47th St., New York, NY 10017

T: +1 (212) 715-1260



UPCOMING SCREENINGS

www.japansociety.org/film

@js_film_nyc

www.facebook.com/japansocietyfilm<http://www.facebook.com/japansocietyfilm>





P.S. Thanks Bill for the shout out of our upcoming films! You're all always invited to join us!
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From kinejapan at lists.osu.edu  Mon Jan 22 13:46:38 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 22 Jan 2018 18:46:38 +0000
Subject: [KineJapan] 'Nanking', 1938
In-Reply-To: <mailman.768.1516641805.28222.kinejapan@lists.osu.edu>
References: <899684466.4220868.1516620259863.ref@mail.yahoo.com>
	<mailman.137.1516620340.28222.kinejapan@lists.osu.edu>
	<mailman.960.1516638144.2223.kinejapan@lists.osu.edu>
	<mailman.733.1516640490.28222.kinejapan@lists.osu.edu>,
	<mailman.768.1516641805.28222.kinejapan@lists.osu.edu>
Message-ID: <mailman.1264.1516646804.2223.kinejapan@lists.osu.edu>

Absolutely fascinating version of Japan? s war that yields a wealth of details.

Ted Cook
William Paterson University

Sent from my iPhone

On Jan 22, 2018, at 12:23, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

My apologies. I wrote it. I was a Master's candidate at Osaka University (then Osaka U of Foreign Studies) in 2004-6 but have since left academia. I continue to be v interested in Japanese films from this era, especially as many of the films I researched are very rare and have not been seen by many outside of the film scholarship field. Feel free to ask me anything! And thanks for your kind words.

Wei Ting

On 23 Jan 2018, at 1:01 AM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

It looks as if people should "sign" their name in their post.  I looked at the web-site (wonderful essay!) for the person's name of this post.

David Desser

________________________________
From: KineJapan [kinejapan-bounces+desser=uiuc.edu at lists.osu.edu<mailto:kinejapan-bounces+desser=uiuc.edu at lists.osu.edu>] on behalf of Japanese Cinema Discussion Forum via KineJapan [kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>]
Sent: Monday, January 22, 2018 8:22 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] 'Nanking', 1938

For what its worth, I wrote about Nanking in my Master's thesis and how it contrasted sharply with the tone and feel of Shanghai/Beijing. You can also read it online here: http://eigagogo.free.fr/en/shina-in-wartime-japan.php

Just fyi I found this film quite easily back in 2005-6 when I was writing my thesis. Picked it up at the video rental store and there were quite a few copies available at other outlets as well.

Here's a short excerpt:

Nanjing, the second film in the trilogy, was filmed two days after the city?s fall in December 1937 by Shirai Shigeru and edited by Akimoto Ken. It offers an interesting contrast because of the similarity of the images used but the different effects that were achieved. It minced no words about the extent of the destruction ? the screen overflows with helmets, spent bullets, unexploded grenades, and all manner of an entirely annihilated city. The movie opens with a slow, wafting shot of a misty swamp, the trees barren of leaves. There is no sign of life, only the sound of the troops marching by. The city is a wasteland. But the introduction is paired oddly with an upbeat, faux Chinese tune that saps the pathos and results in a disconcerting, unreal experience. By comparison, in Shanghai, the long, traveling scenes of destruction in the marshes, the city, and the suburbs are eulogised by the lonely cry of a violin in a minor key, which elicit a keen sense of tragedy. Further, the scenes of destruction in Nanjing only comprise the first few minutes, as if to reduce its significance, whereas in Shanghai it takes up almost ten continuous minutes in the second half.


The two films? different representation of the victory march also merit comparison. The victory march, a standard feature of the patriotic cinema experience, had been used in news films and other documentaries to convey the military?s success. But in Nanjing, it took on additional weight and significance; not only was it Chiang Kai Shek and the Kuomintang Party?s capital, it was a historic capital surrounded on all sides by a series of ancient castle gates that date back to the Ming Dynasty. The gates were designed for defense purposes and were heavily fortified. There were three main gates from which the Japanese army attacked ? Yijiang Gate in the west, along the Yangtse river, Heping (or peace) Gate in the north, and the impressive Zhongshan gate in the east, which comprised four rows of seemingly impregnable gates. Their near-complete destruction is featured in the movie?s opening minutes ? although the bodies had been removed, the high number of casualties was obvious from the sea of darkened uniforms, helmets, and spent bullets covering the ruins. It was through Zhongshan gate that General Matsui chose to conduct his victory parade. Leading the cavalry, General Matsui?s troops cross the screen in resplendent fashion from right to left, on their way to the Kuomintang headquarters. In the background, Nihon Rikugun (The Japanese Army), a favourite marching tune is played. The same trumpet music is used in Shanghai during the victory parade too ? but almost immediately it fades out, and the camera, trailing along and filming the crowd in the opposite direction from the march, reveals the anxious, fearful, and uncomfortable expressions on the Chinese faces in the crowd.

In fact, portraying Chinese citizens turned out to be the most difficult, and often gave the lie to the careful image they were trying to construct and maintain. And in many cases scenes of soldiers playing with children appear to be staged or reenacted. In a promotional poster used for Nanjing, two Japanese soldiers are seen giving out cigarettes to Chinese men in the crowd. But a closer look at the poster ? and of the scene in the movie ? reveals the men cowering along the wall. The two soldiers tower over the trembling men, who had been rounded up for questioning for involvement with Kuomintang activities. The intent of the poster was to highlight the army?s benevolence, instead it was undercut by the visceral fear in the expressions of the men coiled up against the wall. Shanghai too, featured scenes of the army?s civilised and benevolent gestures to the Chinese population, for example of the prisoners-of-war having their meal. But this scene is undercut by the wary eyes and sideway glances at the camera, and their reluctance to pick up their chopsticks and eat the bowl of rice laid before them. In this case however, given Kamei?s refrain, that not all is as it seems, it is much more likely that the contrast was intended.

On Mon, Jan 22, 2018 at 7:24 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

Dear KineJapaners,

This is just a response to the posting by Mark Selden on Asia-Pacific Journal about the film, Nanking, 1938: http://apjjf.org/2018/2/Selden.html . I think I got a slightly better picture by going direct to YouTube.

There?s some information on the film in Markus Nornes? Japanese Documentary Film: The Meiji Era through Hiroshima, which is a more accurate source than JMDb, whose page seems to have been compiled from secondary sources in the era when the film was ?lost?. Unsurprisingly, the Massacre is off-screen in this film. I did, though, find it more of interest than Markus, particularly the section where the film?s narration attempts to pars a position on Chiang Kai-shek (from 30 minutes in), along with his fascist-style architecture.

There is one credit that JMDb gets right, which the film?s awful subtitles do not. The music is by ???, JI?NG W?n-y?, pronounced in Japanese as K? Bunya. He was the subject of research of the protagonist in Caf? Lumi?re, HOU Hsiao-hsien?s Tokyo-based fiction feature.

Roger

macyroger at yahoo.co.uk<mailto:macyroger at yahoo.co.uk>


_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu<mailto:KineJapan at lists.osu.edu>
https://lists.osu.edu/mailman/listinfo/kinejapan


_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu<mailto:KineJapan at lists.osu.edu>
https://lists.osu.edu/mailman/listinfo/kinejapan
_______________________________________________
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KineJapan at lists.osu.edu<mailto:KineJapan at lists.osu.edu>
https://lists.osu.edu/mailman/listinfo/kinejapan
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From kinejapan at lists.osu.edu  Mon Jan 22 12:23:16 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 23 Jan 2018 01:23:16 +0800
Subject: [KineJapan] 'Nanking', 1938
In-Reply-To: <mailman.733.1516640490.28222.kinejapan@lists.osu.edu>
References: <899684466.4220868.1516620259863.ref@mail.yahoo.com>
	<mailman.137.1516620340.28222.kinejapan@lists.osu.edu>
	<mailman.960.1516638144.2223.kinejapan@lists.osu.edu>
	<mailman.733.1516640490.28222.kinejapan@lists.osu.edu>
Message-ID: <mailman.768.1516641805.28222.kinejapan@lists.osu.edu>

My apologies. I wrote it. I was a Master's candidate at Osaka University (then Osaka U of Foreign Studies) in 2004-6 but have since left academia. I continue to be v interested in Japanese films from this era, especially as many of the films I researched are very rare and have not been seen by many outside of the film scholarship field. Feel free to ask me anything! And thanks for your kind words.

Wei Ting

> On 23 Jan 2018, at 1:01 AM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> It looks as if people should "sign" their name in their post.  I looked at the web-site (wonderful essay!) for the person's name of this post.
> 
> David Desser
> 
> From: KineJapan [kinejapan-bounces+desser=uiuc.edu at lists.osu.edu] on behalf of Japanese Cinema Discussion Forum via KineJapan [kinejapan at lists.osu.edu]
> Sent: Monday, January 22, 2018 8:22 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] 'Nanking', 1938
> 
> For what its worth, I wrote about Nanking in my Master's thesis and how it contrasted sharply with the tone and feel of Shanghai/Beijing. You can also read it online here: http://eigagogo.free.fr/en/shina-in-wartime-japan.php
> 
> Just fyi I found this film quite easily back in 2005-6 when I was writing my thesis. Picked it up at the video rental store and there were quite a few copies available at other outlets as well.
> 
> Here's a short excerpt:
> 
> Nanjing, the second film in the trilogy, was filmed two days after the city?s fall in December 1937 by Shirai Shigeru and edited by Akimoto Ken. It offers an interesting contrast because of the similarity of the images used but the different effects that were achieved. It minced no words about the extent of the destruction ? the screen overflows with helmets, spent bullets, unexploded grenades, and all manner of an entirely annihilated city. The movie opens with a slow, wafting shot of a misty swamp, the trees barren of leaves. There is no sign of life, only the sound of the troops marching by. The city is a wasteland. But the introduction is paired oddly with an upbeat, faux Chinese tune that saps the pathos and results in a disconcerting, unreal experience. By comparison, in Shanghai, the long, traveling scenes of destruction in the marshes, the city, and the suburbs are eulogised by the lonely cry of a violin in a minor key, which elicit a keen sense of tragedy. Further, the scenes of destruction in Nanjing only comprise the first few minutes, as if to reduce its significance, whereas in Shanghai it takes up almost ten continuous minutes in the second half.
> 
> The two films? different representation of the victory march also merit comparison. The victory march, a standard feature of the patriotic cinema experience, had been used in news films and other documentaries to convey the military?s success. But in Nanjing, it took on additional weight and significance; not only was it Chiang Kai Shek and the Kuomintang Party?s capital, it was a historic capital surrounded on all sides by a series of ancient castle gates that date back to the Ming Dynasty. The gates were designed for defense purposes and were heavily fortified. There were three main gates from which the Japanese army attacked ? Yijiang Gate in the west, along the Yangtse river, Heping (or peace) Gate in the north, and the impressive Zhongshan gate in the east, which comprised four rows of seemingly impregnable gates. Their near-complete destruction is featured in the movie?s opening minutes ? although the bodies had been removed, the high number of casualties was obvious from the sea of darkened uniforms, helmets, and spent bullets covering the ruins. It was through Zhongshan gate that General Matsui chose to conduct his victory parade. Leading the cavalry, General Matsui?s troops cross the screen in resplendent fashion from right to left, on their way to the Kuomintang headquarters. In the background, Nihon Rikugun (The Japanese Army), a favourite marching tune is played. The same trumpet music is used in Shanghai during the victory parade too ? but almost immediately it fades out, and the camera, trailing along and filming the crowd in the opposite direction from the march, reveals the anxious, fearful, and uncomfortable expressions on the Chinese faces in the crowd.
> 
> In fact, portraying Chinese citizens turned out to be the most difficult, and often gave the lie to the careful image they were trying to construct and maintain. And in many cases scenes of soldiers playing with children appear to be staged or reenacted. In a promotional poster used for Nanjing, two Japanese soldiers are seen giving out cigarettes to Chinese men in the crowd. But a closer look at the poster ? and of the scene in the movie ? reveals the men cowering along the wall. The two soldiers tower over the trembling men, who had been rounded up for questioning for involvement with Kuomintang activities. The intent of the poster was to highlight the army?s benevolence, instead it was undercut by the visceral fear in the expressions of the men coiled up against the wall. Shanghai too, featured scenes of the army?s civilised and benevolent gestures to the Chinese population, for example of the prisoners-of-war having their meal. But this scene is undercut by the wary eyes and sideway glances at the camera, and their reluctance to pick up their chopsticks and eat the bowl of rice laid before them. In this case however, given Kamei?s refrain, that not all is as it seems, it is much more likely that the contrast was intended.
> 
> 
>> On Mon, Jan 22, 2018 at 7:24 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>> Dear KineJapaners,
>> 
>> This is just a response to the posting by Mark Selden on Asia-Pacific Journal about the film, Nanking, 1938: http://apjjf.org/2018/2/Selden.html . I think I got a slightly better picture by going direct to YouTube.
>> 
>> There?s some information on the film in Markus Nornes? Japanese Documentary Film: The Meiji Era through Hiroshima, which is a more accurate source than JMDb, whose page seems to have been compiled from secondary sources in the era when the film was ?lost?. Unsurprisingly, the Massacre is off-screen in this film. I did, though, find it more of interest than Markus, particularly the section where the film?s narration attempts to pars a position on Chiang Kai-shek (from 30 minutes in), along with his fascist-style architecture.
>> 
>> There is one credit that JMDb gets right, which the film?s awful subtitles do not. The music is by ???, JI?NG W?n-y?, pronounced in Japanese as K? Bunya. He was the subject of research of the protagonist in Caf? Lumi?re, HOU Hsiao-hsien?s Tokyo-based fiction feature.
>> 
>> Roger
>> 
>> macyroger at yahoo.co.uk
>> 
>> 
>> 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
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From kinejapan at lists.osu.edu  Mon Jan 22 12:01:07 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 22 Jan 2018 17:01:07 +0000
Subject: [KineJapan] 'Nanking', 1938
In-Reply-To: <mailman.960.1516638144.2223.kinejapan@lists.osu.edu>
References: <899684466.4220868.1516620259863.ref@mail.yahoo.com>
	<mailman.137.1516620340.28222.kinejapan@lists.osu.edu>,
	<mailman.960.1516638144.2223.kinejapan@lists.osu.edu>
Message-ID: <mailman.733.1516640490.28222.kinejapan@lists.osu.edu>

It looks as if people should "sign" their name in their post.  I looked at the web-site (wonderful essay!) for the person's name of this post.

David Desser

________________________________
From: KineJapan [kinejapan-bounces+desser=uiuc.edu at lists.osu.edu] on behalf of Japanese Cinema Discussion Forum via KineJapan [kinejapan at lists.osu.edu]
Sent: Monday, January 22, 2018 8:22 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] 'Nanking', 1938

For what its worth, I wrote about Nanking in my Master's thesis and how it contrasted sharply with the tone and feel of Shanghai/Beijing. You can also read it online here: http://eigagogo.free.fr/en/shina-in-wartime-japan.php

Just fyi I found this film quite easily back in 2005-6 when I was writing my thesis. Picked it up at the video rental store and there were quite a few copies available at other outlets as well.

Here's a short excerpt:

Nanjing, the second film in the trilogy, was filmed two days after the city?s fall in December 1937 by Shirai Shigeru and edited by Akimoto Ken. It offers an interesting contrast because of the similarity of the images used but the different effects that were achieved. It minced no words about the extent of the destruction ? the screen overflows with helmets, spent bullets, unexploded grenades, and all manner of an entirely annihilated city. The movie opens with a slow, wafting shot of a misty swamp, the trees barren of leaves. There is no sign of life, only the sound of the troops marching by. The city is a wasteland. But the introduction is paired oddly with an upbeat, faux Chinese tune that saps the pathos and results in a disconcerting, unreal experience. By comparison, in Shanghai, the long, traveling scenes of destruction in the marshes, the city, and the suburbs are eulogised by the lonely cry of a violin in a minor key, which elicit a keen sense of tragedy. Further, the scenes of destruction in Nanjing only comprise the first few minutes, as if to reduce its significance, whereas in Shanghai it takes up almost ten continuous minutes in the second half.


The two films? different representation of the victory march also merit comparison. The victory march, a standard feature of the patriotic cinema experience, had been used in news films and other documentaries to convey the military?s success. But in Nanjing, it took on additional weight and significance; not only was it Chiang Kai Shek and the Kuomintang Party?s capital, it was a historic capital surrounded on all sides by a series of ancient castle gates that date back to the Ming Dynasty. The gates were designed for defense purposes and were heavily fortified. There were three main gates from which the Japanese army attacked ? Yijiang Gate in the west, along the Yangtse river, Heping (or peace) Gate in the north, and the impressive Zhongshan gate in the east, which comprised four rows of seemingly impregnable gates. Their near-complete destruction is featured in the movie?s opening minutes ? although the bodies had been removed, the high number of casualties was obvious from the sea of darkened uniforms, helmets, and spent bullets covering the ruins. It was through Zhongshan gate that General Matsui chose to conduct his victory parade. Leading the cavalry, General Matsui?s troops cross the screen in resplendent fashion from right to left, on their way to the Kuomintang headquarters. In the background, Nihon Rikugun (The Japanese Army), a favourite marching tune is played. The same trumpet music is used in Shanghai during the victory parade too ? but almost immediately it fades out, and the camera, trailing along and filming the crowd in the opposite direction from the march, reveals the anxious, fearful, and uncomfortable expressions on the Chinese faces in the crowd.

In fact, portraying Chinese citizens turned out to be the most difficult, and often gave the lie to the careful image they were trying to construct and maintain. And in many cases scenes of soldiers playing with children appear to be staged or reenacted. In a promotional poster used for Nanjing, two Japanese soldiers are seen giving out cigarettes to Chinese men in the crowd. But a closer look at the poster ? and of the scene in the movie ? reveals the men cowering along the wall. The two soldiers tower over the trembling men, who had been rounded up for questioning for involvement with Kuomintang activities. The intent of the poster was to highlight the army?s benevolence, instead it was undercut by the visceral fear in the expressions of the men coiled up against the wall. Shanghai too, featured scenes of the army?s civilised and benevolent gestures to the Chinese population, for example of the prisoners-of-war having their meal. But this scene is undercut by the wary eyes and sideway glances at the camera, and their reluctance to pick up their chopsticks and eat the bowl of rice laid before them. In this case however, given Kamei?s refrain, that not all is as it seems, it is much more likely that the contrast was intended.

On Mon, Jan 22, 2018 at 7:24 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

Dear KineJapaners,

This is just a response to the posting by Mark Selden on Asia-Pacific Journal about the film, Nanking, 1938: http://apjjf.org/2018/2/Selden.html . I think I got a slightly better picture by going direct to YouTube.

There?s some information on the film in Markus Nornes? Japanese Documentary Film: The Meiji Era through Hiroshima, which is a more accurate source than JMDb, whose page seems to have been compiled from secondary sources in the era when the film was ?lost?. Unsurprisingly, the Massacre is off-screen in this film. I did, though, find it more of interest than Markus, particularly the section where the film?s narration attempts to pars a position on Chiang Kai-shek (from 30 minutes in), along with his fascist-style architecture.

There is one credit that JMDb gets right, which the film?s awful subtitles do not. The music is by ???, JI?NG W?n-y?, pronounced in Japanese as K? Bunya. He was the subject of research of the protagonist in Caf? Lumi?re, HOU Hsiao-hsien?s Tokyo-based fiction feature.

Roger

macyroger at yahoo.co.uk<mailto:macyroger at yahoo.co.uk>


_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu<mailto:KineJapan at lists.osu.edu>
https://lists.osu.edu/mailman/listinfo/kinejapan


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From kinejapan at lists.osu.edu  Mon Jan 22 11:22:18 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 23 Jan 2018 00:22:18 +0800
Subject: [KineJapan] 'Nanking', 1938
In-Reply-To: <mailman.137.1516620340.28222.kinejapan@lists.osu.edu>
References: <899684466.4220868.1516620259863.ref@mail.yahoo.com>
	<mailman.137.1516620340.28222.kinejapan@lists.osu.edu>
Message-ID: <mailman.960.1516638144.2223.kinejapan@lists.osu.edu>

For what its worth, I wrote about Nanking in my Master's thesis and how it
contrasted sharply with the tone and feel of Shanghai/Beijing. You can also
read it online here: http://eigagogo.free.fr/en/shina-in-wartime-japan.php

Just fyi I found this film quite easily back in 2005-6 when I was writing
my thesis. Picked it up at the video rental store and there were quite a
few copies available at other outlets as well.

Here's a short excerpt:

Nanjing, the second film in the trilogy, was filmed two days after the
city?s fall in December 1937 by Shirai Shigeru and edited by Akimoto Ken.
It offers an interesting contrast because of the similarity of the images
used but the different effects that were achieved. It minced no words about
the extent of the destruction ? the screen overflows with helmets, spent
bullets, unexploded grenades, and all manner of an entirely annihilated
city. The movie opens with a slow, wafting shot of a misty swamp, the trees
barren of leaves. There is no sign of life, only the sound of the troops
marching by. The city is a wasteland. But the introduction is paired oddly
with an upbeat, faux Chinese tune that saps the pathos and results in a
disconcerting, unreal experience. By comparison, in Shanghai, the long,
traveling scenes of destruction in the marshes, the city, and the suburbs
are eulogised by the lonely cry of a violin in a minor key, which elicit a
keen sense of tragedy. Further, the scenes of destruction in Nanjing only
comprise the first few minutes, as if to reduce its significance, whereas
in Shanghai it takes up almost ten continuous minutes in the second half.

The two films? different representation of the victory march also merit
comparison. The victory march, a standard feature of the patriotic cinema
experience, had been used in news films and other documentaries to convey
the military?s success. But in Nanjing, it took on additional weight and
significance; not only was it Chiang Kai Shek and the Kuomintang Party?s
capital, it was a historic capital surrounded on all sides by a series of
ancient castle gates that date back to the Ming Dynasty. The gates were
designed for defense purposes and were heavily fortified. There were three
main gates from which the Japanese army attacked ? Yijiang Gate in the
west, along the Yangtse river, Heping (or peace) Gate in the north, and the
impressive Zhongshan gate in the east, which comprised four rows of
seemingly impregnable gates. Their near-complete destruction is featured in
the movie?s opening minutes ? although the bodies had been removed, the
high number of casualties was obvious from the sea of darkened uniforms,
helmets, and spent bullets covering the ruins. It was through Zhongshan
gate that General Matsui chose to conduct his victory parade. Leading the
cavalry, General Matsui?s troops cross the screen in resplendent fashion
from right to left, on their way to the Kuomintang headquarters. In the
background, Nihon Rikugun (The Japanese Army), a favourite marching tune is
played. The same trumpet music is used in Shanghai during the victory
parade too ? but almost immediately it fades out, and the camera, trailing
along and filming the crowd in the opposite direction from the march,
reveals the anxious, fearful, and uncomfortable expressions on the Chinese
faces in the crowd.

In fact, portraying Chinese citizens turned out to be the most difficult,
and often gave the lie to the careful image they were trying to construct
and maintain. And in many cases scenes of soldiers playing with children
appear to be staged or reenacted. In a promotional poster used for Nanjing,
two Japanese soldiers are seen giving out cigarettes to Chinese men in the
crowd. But a closer look at the poster ? and of the scene in the movie ?
reveals the men cowering along the wall. The two soldiers tower over the
trembling men, who had been rounded up for questioning for involvement with
Kuomintang activities. The intent of the poster was to highlight the army?s
benevolence, instead it was undercut by the visceral fear in the
expressions of the men coiled up against the wall. Shanghai too, featured
scenes of the army?s civilised and benevolent gestures to the Chinese
population, for example of the prisoners-of-war having their meal. But this
scene is undercut by the wary eyes and sideway glances at the camera, and
their reluctance to pick up their chopsticks and eat the bowl of rice laid
before them. In this case however, given Kamei?s refrain, that not all is
as it seems, it is much more likely that the contrast was intended.

On Mon, Jan 22, 2018 at 7:24 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Dear KineJapaners,
>
> This is just a response to the posting by Mark Selden on Asia-Pacific
> Journal about the film, *Nanking*, 1938: http://apjjf.org/2018/2/
> Selden.html . I think I got a slightly better picture by going direct to
> YouTube.
>
> There?s some information on the film in Markus Nornes? *Japanese
> Documentary Film: The Meiji Era through Hiroshima*, which is a more
> accurate source than JMDb, whose page seems to have been compiled from
> secondary sources in the era when the film was ?lost?. Unsurprisingly, the
> Massacre is off-screen in this film. I did, though, find it more of
> interest than Markus, particularly the section where the film?s narration
> attempts to pars a position on Chiang Kai-shek (from 30 minutes in), along
> with his fascist-style architecture.
>
> There is one credit that JMDb gets right, which the film?s awful subtitles
> do not. The music is by ???, JI?NG W?n-y?, pronounced in Japanese as K?
> Bunya. He was the subject of research of the protagonist in *Caf? Lumi?re*,
> HOU Hsiao-hsien?s Tokyo-based fiction feature.
>
> Roger
>
> macyroger at yahoo.co.uk
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Mon Jan 22 06:24:19 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 22 Jan 2018 11:24:19 +0000 (UTC)
Subject: [KineJapan] 'Nanking', 1938
References: <899684466.4220868.1516620259863.ref@mail.yahoo.com>
Message-ID: <mailman.137.1516620340.28222.kinejapan@lists.osu.edu>


Dear KineJapaners,

Thisis just a response to the posting by Mark Selden on Asia-Pacific Journal aboutthe film, Nanking, 1938: http://apjjf.org/2018/2/Selden.html. I think I got a slightly better picture by going direct to YouTube.

There?s some information on the film inMarkus Nornes? Japanese Documentary Film: The Meiji Era through Hiroshima,which is a more accurate source than JMDb, whose page seems to have beencompiled from secondary sources in the era when the film was ?lost?.Unsurprisingly, the Massacre is off-screen in this film. I did, though, find itmore of interest than Markus, particularly the section where the film?snarration attempts to pars a position on Chiang Kai-shek (from 30 minutes in),along with his fascist-style architecture.

There is one credit that JMDb gets right,which the film?s awful subtitles do not. The music is by ???, JI?NG W?n-y?, pronounced in Japanese as K? Bunya. Hewas the subject of research of the protagonist in Caf? Lumi?re, HOUHsiao-hsien?s Tokyo-based fiction feature.

Roger

macyroger at yahoo.co.uk

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From kinejapan at lists.osu.edu  Sun Jan 21 20:18:25 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 22 Jan 2018 10:18:25 +0900
Subject: [KineJapan] Kazuo Hara's Sennan Asbestos Disaster at FCCJ
In-Reply-To: <mailman.6407.1516431609.14364.kinejapan@lists.osu.edu>
References: <mailman.6407.1516431609.14364.kinejapan@lists.osu.edu>
Message-ID: <mailman.6838.1516583909.54185.kinejapan@lists.osu.edu>

Hi Eija,

I just happened to notice - February 13 is not a Monday.
So it must be either Monday Feb 12, or Tuesday Feb 13.

All the best,
Jeremy Harley

Mabashi Movie Festival

On Sat, Jan 20, 2018 at 3:59 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Dear KineJapaners,
>
>
> The Foreign Correspondents' Club in Yurakucho is screening Hara Kazuo?s
> award-winning masterpiece *Sennan Asbestos Disaster* in its entirety on
> February 13, with the director on hand for the Q&A session following the
> screening.
>
>
> Since FCCJ is a private club, you must reserve your seats through
> Screenings Curator Karen Severns: karenseverns at gmail.com.
>
>
> Be sure to reserve at least two days before the screening, as seats are
> limited.
>
>
> *MONDAY, FEBRUARY 13 at 5:00 pm**
>
> **Note very early start time; there will be one intermission.*
>
> *SENNAN ASBESTOS DISASTER *
>
> *(Nipponkoku vs. Sennan Ishiwata mura)*
>
> Japan, 2017  215 minutes    Japanese with English subtitles
>
> Followed by a Q&A session with director Kazuo Hara
>
> The long-awaited new documentary from legendary filmmaker Kazuo Hara (?The
> Emperor?s Naked Army Marches On?) has already won coveted Audience Awards
> at the Yamagata International Documentary Film Festival and Tokyo FILMeX
> International Film Festival, and received the Best Asian Documentary Award
> upon its international premiere at the Busan International Film Festival.
> Despite its length (nearly 4 hours), its festival screenings have drawn
> standing-room-only crowds and ignited passionate post-viewing discussions.
> It is essential viewing.
>
> For more (in Japanese): http://docudocu.jp/ishiwata/
>
> ----
>
> Posted by Eija Niskanen
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Sat Jan 20 06:21:49 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 20 Jan 2018 11:21:49 +0000
Subject: [KineJapan] English subtitled print of BALLAD OF ORIN?
In-Reply-To: <mailman.6071.1516401755.54185.kinejapan@lists.osu.edu>
References: <mailman.6071.1516401755.54185.kinejapan@lists.osu.edu>
Message-ID: <mailman.6304.1516447314.54185.kinejapan@lists.osu.edu>

I'm almost certain that a subtitled 35mm print of THE LOVE SUICIDES OF SONEZAKI is in the Japan Foundation library, somewhere across the world. I also believe that the Japanese Embassy in the UK had a bunch of 16mm subbed prints in their holdings, and this film was included amongst them. I know they've screened it several times over the past few decades. I certainly don't think you'll be able to find a print of any description in Japan.


best


Jasper Sharp




The Creeping Garden<http://www.creepinggarden.com/> - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp.

Available to own and rent on iTunes<https://itunes.apple.com/us/movie/the-creeping-garden/id1084002158> in the US and Canada from 22 March 2016m and to schools, universities and libraries in through The Cinema Guild<http://store.cinemaguild.com/nontheatrical/product/2529.html>.

The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds book out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.

???An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",
 Dennis Harvey, Variety<http://variety.com/2015/film/reviews/film-review-the-creeping-garden-1201485006/>

"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>


________________________________
From: KineJapan <kinejapan-bounces+jasper_sharp=hotmail.com at lists.osu.edu> on behalf of Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Sent: 19 January 2018 22:42:31
To: kinejapan at lists.osu.edu
Subject: [KineJapan] English subtitled print of BALLAD OF ORIN?


Hello KineJapan!



We?re having trouble finding where to source an English subtitled print of BALLAD OF ORIN by Shinoda.

It wasn?t that long ago when it was last screened in the US so we think it still exists somewhere?



I?m less optimistic about the following but if you know whereabouts of an English-subtitled print (ideally 35mm) of THE LOVE SUICIDES OF SONEZAKI by Midori Kurisaki? would love to know too.



Would appreciate any tips you may have! Please feel free to contact me off list.



Thank you so much!

Aiko



Aiko Masubuchi

Senior Film Programmer



[cid:image002.jpg at 01D3914C.954D27C0]



333 E. 47th St., New York, NY 10017

T: +1 (212) 715-1260



UPCOMING SCREENINGS

www.japansociety.org/film

@js_film_nyc

www.facebook.com/japansocietyfilm





P.S. Thanks Bill for the shout out of our upcoming films! You?re all always invited to join us!
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From kinejapan at lists.osu.edu  Sat Jan 20 01:59:01 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 20 Jan 2018 08:59:01 +0200
Subject: [KineJapan] Kazuo Hara's Sennan Asbestos Disaster at FCCJ
Message-ID: <mailman.6407.1516431609.14364.kinejapan@lists.osu.edu>

Dear KineJapaners,


The Foreign Correspondents' Club in Yurakucho is screening Hara Kazuo?s
award-winning masterpiece *Sennan Asbestos Disaster* in its entirety on
February 13, with the director on hand for the Q&A session following the
screening.


Since FCCJ is a private club, you must reserve your seats through
Screenings Curator Karen Severns: karenseverns at gmail.com.


Be sure to reserve at least two days before the screening, as seats are
limited.


*MONDAY, FEBRUARY 13 at 5:00 pm**

**Note very early start time; there will be one intermission.*

*SENNAN ASBESTOS DISASTER *

*(Nipponkoku vs. Sennan Ishiwata mura)*

Japan, 2017  215 minutes    Japanese with English subtitles

Followed by a Q&A session with director Kazuo Hara

The long-awaited new documentary from legendary filmmaker Kazuo Hara (?The
Emperor?s Naked Army Marches On?) has already won coveted Audience Awards
at the Yamagata International Documentary Film Festival and Tokyo FILMeX
International Film Festival, and received the Best Asian Documentary Award
upon its international premiere at the Busan International Film Festival.
Despite its length (nearly 4 hours), its festival screenings have drawn
standing-room-only crowds and ignited passionate post-viewing discussions.
It is essential viewing.

For more (in Japanese): http://docudocu.jp/ishiwata/

----

Posted by Eija Niskanen
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From kinejapan at lists.osu.edu  Fri Jan 19 19:27:13 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 19 Jan 2018 19:27:13 -0500
Subject: [KineJapan] English subtitled print of BALLAD OF ORIN?
In-Reply-To: <mailman.6071.1516401755.54185.kinejapan@lists.osu.edu>
References: <mailman.6071.1516401755.54185.kinejapan@lists.osu.edu>
Message-ID: <mailman.6312.1516408038.14364.kinejapan@lists.osu.edu>

I have a poor-quality DVD of Love Suicides at Sonezaki, made from a video the director gave me years ago. It?s a wonderful film. I wish someone would make a good copy available.  The camerawork by Miyagawa Kazuo is exquisite, and the puppeteers are some of Japan?s best

Sent from my iPhone

> On Jan 19, 2018, at 5:42 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> Hello KineJapan!
>  
> We?re having trouble finding where to source an English subtitled print of BALLAD OF ORIN by Shinoda.
> It wasn?t that long ago when it was last screened in the US so we think it still exists somewhere?
>  
> I?m less optimistic about the following but if you know whereabouts of an English-subtitled print (ideally 35mm) of THE LOVE SUICIDES OF SONEZAKI by Midori Kurisaki? would love to know too.
>  
> Would appreciate any tips you may have! Please feel free to contact me off list.
>  
> Thank you so much!
> Aiko
>  
> Aiko Masubuchi
> Senior Film Programmer
>  
> <image002.jpg>
>  
> 333 E. 47th St., New York, NY 10017
> T: +1 (212) 715-1260
>  
> UPCOMING SCREENINGS
> www.japansociety.org/film
> @js_film_nyc
> www.facebook.com/japansocietyfilm
>  
>  
> P.S. Thanks Bill for the shout out of our upcoming films! You?re all always invited to join us!
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
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From kinejapan at lists.osu.edu  Fri Jan 19 17:42:31 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 19 Jan 2018 22:42:31 +0000
Subject: [KineJapan] English subtitled print of BALLAD OF ORIN?
Message-ID: <mailman.6071.1516401755.54185.kinejapan@lists.osu.edu>

Hello KineJapan!

We're having trouble finding where to source an English subtitled print of BALLAD OF ORIN by Shinoda.
It wasn't that long ago when it was last screened in the US so we think it still exists somewhere...

I'm less optimistic about the following but if you know whereabouts of an English-subtitled print (ideally 35mm) of THE LOVE SUICIDES OF SONEZAKI by Midori Kurisaki... would love to know too.

Would appreciate any tips you may have! Please feel free to contact me off list.

Thank you so much!
Aiko

Aiko Masubuchi
Senior Film Programmer

[cid:image002.jpg at 01D3914C.954D27C0]

333 E. 47th St., New York, NY 10017
T: +1 (212) 715-1260

UPCOMING SCREENINGS
www.japansociety.org/film
@js_film_nyc
www.facebook.com/japansocietyfilm


P.S. Thanks Bill for the shout out of our upcoming films! You're all always invited to join us!
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From kinejapan at lists.osu.edu  Fri Jan 19 12:53:19 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 19 Jan 2018 12:53:19 -0500
Subject: [KineJapan] Upcoming in New York
Message-ID: <mailman.5724.1516384471.54185.kinejapan@lists.osu.edu>

Just passing on several forthcoming events for those in or with access to
the Big Apple:


Marty Gross, Japanese folk craft film director and devotee, will lecture on
"Creating the Mingei Film Archive" through Columbia University's Donald
Keene Center of Japanese Culture on Thursday, 8 Feb., in 403 Kent:

http://www.keenecenter.org/download_files/Marty-Gross-web.jpg


The redoubtable Japan Society will present two atomic bomb-related classics
for its next two monthly classics screenings.  Tonight is Hideo
Sekigawa's *Hiroshima
*(1953), footage from which is said to have been used by Alain Resnais
in *Hiroshima
Mon Amour*.

https://www.japansociety.org/event/hiroshima

Friday, Feb. 2, is Honda's 1954

*Gojira, https://www.japansociety.org/event/godzilla-1
<https://www.japansociety.org/event/godzilla-1>*

followed in three weeks (Wed., Feb. 21) by a lecture and book signing with
Steve Ryfle, author of

*Directing Godzilla:  The Life of Filmmaker Ishiro Honda:*
https://www.japansociety.org/event/directing-godzilla-the-
life-of-filmmaker-ishiro-honda


Two other local venues have monthly martial arts film series which will
screen Japanese titles shortly.  The American Museum of the Moving Image in
Queens will present as part of its Fist and Sword series the 2017 *Blade of
the Immortal*, advertised as Takashi Miike's 100th film (has anyone seen
all 100?), also on Friday, Feb. 2:





*
http://www.movingimage.us/visit/calendar/2018/02/02/detail/blade-of-the-immortal
<http://www.movingimage.us/visit/calendar/2018/02/02/detail/blade-of-the-immortal>*
Finally, Subway Cinema's Have Sword, Will Travel series at the Quad Cinema
will feature *Zatoichi on the Road *and *Lone Wolf and Cub: Sword of
Vengeance *on Sunday, Jan 28th:

https://quadcinema.com/program/have-sword-will-travel/




Cheers, and Happy Viewings.

Bill Thompson
wct1 at columbia.edu
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From kinejapan at lists.osu.edu  Fri Jan 19 06:27:19 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 19 Jan 2018 20:27:19 +0900
Subject: [KineJapan] Shirley Yamaguchi site
Message-ID: <mailman.5167.1516361244.54185.kinejapan@lists.osu.edu>

Here is a labor of love:

https://yoshikoyamaguchi.blogspot.com
<https://yoshikoyamaguchi.blogspot.com/p/the-mystery-of.html>

It's essentially a fan site devoted to Yamaguchi Yoshiko by an engineer in
California. It's filled with an eclectic assortment of
information, including screenshots of stuff that will eventually disappear
from the web. There are articles galore, including translations. And most
interesting: a page collecting internal government documents from the US
about she and her family. This is a gold mine for anyone teaching
Yamaguchi. And it's just plain interesting.

Markus



---

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

*Department of Screen Arts and Cultures*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From kinejapan at lists.osu.edu  Thu Jan 18 09:51:52 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 18 Jan 2018 23:51:52 +0900
Subject: [KineJapan] Mainichi Film Awards 2017
Message-ID: <mailman.4364.1516287116.14364.kinejapan@lists.osu.edu>

The 72nd Mainichi Film Awards were announced today. Best film went to Obayashi Nobuhiko's Hanagatami, and the outstanding Japanese film award (kind of 2nd place) went to Kishi Yoshiyuki's Ah, koya. Best director went to Tomita Katsuya for Bangkok Nights. 

For other awards:

Best Screenplay: Ishii Yuya (Yozora wa itsudemo saiko mitsudo no aoiro da)
Best Actor: Suda Masaki (Ah, koya)
Best Actress: Nagasawa Masumi (Sanpo suru shinryakusha)
Best Supporting Actor: Yakusho Koji (Sandome no satsujim)
Best Supporting Actress: Tanaka Reina (Osanako warera ni umare)
Tanaka Kinuyo Award: Mizuno Kumi

Best Cinematography: Kamakiri Yoichi (Yozora wa itsudemo saiko mitsudo no aoiro da)
Best Art Direction: Takeuchi Koichi (Hanagatami)
Best Music: Soi48 + Young G (Bangkok Nights)
Best Sound: Kato Yamato, Takasuga Kengo (Yozora wa itsudemo saiko mitsudo no aoiro da)

Best Documentary: Sanrizuka no Icarus
Animation Award: Complex x Complex (Fukuda Miyuki)
Ofuji Noburo Award: Yuake tsugeru Ru no uta (Yuasa Masaaki)
Fan Award: Shinobi no kuni

Special Award: Sato Tadao

https://mainichi.jp/mfa/history/072.html <https://mainichi.jp/mfa/history/072.html>
https://mainichi.jp/english/articles/20180118/p2a/00m/0et/019000c <https://mainichi.jp/english/articles/20180118/p2a/00m/0et/019000c>

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Yale University
320 York Street, Room 311
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com














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From kinejapan at lists.osu.edu  Tue Jan 16 09:02:09 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 16 Jan 2018 16:02:09 +0200
Subject: [KineJapan] Japanese animation before anime seminar, Helsinki
Message-ID: <mailman.1420.1516111333.14364.kinejapan@lists.osu.edu>

Wed Jan 17, 9am - 3 pm animation scholar Jennifer Baker will talk about
"Japanese Animation Before Anime", and show samples of films. Free
entrance, co-organized By Finnish Audiovisual Institute and Aalto
University Film Department. Place: Orion movie theater, Eerikinkatu 15,
Helsinki. The event is conducted in English.

-- 
Eija Niskanen
University of Helsinki
+358-50-355 3189
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From kinejapan at lists.osu.edu  Mon Jan 15 10:09:35 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 15:09:35 +0000 (UTC)
Subject: [KineJapan] Making Films in Japan - John Williams
References: <2039689048.5862872.1516028975645.ref@mail.yahoo.com>
Message-ID: <mailman.247.1516029007.54185.kinejapan@lists.osu.edu>


Dear KineJapaners,

I see that the Nissan Institute in Oxford have just announced an event with the film director,John Williams.

Friday, 9th February

Making Films in Japan -Writer, Director and Producer JohnWilliams will talk about his experiences making three award-winningJapanese-language feature films, Firefly Dreams (Ichiban UtsukushiiNatsu, 2001), Starfish Hotel (2007) and Sado Tempest (2013).He will talk about the creation, production, and reception of these films and aboutthe Japanese film industry and will show clips from his recently completed fourthfeature, a Japanese language adaptation of The Trial (Shinpan,2018) set in contemporary Tokyo.

This Seminar will take place in theNissan Institute Lecture Theatre from 5.00 pm.

http://www.nissan.ox.ac.uk/making-films-japan

Frustratingly for me, I shall be inflight to Japan at the time. ?Soif anyone else wants to organise a similar event in the UK, whilst John Williams has a fellowship in Oxford, they?d get one willing attendee !

Roger

macyroger at yahoo.co.uk

?

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From kinejapan at lists.osu.edu  Mon Jan 15 10:06:55 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 10:06:55 -0500
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
References: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
	<mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
Message-ID: <mailman.244.1516028821.54185.kinejapan@lists.osu.edu>

> Uh, who's speaking here?

You forgot your signature too.

:-)

Michael Kerpan
Boston

On Mon, Jan 15, 2018 at 4:21 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

>
> On Jan 13, 2018, at 15:38, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
> It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I
> saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto
> Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".
>
>
> Uh, who's speaking here?
>
> No signature.
>
> Is this problem ever going to be fixed?
>
> Can't the combined resources of the *cough* very rich *cough* schools that
> are behind this list solve such a silly technical problem?
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Mon Jan 15 07:35:43 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 21:35:43 +0900
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.140.1516018515.54185.kinejapan@lists.osu.edu>
References: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
	<mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
	<mailman.91.1516008659.54185.kinejapan@lists.osu.edu>
	<mailman.106.1516010847.54185.kinejapan@lists.osu.edu>
	<mailman.140.1516018515.54185.kinejapan@lists.osu.edu>
Message-ID: <mailman.523.1516019750.14364.kinejapan@lists.osu.edu>

Hi,

Just to give everyone an update, but the problem has been with the OSU server. With no faculty at OSU supporting us, our problems have not been solved and we are moving the list to Yale. Yale has looked into the matter and has assured me that they can configure the list in a way such that mail with different addresses (which is what happens when you send a mail to the list and the list sends it out using your name as the sender, but with KineJapan as the real sender and the return address) do not result in mass spam rejections (which is what happened?all of you with gmail, yahoo, etc. etc. rejected KineJapan mail and many were automatically removed from the list). The only thing holding up the switchover is transferring the archives from the OSU site to Yale. Unfortunately, OSU has again not been cooperative, but we are working on it.

By the way, if any of you have been keeping all of your KineJapan mail in a separate folder, please contact me off list.

Aaron Gerow
KineJapan co-owner


> 2018/01/15 ??9:15?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
> 
> Yes, I agree with Jonathan, it certainly does damage the community aspect, which was always a strong part of Kinejapan in its first 10 years or so.
> 
> that said, it shouldnt be beyond the wit of most list members to sign their name at the bottom of their posts!
> 
> JASPER SHARP
> 
> 
> 
> 
> The Creeping Garden <http://www.creepinggarden.com/> - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. 
> 
> Available to own and rent on iTunes <https://itunes.apple.com/us/movie/the-creeping-garden/id1084002158> in the US and Canada from 22 March 2016m and to schools, universities and libraries in through The Cinema Guild <http://store.cinemaguild.com/nontheatrical/product/2529.html>.
> 
> The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds book out now from Alchimia Publishing <http://www.alchimiapublishing.com/creeping-garden/>.
> 
> ???An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",  Dennis Harvey, Variety <http://variety.com/2015/film/reviews/film-review-the-creeping-garden-1201485006/>
> 
> "A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times <http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>
> 
> 
> From: KineJapan <kinejapan-bounces at lists.osu.edu> on behalf of Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
> Sent: 15 January 2018 10:07:22
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] Kinema Junpo Best Ten 2017
>  
> Dear Kine Japanners.
> 
> I raised this issue last year at the time of the Kinema Club kerfuffle. It has a major impact on the sociality of the medium, something to which media scholars ought to be sensitive. There was no response from the list "owners" at that time. I'm hoping users might finally see some action.
> 
> Jonathan M. Hall
> Los Angeles
> 
> On Mon, Jan 15, 2018 at 1:30 AM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
> Markus here.  I thought that people simply weren't writing their names, but it seems it's a software thing, doesn't it? We're looking into it.
> 
> Markus
> 
> --- 
> 
> Markus Nornes
> Professor of Asian Cinema
> Department of Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design
> 
> Department of Screen Arts and Cultures
> 6348 North Quad
> 105 S. State Street
> Ann Arbor, MI 48109-1285
> 
> 
> On Mon, Jan 15, 2018 at 6:21 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
> 
>> On Jan 13, 2018, at 15:38, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
>> 
>> It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".
> 
> Uh, who's speaking here?
> 
> No signature.
> 
> Is this problem ever going to be fixed?
> 
> Can't the combined resources of the *cough* very rich *cough* schools that are behind this list solve such a silly technical problem?
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu <mailto:KineJapan at lists.osu.edu>
> https://lists.osu.edu/mailman/listinfo/kinejapan <https://lists.osu.edu/mailman/listinfo/kinejapan>
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu <mailto:KineJapan at lists.osu.edu>
> https://lists.osu.edu/mailman/listinfo/kinejapan <https://lists.osu.edu/mailman/listinfo/kinejapan>
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan

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From kinejapan at lists.osu.edu  Mon Jan 15 07:15:07 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 12:15:07 +0000
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.106.1516010847.54185.kinejapan@lists.osu.edu>
References: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
	<mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
	<mailman.91.1516008659.54185.kinejapan@lists.osu.edu>,
	<mailman.106.1516010847.54185.kinejapan@lists.osu.edu>
Message-ID: <mailman.140.1516018515.54185.kinejapan@lists.osu.edu>

Yes, I agree with Jonathan, it certainly does damage the community aspect, which was always a strong part of Kinejapan in its first 10 years or so.


that said, it shouldnt be beyond the wit of most list members to sign their name at the bottom of their posts!


JASPER SHARP




The Creeping Garden<http://www.creepinggarden.com/> - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp.

Available to own and rent on iTunes<https://itunes.apple.com/us/movie/the-creeping-garden/id1084002158> in the US and Canada from 22 March 2016m and to schools, universities and libraries in through The Cinema Guild<http://store.cinemaguild.com/nontheatrical/product/2529.html>.

The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds book out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.

???An improbably delightful documentary about slime molds.... good-humored but not campy in its regard of some genuinely fascinating research, and full of trippy visuals",
 Dennis Harvey, Variety<http://variety.com/2015/film/reviews/film-review-the-creeping-garden-1201485006/>

"A surprising investigation of perception, thought and life itself", Nicholas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>


________________________________
From: KineJapan <kinejapan-bounces at lists.osu.edu> on behalf of Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Sent: 15 January 2018 10:07:22
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Kinema Junpo Best Ten 2017

Dear Kine Japanners.

I raised this issue last year at the time of the Kinema Club kerfuffle. It has a major impact on the sociality of the medium, something to which media scholars ought to be sensitive. There was no response from the list "owners" at that time. I'm hoping users might finally see some action.

Jonathan M. Hall
Los Angeles

On Mon, Jan 15, 2018 at 1:30 AM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
Markus here.  I thought that people simply weren't writing their names, but it seems it's a software thing, doesn't it? We're looking into it.

Markus

---
[https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download]
Markus Nornes
Professor of Asian Cinema
Department of Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design

Department of Screen Arts and Cultures
6348 North Quad
105 S. State Street
Ann Arbor, MI 48109-1285


On Mon, Jan 15, 2018 at 6:21 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

On Jan 13, 2018, at 15:38, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".

Uh, who's speaking here?

No signature.

Is this problem ever going to be fixed?

Can't the combined resources of the *cough* very rich *cough* schools that are behind this list solve such a silly technical problem?

_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu<mailto:KineJapan at lists.osu.edu>
https://lists.osu.edu/mailman/listinfo/kinejapan



_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu<mailto:KineJapan at lists.osu.edu>
https://lists.osu.edu/mailman/listinfo/kinejapan


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From kinejapan at lists.osu.edu  Mon Jan 15 05:07:22 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 02:07:22 -0800
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.91.1516008659.54185.kinejapan@lists.osu.edu>
References: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
	<mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
	<mailman.91.1516008659.54185.kinejapan@lists.osu.edu>
Message-ID: <mailman.106.1516010847.54185.kinejapan@lists.osu.edu>

Dear Kine Japanners.

I raised this issue last year at the time of the Kinema Club kerfuffle. It
has a major impact on the sociality of the medium, something to which media
scholars ought to be sensitive. There was no response from the list
"owners" at that time. I'm hoping users might finally see some action.

Jonathan M. Hall
Los Angeles

On Mon, Jan 15, 2018 at 1:30 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Markus here.  I thought that people simply weren't writing their names,
> but it seems it's a software thing, doesn't it? We're looking into it.
>
> Markus
>
> ---
>
> *Markus Nornes*
> *Professor of Asian Cinema*
> Department of Screen Arts and Cultures, Department of Asian Languages and
> Cultures, Penny Stamps School of Art & Design
>
> *Department of Screen Arts and Cultures*
> *6348 North Quad*
> *105 S. State Street*
> *Ann Arbor, MI 48109-1285*
>
>
> On Mon, Jan 15, 2018 at 6:21 PM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>>
>> On Jan 13, 2018, at 15:38, Japanese Cinema Discussion Forum via KineJapan
>> <kinejapan at lists.osu.edu> wrote:
>>
>> It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I
>> saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto
>> Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".
>>
>>
>> Uh, who's speaking here?
>>
>> No signature.
>>
>> Is this problem ever going to be fixed?
>>
>> Can't the combined resources of the *cough* very rich *cough* schools
>> that are behind this list solve such a silly technical problem?
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>
>>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Mon Jan 15 04:30:53 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 18:30:53 +0900
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
References: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
	<mailman.442.1516008070.14364.kinejapan@lists.osu.edu>
Message-ID: <mailman.91.1516008659.54185.kinejapan@lists.osu.edu>

Markus here.  I thought that people simply weren't writing their names, but
it seems it's a software thing, doesn't it? We're looking into it.

Markus

---

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

*Department of Screen Arts and Cultures*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*


On Mon, Jan 15, 2018 at 6:21 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

>
> On Jan 13, 2018, at 15:38, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
> It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I
> saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto
> Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".
>
>
> Uh, who's speaking here?
>
> No signature.
>
> Is this problem ever going to be fixed?
>
> Can't the combined resources of the *cough* very rich *cough* schools that
> are behind this list solve such a silly technical problem?
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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KineJapan at lists.osu.edu
https://lists.osu.edu/mailman/listinfo/kinejapan

From kinejapan at lists.osu.edu  Mon Jan 15 04:21:02 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 18:21:02 +0900
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
References: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>
Message-ID: <mailman.442.1516008070.14364.kinejapan@lists.osu.edu>


> On Jan 13, 2018, at 15:38, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".

Uh, who's speaking here?

No signature.

Is this problem ever going to be fixed?

Can't the combined resources of the *cough* very rich *cough* schools that are behind this list solve such a silly technical problem?
-------------- next part --------------
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https://lists.osu.edu/mailman/listinfo/kinejapan

From kinejapan at lists.osu.edu  Sun Jan 14 22:58:01 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 15 Jan 2018 03:58:01 +0000
Subject: [KineJapan] =?utf-8?q?Your_Name=E2=80=99s_global_reception?=
Message-ID: <mailman.18.1515988700.54185.kinejapan@lists.osu.edu>

Mitsuyo will be joining others to talk about the reception of Your Name at
a Waseda symposium. Looks interesting!

Markus




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

???????????????????? ?2????
??????????????????????21??????????
????????????
????????????????????????? ??????????????
??????????????
???2018?1?20?(?)
???????? ??????? 33??6? ?11???
??????????????
*?????????????????????????*


??

2016??????????????????????????????????????????????1????????????????????1??????????????????????????????????????????????????????????????????????????????????????

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

???????1990??????????????????????????????????????????????????????????????????????????????????????????

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

???????????IT????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

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

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

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

13:00-13:30 ????????????????????
<https://www.waseda.jp/flas/rilas/assets/uploads/2017/12/senno-Jap.png>?

13:30-14:30 ???
<https://www.waseda.jp/flas/rilas/assets/uploads/2018/01/45fb38efce56b08c2e9c1b6124fb9361-1.png>
??????????????
??????????????????????????????????
??????????-???????????????

14:30-15:30 ???
<https://www.waseda.jp/flas/rilas/assets/uploads/2018/01/92d4e1fbb5b8d39f56d0ecc12ea37319.png>
??????????????
???????????????????????????
?????????????????????

15:30-15:45 ???????

15:45-16:15 ?????????
<https://www.waseda.jp/flas/rilas/assets/uploads/2018/01/5638a06fb1b95d38706067c6635e4020.png>
?????????????
??????????????????????

16:15-16:45 ????
<https://researchers.waseda.jp/profile/ja.58e98743ee8b702a99aab4887f37d604.html>
???????
????????????????????????????????????

16:45-17:00 ???????

17:00-18:30 ????????????????????

18:30-18:35 ??????????
-- 
---

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

*Department of Screen Arts and Cultures*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From kinejapan at lists.osu.edu  Sat Jan 13 16:55:22 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 13 Jan 2018 21:55:22 +0000
Subject: [KineJapan] The Nitrate Touch: A Graduate Workshop/15th Domitor
 Conference (June 2018)
Message-ID: <mailman.7007.1515880526.27186.kinejapan@lists.osu.edu>

Just a quick note to bring  attention to the 15th International Domitor Conference<https://domitor.org/conference/2018-rochester-conference/> in Rochester, NY 13-16 June 2018, a collaboration between Domitor (The International Society for the Study of Early Cinema), George Eastman Museum, and the University of Rochester. The conference theme is Provenance and Early Cinema. There is also a pre-conference Graduate Student Workshop 11-12 June (also GEM and UR), which is free, application deadline 31 January. I?m pasting in below the Workshop Call for Participants below fyi, and it?s also available on www.domitor.org. The focus is nitrate film, with threads on color in early film (to complement ?Dreaming in Color,<https://eastman.org/dreaming-color-davide-turconi-collection-early-cinema>? the Davide Turconi Collection exhibit at GEM that opened today) and digital curation (I?ll be presenting on the film digitization that?s gone into Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture<https://rej.lib.rochester.edu/>.

best,
Joanne


The Nitrate Touch: A Graduate Workshop

George Eastman Museum and the University of Rochester, 11-12 June 2018

Domitor, George Eastman Museum, and the University of Rochester invite applications for The

Nitrate Touch, a collaborative, two-day Graduate Workshop on 11-12 June 2018. The workshop

immediately precedes the Fifteenth International Domitor Conference (13-16 June), whose theme

is provenance and early cinema.

The workshop offers graduate students of all levels and relevant disciplines a unique opportunity

to explore a broad array of early cinema interests, including the rich complexity of early color

processes and the history of nitrate film, the primary carrier for theatrical 35mm motion pictures

until 1951. Assisted by museum staff, students will examine nitrate film on inspection benches,

gaining an intimate knowledge of its history, and current best practices. Highlights include a

hands-on examination of rare early film discoveries (1896-1898); tours of the Moving Image

Department and Technology Collection; and an opportunity to explore the Museum?s large-scale

digitization project, The Turconi Project Database.

Workshop participants will also be given a chance to discuss their own research projects with

expert scholars. Student interests need not be limited to early cinema, but the workshop offers a

rare opportunity to gain first-hand experience of methods, materials, and machines important to

the visual and cultural history of moving images in the late 19th and early 20th centuries. The theme

of this year?s Domitor conference, the study and discussion of provenance and early cinema, is

central to the workshop?s program.

Senior scholars and archivists will provide guidance and share their expertise and current projects

with workshop participants. They include Paolo Cherchi Usai (George Eastman Museum); Grazia

Ingravalle, (Brunel University London); Barbara Fl?ckiger (University of Zurich); Joshua Yumibe

(Michigan State University); Joanne Bernardi (University of Rochester), and Josh Romphf

(University of Rochester).

There is no registration fee, but participants are responsible for their airfare and lodging. We will

suggest modest housing options near the museum; transportation between the museum and

university is provided. Light refreshments, lunches and a closing reception are included. All

participants are eligible for free attendance at the Domitor Conference, 13-16 June.

Applications should state current student status and institutional affiliation; a 300-word statement

of current or planned research focus; and citations of any previous work (presentations,

publications) in this area. Send applications to domitor2018 at gmail.com by 30 January 2018.

Places are limited; applicants will be notified in February. For more information about Domitor,

please visit www.domitor.org.


Joanne Bernardi, Ph.D.
Professor, Japanese Studies | Film and Media Studies
409 Lattimore Hall
Dept. of Modern Languages and Cultures
University of Rochester | PO Box 270082
Rochester NY 14627
Tel. (585) 275-4251 (MLC Dept.) |Fax (585) 273-1097

Re-Envisioning Japan as Destination in 20th Century
Visual and Material Culture
https://rej.lib.rochester.edu/ (new!)
http://humanities.lib.rochester.edu/rej/ (2013-2016)
ReEnvisioning Japan University of Rochester
https://www.facebook.com/ReenvisioningJapan

Joanne Bernardi at ReEnvisionJapan
https://twitter.com/ReEnvisionJapan







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From kinejapan at lists.osu.edu  Sat Jan 13 01:38:45 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 13 Jan 2018 06:38:45 +0000
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.5658.1515737807.53617.kinejapan@lists.osu.edu>
Message-ID: <mailman.6847.1515825528.53617.kinejapan@lists.osu.edu>

> I read these KJ lists each year with ever increasing sadness -- knowing that few of these will ever be available for me to see

Don't despair quite yet! The Japanese BD of the Ogigami has English subs. And I suspect the Kurosawa, Koreeda, and Ishii will get some kind of English-subbed physical release, in Hong Kong if not even in the west. [The Japanese discs, already out, are not subtitled.] Those four films, along with the Obayashi and Shiraishi, have been playing in assorted fests on the US West Coast. Not sure what kind of Asian-focused festivals Boston offers.

I'm a little surprised not to see Yoshida Daihachi's sci-fi comedy Mishima adaptation Utsukushii hoshi on the list. It was my favorite of the (sadly, only 25 or so) 2017 Japanese releases I saw last year, just ahead of the Ishii. I also enjoyed, fwiw, Makoto Nagahisa's Iwai-esque short, "And So We Put Goldfish in the Pool".

---- Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote: 
> I read these KJ lists each year with ever increasing sadness -- knowing
> that few of these will ever be available for me to see.
> 
> Michael Kerpan
> Boston
> 
> On Wed, Jan 10, 2018 at 11:22 PM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> > Kinema Jumpo just released the results of its annual Best Ten poll (a
> > prestigious poll that has been going on since the 1920s). Here they are
> > (sorry for providing only the Japanese titles):
> >
> > 1) Yozora wa itsudemo saiko mitsudo no aoiro da (Ishii Yuya)
> > 2) Hanagatami (Obayashi Nobuhiko)
> > 3) Aa, koya (Kishi Yoshiyuki)
> > 4) Osanako warera ni umare (Mishima Yukiko)
> > 5) Sanpo suru shinryakusha (Kurosawa Kiyoshi)
> > 6) Bangkok Nights (Tomita Katsuya)
> > 7) Kanojo no jinsei wa machigai ja nai (Hiroki Ryuichi)
> > 8) Sandome no satsujin (Koreeda Hirokazu)
> > 9) Kanojo ga sono na o shiranai toritachi (Shiraishi Kazuya)
> > 10) Karera ga honki de amu toki wa, (Ogigami Naoko)
> > Best director: Obayashi Nobuhiko
> > Best actress: Aoi Yu
> > Best actor: Suda Masai
> > Best supporting actress: Tanaka Reina
> > Best supporting actor: Yang Ik-Joon
> > Best screenplay: Ishii Yuya
> >
> >
> > Aaron Gerow
> > Professor
> > Film and Media Studies Program/East Asian Languages and Literatures
> > Yale University
> > 320 York Street, Room 311
> > PO Box 208324
> > New Haven, CT 06520-8324
> > USA
> > Phone: 1-203-432-7082 <(203)%20432-7082>
> > Fax: 1-203-432-6729 <(203)%20432-6729>
> > e-mail: aaron.gerow at yale.edu
> > website: www.aarongerow.com
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> >
> > _______________________________________________
> > KineJapan mailing list
> > KineJapan at lists.osu.edu
> > https://lists.osu.edu/mailman/listinfo/kinejapan
> >
> >
_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu
https://lists.osu.edu/mailman/listinfo/kinejapan


From kinejapan at lists.osu.edu  Fri Jan 12 13:12:23 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 12 Jan 2018 18:12:23 +0000 (UTC)
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.5507.1515715027.53617.kinejapan@lists.osu.edu>
References: <mailman.3855.1515644565.27186.kinejapan@lists.osu.edu>
	<mailman.5507.1515715027.53617.kinejapan@lists.osu.edu>
Message-ID: <mailman.6377.1515780770.53617.kinejapan@lists.osu.edu>


Ah, yes, Jinsei fur?tsugot a screening in Lisbon before the EAJS conference, under the wing, I seemto remember, of a ?religion? strand.

There was a panel after withdirector Fushihara Kenshi, producer Abuno Katsuhiko, and narrator Kiki Kirin.

Abunosaid that its broadcast got ratings figures of 180,000, which was the ?most forany postwar Japanese documentary film?. Other things I? can recall from that panel include Abunosaying ?slowly and steadily, and then the god of documentary will reward you?,and Kiki breaking out of her script after the screening and saying it was ?toolong?. At 90 minutes, she must have had longer.

Roger

macyroger at yahoo.co.uk
 

    On Thursday, 11 January 2018, 23:57:12 GMT, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:  
 
 It?s nice to see ?????? at the top of the bunka eiga list, Tokai Terebi has been producing some good documentaries in the last decade.?

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


On Jan 11, 2018, at 13:22, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:




Kinema Jumpo just released the results of its annual Best Ten poll (a prestigious poll that has been going on since the 1920s). Here they are (sorry for providing only the Japanese titles):

 1) Yozora wa itsudemo saiko mitsudo no aoiro da (Ishii Yuya)
 2) Hanagatami (Obayashi Nobuhiko)
 3) Aa, koya (Kishi Yoshiyuki)
 4) Osanako warera ni umare (Mishima Yukiko)
 5) Sanpo suru shinryakusha (Kurosawa Kiyoshi)
 6) Bangkok Nights (Tomita Katsuya)
 7) Kanojo no jinsei wa machigai ja nai (Hiroki Ryuichi)
 8) Sandome no satsujin (Koreeda Hirokazu)
 9) Kanojo ga sono na o shiranai toritachi (Shiraishi Kazuya)
 10) Karera ga honki de amu toki wa, (Ogigami Naoko)
Best director: Obayashi NobuhikoBest actress: Aoi YuBest actor: Suda MasaiBest supporting actress: Tanaka ReinaBest supporting actor: Yang Ik-JoonBest screenplay: Ishii Yuya

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and LiteraturesYale University320 York Street, Room 311
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail:?aaron.gerow at yale.eduwebsite: www.aarongerow.com














_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu
https://lists.osu.edu/mailman/listinfo/kinejapan

_______________________________________________
KineJapan mailing list
KineJapan at lists.osu.edu
https://lists.osu.edu/mailman/listinfo/kinejapan
  
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From kinejapan at lists.osu.edu  Fri Jan 12 01:16:41 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 12 Jan 2018 01:16:41 -0500
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.3855.1515644565.27186.kinejapan@lists.osu.edu>
References: <mailman.3855.1515644565.27186.kinejapan@lists.osu.edu>
Message-ID: <mailman.5658.1515737807.53617.kinejapan@lists.osu.edu>

I read these KJ lists each year with ever increasing sadness -- knowing
that few of these will ever be available for me to see.

Michael Kerpan
Boston

On Wed, Jan 10, 2018 at 11:22 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Kinema Jumpo just released the results of its annual Best Ten poll (a
> prestigious poll that has been going on since the 1920s). Here they are
> (sorry for providing only the Japanese titles):
>
> 1) Yozora wa itsudemo saiko mitsudo no aoiro da (Ishii Yuya)
> 2) Hanagatami (Obayashi Nobuhiko)
> 3) Aa, koya (Kishi Yoshiyuki)
> 4) Osanako warera ni umare (Mishima Yukiko)
> 5) Sanpo suru shinryakusha (Kurosawa Kiyoshi)
> 6) Bangkok Nights (Tomita Katsuya)
> 7) Kanojo no jinsei wa machigai ja nai (Hiroki Ryuichi)
> 8) Sandome no satsujin (Koreeda Hirokazu)
> 9) Kanojo ga sono na o shiranai toritachi (Shiraishi Kazuya)
> 10) Karera ga honki de amu toki wa, (Ogigami Naoko)
> Best director: Obayashi Nobuhiko
> Best actress: Aoi Yu
> Best actor: Suda Masai
> Best supporting actress: Tanaka Reina
> Best supporting actor: Yang Ik-Joon
> Best screenplay: Ishii Yuya
>
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082 <(203)%20432-7082>
> Fax: 1-203-432-6729 <(203)%20432-6729>
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Thu Jan 11 18:56:58 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 12 Jan 2018 08:56:58 +0900
Subject: [KineJapan] Kinema Junpo Best Ten 2017
In-Reply-To: <mailman.3855.1515644565.27186.kinejapan@lists.osu.edu>
References: <mailman.3855.1515644565.27186.kinejapan@lists.osu.edu>
Message-ID: <mailman.5507.1515715027.53617.kinejapan@lists.osu.edu>

It?s nice to see ?????? at the top of the bunka eiga list, Tokai Terebi has been producing some good documentaries in the last decade. 

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



> On Jan 11, 2018, at 13:22, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> Kinema Jumpo just released the results of its annual Best Ten poll (a prestigious poll that has been going on since the 1920s). Here they are (sorry for providing only the Japanese titles):
> 
> 1) Yozora wa itsudemo saiko mitsudo no aoiro da (Ishii Yuya)
> 2) Hanagatami (Obayashi Nobuhiko)
> 3) Aa, koya (Kishi Yoshiyuki)
> 4) Osanako warera ni umare (Mishima Yukiko)
> 5) Sanpo suru shinryakusha (Kurosawa Kiyoshi)
> 6) Bangkok Nights (Tomita Katsuya)
> 7) Kanojo no jinsei wa machigai ja nai (Hiroki Ryuichi)
> 8) Sandome no satsujin (Koreeda Hirokazu)
> 9) Kanojo ga sono na o shiranai toritachi (Shiraishi Kazuya)
> 10) Karera ga honki de amu toki wa, (Ogigami Naoko)
> 
> Best director: Obayashi Nobuhiko
> Best actress: Aoi Yu
> Best actor: Suda Masai
> Best supporting actress: Tanaka Reina
> Best supporting actor: Yang Ik-Joon
> Best screenplay: Ishii Yuya
> 
> 
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
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From kinejapan at lists.osu.edu  Wed Jan 10 23:22:37 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 11 Jan 2018 13:22:37 +0900
Subject: [KineJapan] Kinema Junpo Best Ten 2017
Message-ID: <mailman.3855.1515644565.27186.kinejapan@lists.osu.edu>

Kinema Jumpo just released the results of its annual Best Ten poll (a prestigious poll that has been going on since the 1920s). Here they are (sorry for providing only the Japanese titles):

1) Yozora wa itsudemo saiko mitsudo no aoiro da (Ishii Yuya)
2) Hanagatami (Obayashi Nobuhiko)
3) Aa, koya (Kishi Yoshiyuki)
4) Osanako warera ni umare (Mishima Yukiko)
5) Sanpo suru shinryakusha (Kurosawa Kiyoshi)
6) Bangkok Nights (Tomita Katsuya)
7) Kanojo no jinsei wa machigai ja nai (Hiroki Ryuichi)
8) Sandome no satsujin (Koreeda Hirokazu)
9) Kanojo ga sono na o shiranai toritachi (Shiraishi Kazuya)
10) Karera ga honki de amu toki wa, (Ogigami Naoko)

Best director: Obayashi Nobuhiko
Best actress: Aoi Yu
Best actor: Suda Masai
Best supporting actress: Tanaka Reina
Best supporting actor: Yang Ik-Joon
Best screenplay: Ishii Yuya


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Yale University
320 York Street, Room 311
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com














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From kinejapan at lists.osu.edu  Wed Jan 10 09:30:50 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 10 Jan 2018 23:30:50 +0900
Subject: [KineJapan] Workshop on silent film music.
References: <011b01d38a1b$596d1ef0$0c475cd0$@nihon-u.ac.jp>
Message-ID: <mailman.3318.1515594658.53617.kinejapan@lists.osu.edu>

I'll be participating in an interesting workshop this Saturday at Waseda on the Hirano Collection and silent film music. Until the Hirono Collection was discovered, there was little documentary evidence on what music was played in film theaters in Japan, and how the music was arranged and distributed. The Collection, which is basically the music sheets owned by a musician active in the late 1920s and early 1930s, offers a window onto the world of sound in an average Tokyo movie theater. 

> ???????????
> 
> ??????????
>  
> ???????????????????????
> ???????????????
>  
> ???????????
> ?176-8525
> ????????2-42-1
> ?????????
> e-mail?JASIAS at nihon-u.ac.jp <mailto:JASIAS at nihon-u.ac.jp>
>  
> ?-----------------------------------
>  
> ?????????????????????
> ????????????????????????????????????
>  
> ?????
> ?????????????????????????????????SP????
> http://www.waseda.jp/prj-kyodo-enpaku/activity/2018_0113.html <http://www.waseda.jp/prj-kyodo-enpaku/activity/2018_0113.html>
>  
> ????2018?1?13????13?30?17?30????
> ??????????????????????????????200?
> ???????????????1-6-1
> ????????????https://www.waseda.jp/top/access/waseda-campus <https://www.waseda.jp/top/access/waseda-campus>
> ??????????????https://waseda.app.box.com/s/ctvnsi6nckz4yk9kkrch64av0od0ai9t <https://waseda.app.box.com/s/ctvnsi6nckz4yk9kkrch64av0od0ai9t>
> ?????????? 
>  
> ????
> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????SP?????????????????????????????????????????????????????????????SP????????????????????????????????????????????????????????????????????????????
>  
> ?????
>  
> ?1?????????13?30-15?00?
> ??????????????????????
> ???????????????????????
> ?????????????????????????
> ???????????????????PD?
> ????????????????????????????
> ??????????????????????????????
> ?????????????????????
> ??????????????
> ??????????????????
> ??????????????
> ???? ?????????????????????
>  
> 15:00 ?15:15 ???15??
>  
> ?2??????????????15:15-17:30?
> 1927????????111??35mm?????????? ???????????????????????
> ???????????????????????????????
>  
> ???????????????????????????????????
> ??????????????????????????
> ???????????????????????????
>  
> ??
> ????????????
> ???????????
> ???????????????????????????????????????????????????????????????
>  
> ???????????????????????? ?????????????????????????????
> ???????????????????????????
> ???????????
>  
> ??

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From kinejapan at lists.osu.edu  Fri Jan  5 09:08:06 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 5 Jan 2018 15:08:06 +0100
Subject: [KineJapan] re-subscription
Message-ID: <mailman.2938.1515161290.2065.kinejapan@lists.osu.edu>

Dear Kinejapaners

Could you please note my re-subscription to your service.
Thank you

Looking forward to receiving informations from you

Yours truly

Jacline Moriceau
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From kinejapan at lists.osu.edu  Wed Jan  3 06:05:35 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 3 Jan 2018 13:05:35 +0200
Subject: [KineJapan] subscription again
In-Reply-To: <mailman.1664.1514970655.56808.kinejapan@lists.osu.edu>
References: <mailman.1664.1514970655.56808.kinejapan@lists.osu.edu>
Message-ID: <mailman.1388.1514977540.52764.kinejapan@lists.osu.edu>

For what purpose?
Eija

2017-12-31 14:37 GMT+02:00 Japanese Cinema Discussion Forum via KineJapan <
kinejapan at lists.osu.edu>:

> Dear Kinejapaners,
>
> Could you please send me again your informations at my new mail address?
>
>             jmthfrsa at gmail.com
>
> Looking forward to hearing from you.
>
> Best
>
> Jacline Moriceau
> jmthfrsa at gmail.com
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>


-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
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From kinejapan at lists.osu.edu  Wed Jan  3 06:05:35 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 3 Jan 2018 13:05:35 +0200
Subject: [KineJapan] subscription again
In-Reply-To: <mailman.1664.1514970655.56808.kinejapan@lists.osu.edu>
References: <mailman.1664.1514970655.56808.kinejapan@lists.osu.edu>
Message-ID: <mailman.1686.1514977539.56808.kinejapan@lists.osu.edu>

For what purpose?
Eija

2017-12-31 14:37 GMT+02:00 Japanese Cinema Discussion Forum via KineJapan <
kinejapan at lists.osu.edu>:

> Dear Kinejapaners,
>
> Could you please send me again your informations at my new mail address?
>
>             jmthfrsa at gmail.com
>
> Looking forward to hearing from you.
>
> Best
>
> Jacline Moriceau
> jmthfrsa at gmail.com
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>


-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
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From kinejapan at lists.osu.edu  Wed Jan  3 03:17:14 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 3 Jan 2018 17:17:14 +0900
Subject: [KineJapan] Nichigei Film Festival
Message-ID: <mailman.1333.1514967441.52764.kinejapan@lists.osu.edu>

I thought some of you might be interested in my write-up of the Nichigei Film Festival, which is a weeklong thematic film festival put on by students at a regular commercial theater in Shibuya as part of a seminar at Nihon University College of Art. This year?s theme was challenging: the Emperor and cinema.

http://www.aarongerow.com/news/the-nichigei-film-festival.html

I think some of us teaching film can learn a bit from this example.

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Yale University
320 York Street, Room 311
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com














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