From nornes at umich.edu Tue Jul 3 00:06:24 2018 From: nornes at umich.edu (Markus Nornes) Date: Tue, 3 Jul 2018 13:06:24 +0900 Subject: [KineJapan] Bob Rafaelson in Japan Message-ID: An old student of mine, Vincent Longo, is writing about Rafaelson. He stumbled on the fact that the director spent time in Japan in the late 1950s. He was in the Army, but surreptitiously working as a film critic on the side. I'd heard this somewhere, and Vincent has come up with an old interview where the director mentions it. Can't remember where, tho. Unfortunately, Donald can no longer help. Vincent asked me to ask you folks if anyone has any other leads. His message follows. Relevant section of interview attached. Markus ++++++++++++++++++++++++++++++++++++ I wanted to see if you could help situate some interesting findings of mine that involve some peculiar findings which you might be the only person to properly explain. They involve Ozu, Donald Richie, and Bob Rafelson; the latter famous for FIVE EASY PIECES and The Monkees among other things. I am currently finishing an essay on his 1970s work for an Edinburgh U press anthology. I have attached the two pages in question. I do not think much explanation is needed other than this interview was from 1976 and I have found Rafelson?s accounts of almost everything else accurate and with minimal exaggeration. With my little knowledge of how Japanese films were translated or distributed to the US, I am not sure whether to believe this or even how I could look into it further. Any help is greatly appreciated! Many thanks, Vincent --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ScanPro9791.pdf Type: application/pdf Size: 771232 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ScanPro9792.pdf Type: application/pdf Size: 790121 bytes Desc: not available URL: From aaron.gerow at yale.edu Wed Jul 4 10:49:11 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 4 Jul 2018 23:49:11 +0900 Subject: [KineJapan] Japanese Film Theory Symposium at Waseda Message-ID: <81F941AF-69BF-4790-9FD3-1FAF1ED976F8@yale.edu> Apologies for the self-promotion: NIHON SENZEN EIGARON: EIGA RIRON O SAIHAKKEN SURU A Symposium The publication of Nihon sense eiga ronshu: Eiga riron no saihakken (Rediscovering Japanese Film Theory?An Anthology) by Yumani Shobo, the first anthology devoted to Japanese film theory and thought, arguably marks a significant milestone in the rethinking of Japanese film studies and the history of world film theory. Waseda University will be holding a symposium to discuss the project and its significance featuring the anthology?s three editors: Aaron Gerow (Yale University), Iwamoto Kenji (Waseda University), and Markus Nornes (University of Michigan). All are welcome to attend, but the symposium will be conducted in Japanese. Time: 15:00-17:30, July 14, 2018 Place: Okuma Tower B1, Waseda University Link: https://www.waseda.jp/inst/sgu/news/2018/06/05/3490/ 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 5 18:51:03 2018 From: nornes at umich.edu (Markus Nornes) Date: Fri, 6 Jul 2018 07:51:03 +0900 Subject: [KineJapan] Theatrical film attendance survey Message-ID: NTT did a survey on movie theater attendance. The results are about what you expect. Markus http://www.bunkatsushin.com/news/article.aspx?id=147941 @@@@@@@@@@@@@@@@@@@@@@@ ????????????????????? 2018?07?05? ??????????????????????????????????????????? ???????????????????????????????????????????? ???????????????????????????????????????12????????????? ???10?70???????????????????????????????????????????????????????????? *????????????* ???????17????18???????????????????35????????????????????45??????????????????????????????????????????????11?????????25???????12???????????????????33??????????????????????? *???????? * ???????10????????????????????65????????????20???48?????10??????????????????????????????????????10???45??????? *???????? ??????????* ??80???????????????????? ?????????????????????68?????????????????????????????????????20???38???????????????????????????20???35????11???????????????20?30?????10?30????????????????30????????26????19????????????????? *??????????????????* 50????????????????????????????????????????20???25??????????????????????????????????????20????????????????? *????* ??????????????????????????????????????40????????????????????????39????????????????????????????????????????????????????14??????????????????????????? *????????* ???????????????15??????????????????????????20???????28???????????????????????????10??????????22?????????????????????????????????????????20??????????????????? ?????????????????????????23?????????????????????15???????????????? *???????????????? * ????????????????????????????????????????????????????????????????????????????????????61???????????55?????????????????????24???30?????????????????????????????????????13???????????????23????????? *????????* ?????????????????????????????????????????????? ?????????21????????????????? ??????21?????????????????????? ????????????17???????????????14????????? ?????????????12??????????????10??????????? ?12??????????????????????????????????????49?????????????????????34?????????????? ???????????30?????????????????????????????????????????????? ?????????????????????????????????????? -- --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 5 20:43:58 2018 From: nornes at umich.edu (Markus Nornes) Date: Fri, 6 Jul 2018 09:43:58 +0900 Subject: [KineJapan] Rafelson in Japan Inquiry Message-ID: An old student of mine, Vincent Longo, is writing about Rafaelson. He stumbled on the fact that the director spent time in Japan in the late 1950s. He was in the Army, but surreptitiously working as a film critic on the side. I'd heard this somewhere, and Vincent has come up with an old interview where the director mentions it. Can't remember where, tho. Unfortunately, Donald can no longer help. Vincent asked me to ask you folks if anyone has any other leads. His message follows. Relevant section of interview attached. Markus ++++++++++++++++++++++++++++++++++++ Dear Markus, I wanted to see if you could help situate some interesting findings of mine that involve some peculiar findings which you might be the only person to properly explain. They involve Ozu, Donald Richie, and Bob Rafelson; the latter famous for FIVE EASY PIECES and The Monkees among other things. I am currently finishing an essay on his 1970s work for an Edinburgh U press anthology. I have attached the two pages in question. I do not think much explanation is needed other than this interview was from 1976 and I have found Rafelson?s accounts of almost everything else accurate and with minimal exaggeration. With my little knowledge of how Japanese films were translated or distributed to the US, I am not sure whether to believe this or even how I could look into it further. Any help is greatly appreciated! Many thanks, Vincent --- --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Rafelson.KineJapan.pdf Type: application/pdf Size: 187842 bytes Desc: not available URL: From nornes at umich.edu Fri Jul 6 18:43:04 2018 From: nornes at umich.edu (Markus Nornes) Date: Sat, 7 Jul 2018 07:43:04 +0900 Subject: [KineJapan] Job at Michigan! Message-ID: This is excellent job, and calls for a very different profile than mine. Even if your research centers on Japan, you would get a serious look. Spread the word. Markus University of Michigan Department of Film, Television, and Media Tenure-Track Assistant Professor The Department of Film, Television, and Media (FTVM, formerly known as the Department of Screen Arts & Cultures), invites applicants for a tenure-track Assistant Professor faculty position in comparative approaches to global media studies. The university-year appointment will begin September 1, 2019. We are interested in a humanities scholar who focuses on global media flows with an emphasis on television, new media platforms, forms of streaming distribution, and modes of production and consumption. Possible research/teaching interests also include history and theory of global television/media exchanges; transnational media industries and cultures; streaming and the creation of alternative media practices; the role of media in formulations of space, place, and geography; transnational media consumption and the reformulation of social, political, and cultural identities; fandom; and non-Western industries and media products. Scholars may approach these issues in any period in the history of television/media. A Ph.D. by May 1, 2019 in media studies, or a closely related field, is required. The teaching load will be four courses per academic year (courses of all levels). The candidate should demonstrate a strong promise of scholarly excellence, evidence of teaching effectiveness, and the ability to develop a global television/media curriculum across the creative production/conceptual studies divide. Applicants should submit a letter of interest, curriculum vitae, evidence of teaching excellence (such as teaching evaluations, etc.), a statement of teaching philosophy and experience, a statement of current and future research plans, and two recent writing samples. All materials should be submitted in PDF form to: https://webapps.lsa.umich.edu/Apply/1137 Candidates should arrange to have three letters of support submitted to the same site. For full consideration, complete applications should be submitted by Monday, September 24, 2018. The College of Literature, Science, and the Arts seeks to recruit and retain a diverse workforce as a reflection of our commitments to serve the diverse people of Michigan, fulfill the College's Guiding Principles, and sustain the excellence of LSA.. To learn more about diversity, equity, and inclusion visit http://lsa.umich.edu/lsa/about/diversity--equity-and- inclusion.html To learn more about LSA's Guiding Principles visit http://lsa.umich.edu/lsa/faculty-staff/human-resources/lsa-staff-guiding-principles.html. The University of Michigan conducts background checks on all job candidates upon acceptance of a contingent offer and may use a third party administrator to conduct background checks. Background checks will be performed in compliance with the Fair Credit Reporting Act. The mission of the University of Michigan is to serve the people of Michigan and the world through preeminence in creating, communicating, preserving and applying knowledge, art, and academic values, and in developing leaders and citizens who will challenge the present and enrich the future. The University of Michigan is committed to foster learning, creativity and productivity, and to support the vigorous exchange of ideas and information, not only in the classroom but in the workplace by: Creating a work environment in which people treat each other with respect and dignity, regardless of roles, responsibilities or differences. Providing support, direction and resources enabling us to accomplish the responsibilities of our jobs and to reach the goals that are set for professional and personal growth. The University of Michigan is supportive of the needs of dual career couples and is an Equal Opportunity/Affirmative Action Employer. If you have questions about this position, please contact FTVM-Search2019 at umich.edu. -- --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sun Jul 8 19:26:08 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 9 Jul 2018 08:26:08 +0900 Subject: [KineJapan] Kato Go Message-ID: <4D353D1C-11C3-40E8-BFCE-7E591756764B@yale.edu> The news reports say that the actor Kato Go has died at the age of 80. Graduating from the Department of Theater of Waseda University, he studied at Haiyuza before becoming a member of the troupe. In film, he is remembered for roles in Castle od Sand, Samurai Rebellion, Amagi-goe, and Demon Pond. On television, he is most famous for his starring role in Ooka Echizen for 15 seasons, but also appeared in shows such as Sanbiki no samurai and Sekigahara. He received the Order of the Rising Sun in 2008. His wife Ito Makiko is an actress, and his sons Natsuhara Ryo and Kato Rai are both actors. https://www.sponichi.co.jp/entertainment/news/2018/07/09/kiji/20180708s00041000616000c.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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From mathieucapel at gmail.com Thu Jul 12 02:25:51 2018 From: mathieucapel at gmail.com (Mathieu Capel) Date: Thu, 12 Jul 2018 15:25:51 +0900 Subject: [KineJapan] =?utf-8?q?Conference_on_Taki_K=C3=B4ji?= Message-ID: Dear Kinejapaners, Even if it might seem a little off-limit for this list, I wanted to let you know about a conference held in Ebisu Nichifutsu kaikan (MFJ) on July 20. Paris Inalco's Michael Lucken will talk about Provoke's Taki K?ji and discuss with the famous anthropologist Imafuku Ryuta who, as you may know, was one of Taki's close friends. http://www.mfj.gr.jp/agenda/2018/07/20/20180720_lucken/index_ja.php For non french speakers, the conference will be translated in japanese. If you're interested, please feel free to register on MFJ website. Hoping to see you there, Mathieu Capel ???????????????? -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Thu Jul 12 10:54:11 2018 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 12 Jul 2018 14:54:11 +0000 (UTC) Subject: [KineJapan] Rafelson in Japan Inquiry In-Reply-To: References: Message-ID: <1399043866.5359403.1531407251272@mail.yahoo.com> Hi, Markus, In the absence of anycomment from someone with direct knowledge, I?d just like to say to Vincentthat Bob Rafelson?s claim to have had a hand, and a voice, in film translationof Japanese films into America seems entirely credible to me. These old translations,even if they are in any way preserved, are largely out of circulation andundocumented so it?s a useful historical note. But his claim, to being ?single-handedlyresponsible for repressing some of the greatest movies ever made?, is surely anexaggeration, and an ironic one, I think, in the use of ?single-handedly?. Istill occasionally get told by Japanese that Ozu can only be understood by theJapanese, and the view was much more widespread some sixty years ago. He wouldhave been chiming with the accepted studio view at the time. Roger On Friday, 6 July 2018, 01:44:12 GMT+1, Markus Nornes wrote: An old student of mine, Vincent Longo, is writing about Rafaelson. He stumbled on the fact that the director spent time in Japan in the late 1950s. He was in the Army, but surreptitiously working as a film critic on the side. I'd heard this somewhere, and Vincent has come up with an old interview where the director mentions it. Can't remember where, tho. Unfortunately, Donald can no longer help.? Vincent asked me to ask you folks if anyone has any other leads. His message follows. Relevant section of interview attached. Markus ++++++++++++++++++++++++++++++ ++++++ Dear Markus, I wanted to see if you could help situate some interesting findings of mine that involve some peculiar findings which you might be the only person to properly explain. They involve Ozu, Donald Richie, and Bob Rafelson; the latter famous for FIVE EASY PIECES and The Monkees among other things. I am currently finishing an essay on his 1970s work for an Edinburgh U press anthology. I have attached the two pages in question. I do not think much explanation is needed other than this interview was from 1976 and I have found Rafelson?s accounts of almost everything else accurate and with minimal exaggeration. With my little knowledge of how Japanese films were translated or distributed to the US, I am not sure whether to believe this or even how I could look into it further. Any help is greatly appreciated! Many thanks, Vincent ---?---? Markus NornesProfessor of Asian CinemaDepartment of?Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design Department of Screen Arts and Cultures6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Rafelson.KineJapan.pdf Type: application/pdf Size: 187842 bytes Desc: not available URL: From jonathanmarkhall at gmail.com Thu Jul 12 23:09:19 2018 From: jonathanmarkhall at gmail.com (Jonathan M Hall) Date: Fri, 13 Jul 2018 12:09:19 +0900 Subject: [KineJapan] translation of gurabia Message-ID: Dear KineJapanners, I'm working on a translation now, and one word that I know but don't know well enough is ????.Literally, gravure as in photogravure. I think many people on this list know it well: The shots usually of stars or models that may appear in magazines. I'm hoping someone might help me with a better translation. Glossy photos Pinups Model photos (when not actresses) Actress/Actor photos (when not models) How does ???????also ?????) differ from ????? I'd appreciate any help you might be able to give. With best wishes, Jonathan -------------- next part -------------- An HTML attachment was scrubbed... URL: From jtj53213 at gmail.com Fri Jul 13 02:01:17 2018 From: jtj53213 at gmail.com (John Junkerman) Date: Fri, 13 Jul 2018 15:01:17 +0900 Subject: [KineJapan] translation of gurabia In-Reply-To: References: Message-ID: Hi Jonathan, Doesn't gravure usually refer to color photo sections in magazines, while bromides are stand-alone glossies? This Wiki entry on bromides seems helpful: https://en.wikipedia.org/wiki/Bromide_(Japanese_culture). But I've never come up with a better term than the clunky "color photo section" for gurabia. Best, John Junkerman On Fri, Jul 13, 2018 at 12:09 PM Jonathan M Hall wrote: > Dear KineJapanners, > > I'm working on a translation now, and one word that I know but don't know > well enough is ????.Literally, gravure as in photogravure. I think many > people on this list know it well: The shots usually of stars or models that > may appear in magazines. I'm hoping someone might help me with a better > translation. > > Glossy photos > Pinups > Model photos (when not actresses) > Actress/Actor photos (when not models) > How does ???????also ?????) differ from ????? > > I'd appreciate any help you might be able to give. > > With best wishes, > Jonathan > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- John Junkerman jtj53213 at gmail.com 2-18-6 Ehara-cho, Nakano Tokyo 165-0023 -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Jul 13 03:44:42 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 13 Jul 2018 16:44:42 +0900 Subject: [KineJapan] translation of gurabia In-Reply-To: References: Message-ID: Perhaps the solution is just to use the Japanese. At least on the English Wikipedia, people have long been using ?gravure idols? to refer to the models being photographed. One thus sees English language stories just using ?gravure? to refer to the photo spreads. Ex: https://medium.com/@jkalman233/the-line-that-continues-to-be-crossed-gravure-in-japan-aa5f71882037 I would not use bromide (or sometime promide) because, as John said, they are sold separately. And they are largely pass?. Aaron 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From joelnevilleanderson at gmail.com Fri Jul 13 11:10:13 2018 From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA)) Date: Fri, 13 Jul 2018 11:10:13 -0400 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film begins next week (July 19-29, 2018) In-Reply-To: References: Message-ID: <80F5E9F8-7636-4B74-8383-43EAA0B66C04@gmail.com> Dear KineJapan subscribers, The programming team is proud to share the full lineup for the twelfth edition of JAPAN CUTS: Festival of New Japanese Film, kicking off next week July 19-29, 2018 at Japan Society in New York City: www.japansociety.org/japancuts The Opening Film is the North American Premiere of Ramen Shop, the Centerpiece Presentation is the North American Premiere of Mori, The Artist?s Habitat, and the Closing Film is the U.S. Premiere of Hanagatami. Please read our programmers? introduction and browse the entire dynamic lineup on the website and as listed here by program section: Feature Slate Amiko (dir. Yoko Yamanaka), U.S. Premiere?Preceded by NAGISA (dir. Takeshi Kogahara), New York Premiere blank 13 (dir. Takumi Saitoh), New York Premiere BLEACH (dir. Shinsuke Sato), U.S. Premiere Born Bone Born (dir. Toshiyuki Teruya), North American Premiere Call Boy (dir. Daisuke Miura), North American Premiere Dear Etranger (dir. Yukiko Mishima), New York Premiere Dream of Illumination (dir. Thunder Sawada), North American Premiere Hanagatami (dir. Nobuhiko Obayashi), U.S. Premiere, Closing Film?Preceded by How Can You Know Where to Go If You Do Not Know Where You Have Been (dir. Mizuki Toriya) KUSHINA, what will you be (dir. Mo?t Hayami), International Premiere Last Winter, We Parted (dir. Tomoyuki Takimoto), North American Premiere Mori, The Artist?s Habitat (dir. Shuichi Okita), North American Premiere, Centerpiece Presentation Night is Short, Walk On Girl (dir. Masaaki Yuasa), East Coast Premiere?Preceded by DREAMLAND (dir. Mirai Mizue), New York Premiere Outrage Coda (dir. Takeshi Kitano), New York Premiere Passage of Life (dir. Akio Fujimoto), North American Premiere Radiance (dir. Naomi Kawase), New York Premiere?Preceded by Across the water (dir. Nao Yoshigai), World Premiere Ramen Shop (dir. Eric Khoo), North American Premiere, Opening Film Side Job. (dir. Ryuichi Hiroki), U.S. Premiere Thicker Than Water (dir. Keisuke Yoshida), North American Premiere Tremble All You Want (dir. Akiko Ohku), U.S. Premiere TOURISM (dir. Daisuke Miyazaki), International Premiere Violence Voyager (dir. Ujicha), U.S. Premiere We Make Antiques! (dir. Masaharu Take), East Coast Premiere Yocho (Foreboding) (dir. Kiyoshi Kurosawa), U.S. Premiere Classics: Rediscoveries & Restorations Abnormal Family, (dir. Masayuki Suo), North American Premiere Still Walking (dir. Hirokazu Kore-eda), 10th Anniversary Screening Documentary Focus Of Love & Law (dir. Hikaru Toda), East Coast Premiere Sennan Asbestos Disaster (dir. Kazuo Hara), North American Premiere Toward a Common Tenderness (dir. Kaori Oda), North American Premiere Experimental Spotlight: Empty Orchestras and the Speed of Your Voice Bivalvia: Act I (dir. Yu Araki), U.S. Premiere Breathing House (dir. Nao Yoshigai), World Premiere Stories floating on the wind (dir. Nao Yoshigai), World Premiere WAAAH (dir. Sawako Kabuki), New York Premiere YEAH (dir. Yohei Suzuki), North American Premiere Including the most guests in the festival?s history, we will feature special appearances by the CUT ABOVE Award for Outstanding Performance in Film recipient Kirin Kiki (Mori, The Artist's Habitat, Still Walking), Akio Fujimoto (Passage of Life), Kazuo Hara (Sennan Asbestos Disaster), Mo?t Hayami (KUSHINA, what will you be), Tomona Hirota (KUSHINA, what will you be, YEAH), Eric Khoo (Ramen Shop), Kazuyuki Kitaki (Dream of Illumination), Sachiko Kobayashi (Sennan Asbestos Disaster), Shunsuke Kubozuka (Hanagatami), Kaori Oda (Toward a Common Tenderness), Takumi Saitoh (blank 13, Ramen Shop), Shinsuke Sato (BLEACH), Thunder Sawada (Dream of Illumination), Yohei Suzuki (YEAH), Yuya Takagawa (Dream of Illumination), Hikaru Toda (Of Love & Law), Mizuki Toriya (How Can You Know Where to Go If You Do Not Know Where You Have Been), Yoko Yamanaka (Amiko), Elisa Yanagi (YEAH), Keisuke Yoshida (Thicker Than Water), and Nao Yoshigai (Across the Water, Breathing House, Stories floating on the wind). (This year?s edition also led to collaborations with Anthology Film Archives and Light Industry, presenting concurrent programming devoted to the short and feature-length work of Kaori Oda, and Kazuo Hara with a special introduction of a Shinsuke Ogawa title of his choosing.) We hope to see some KineJapan subscribers here in person for the screenings and parties?please do share the lineup and festival trailer with your networks. Follow via Facebook and Twitter with the hashtag #JAPANCUTS , and receive special announcements by subscribing to our newsletter . -The JAPAN CUTS Team Joel Neville Anderson JAnderson at japansociety.org Aiko Masubuchi AMasubuchi at japansociety.org Kazu Watanabe KWatanabe at japansociety.org On May 11, 2018, at 11:05 AM, Japanese Cinema Discussion Forum via KineJapan wrote: Dear KineJapan subscribers, We?re excited to share the first announcements for the twelfth edition of JAPAN CUTS: Festival of New Japanese Film, to be held July 19-29, 2018 at Japan Society in New York City: www.japansociety.org/japancuts The festival?s Centerpiece Presentation is the North American Premiere of Shuichi Okita?s Mori, The Artist?s Habitat. Star Kirin Kiki will join the screening to receive the CUT ABOVE Award for Outstanding Performance in Film. Other early announcements for JAPAN CUTS 2018 include the North American Premiere of Kazuo Hara?s Sennan Asbestos Disaster with Hara and producer Sachiko Kobayashi in attendance, the International Premiere of Mo?t Hayami?s KUSHINA, what will you be, recipient of the 2018 JAPAN CUTS Award at the 2018 Osaka Asian Film Festival, the U.S. Premiere of Kiyoshi Kurosawa's Yocho (Foreboding), as well as the East Coast Premiere of Masaaki Yuasa?s Night is Short, Walk on Girl. Please share the news with your networks, and stay tuned for the complete program of features, shorts, guests, and parties to be announced in early June. An encore screening of last year?s winner of the JAPAN CUTS Audience Award, Teiichi: Battle of Supreme High, will be held June 15. Receive special announcements by subscribing to our newsletter , or following via Facebook and Twitter with the hashtag #JAPANCUTS . Hope to see you here this summer?please don?t hesitate to get in touch! -The JAPAN CUTS Team Joel Neville Anderson JAnderson at japansociety.org Aiko Masubuchi AMasubuchi at japansociety.org Kazu Watanabe KWatanabe at japansociety.org _______________________________________________ KineJapan mailing list KineJapan at lists.osu.edu https://urldefense.proofpoint.com/v2/url?u=https-3A__lists.osu.edu_mailman_listinfo_kinejapan&d=DwICAg&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=l3JcZp1MBePCWIDmIrqG8UfhVFDaSez5k8sBowW5WBij7SJ458EK8fyDIjX8aUo5&m=JJzrckTNlvL5LPedaumfRGyhy6ogo_aC57rKMBZONy0&s=tSA9Fa_AEXehg5pb-OOLBIKokN0AwDS_Vh4gWWNoGjY&e= -------------- next part -------------- An HTML attachment was scrubbed... URL: From jonathanmarkhall at gmail.com Sun Jul 15 20:16:03 2018 From: jonathanmarkhall at gmail.com (Jonathan M Hall) Date: Mon, 16 Jul 2018 09:16:03 +0900 Subject: [KineJapan] translation of gurabia In-Reply-To: References: Message-ID: Thank you to John and to Aaron for these suggestions and comments. They're very helpful, as always. I've been increasingly interested in the variable cross-overs between film and photo cultures. Photo section may be the way for me to go. I'm hesitant to use gravure itself unless I find it describing the US context, too. I'd be more inclined to follow Aaron's suggestion if the focus were solely Japanese, but in this case, the materials at hand are Japanese, but also American too. Pinups, in my understanding, often came out of magazines, but the sense I have is they were one photo per page. In (American) English, we can refer to photo spreads, but this is the case when the image/s cross two adjacent sides (a side is half a page.) I'll peruse some writing about film fan magazines and report back if I find something that may be useful. Otherwise, thank you very much! I guess this short conversation can come to a close. Jonathan On Fri, Jul 13, 2018 at 4:44 PM, Gerow Aaron wrote: > Perhaps the solution is just to use the Japanese. At least on the English > Wikipedia, people have long been using ?gravure idols? to refer to the > models being photographed. One thus sees English language stories just > using ?gravure? to refer to the photo spreads. > > Ex: https://medium.com/@jkalman233/the-line-that-continues-to-be-crossed- > gravure-in-japan-aa5f71882037 > > I would not use bromide (or sometime promide) because, as John said, they > are sold separately. And they are largely pass?. > > Aaron > > > 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 mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Jul 15 22:18:18 2018 From: nornes at umich.edu (Markus Nornes) Date: Mon, 16 Jul 2018 11:18:18 +0900 Subject: [KineJapan] translation of gurabia In-Reply-To: References: Message-ID: This question brought me back to my high school newspaper days when I was the photographer. I was given two pages every issue for a montage of images on some theme. We called them ?photo spreads,? ?spread? bring the official lingo for two facing pages. I think it would be a good translation for you. I have used it. However, I think it?s more complicated. The term gravure is actually short for ?rotogravure.? I remember the newspapers back in high school were using this process, too. Unlike moveable type, the image was basically engraved on a curved, stiff surface. What I saw was some kind of cardboard. This enabled relatively high quality image printing, and I suspect that is why it was grouped in one section back in the prewar period. They were literally using multiple printing technologies. It?s been my assumption, at least. Thing is, I think you need to decide whether to achaicize your translation or not. You haven?t said if it?s a contemporary or prewar pub. If it?s the latter, the common terms in the us for this were gravure and rotos. My choice, especially for an old publication, would be to use ?gravure? with a short description/definition on (only) the first mention. Markus On Mon, Jul 16, 2018 at 9:16 AM Jonathan M Hall wrote: > Thank you to John and to Aaron for these suggestions and comments. They're > very helpful, as always. I've been increasingly interested in the variable > cross-overs between film and photo cultures. > > Photo section may be the way for me to go. I'm hesitant to use gravure > itself unless I find it describing the US context, too. I'd be more > inclined to follow Aaron's suggestion if the focus were solely Japanese, > but in this case, the materials at hand are Japanese, but also American too. > > Pinups, in my understanding, often came out of magazines, but the sense I > have is they were one photo per page. In (American) English, we can refer > to photo spreads, but this is the case when the image/s cross two adjacent > sides (a side is half a page.) > > I'll peruse some writing about film fan magazines and report back if I > find something that may be useful. Otherwise, thank you very much! I guess > this short conversation can come to a close. > > Jonathan > > > > > > On Fri, Jul 13, 2018 at 4:44 PM, Gerow Aaron wrote: > >> Perhaps the solution is just to use the Japanese. At least on the English >> Wikipedia, people have long been using ?gravure idols? to refer to the >> models being photographed. One thus sees English language stories just >> using ?gravure? to refer to the photo spreads. >> >> Ex: >> https://medium.com/@jkalman233/the-line-that-continues-to-be-crossed-gravure-in-japan-aa5f71882037 >> >> I would not use bromide (or sometime promide) because, as John said, they >> are sold separately. And they are largely pass?. >> >> Aaron >> >> >> 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 mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Sun Jul 15 23:30:15 2018 From: earljac at gmail.com (Earl Jackson) Date: Mon, 16 Jul 2018 12:30:15 +0900 Subject: [KineJapan] Upcoming talk at Waseda Message-ID: Dear everyone, I hope it's ok to indulge in one final act of shameless self-promotion to mention I will be sampling parts of the book i'm finishing up in an upcoming talk at Waseda. Here are the basic details. Title: Critical Conditions: Theory and Practice in Masumura Yasuzo and Yoshida Kiju Lecturer: Earl Jackson, University of California, Santa Cruz and National Chiao Tung University Date & Time: July 23 (Mon.), 2018, 18:15-19:45 Venue: Room 960, Bldg.#14, Waseda Campus, Waseda University Coordinators: Naoyuki Umemori (Professor, Faculty of Political Science and Economics); Yoshihiro Nakano (Junior Researcher, ORIS) Language: English Open to: Students, faculty, staff and the general public Admission: Free And the link to the sponsoring program. https://www.waseda.jp/inst/sgu/news-en/2018/07/03/3623/ thank you! 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Jul 19 20:25:33 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 20 Jul 2018 09:25:33 +0900 Subject: [KineJapan] Hashimoto Shinobu Message-ID: Hashimoto Shinobu, famed as the screenwriter for Kurosawa Akira's Rashomon and The Severn Samurai, died on the 19th at the age of 100. Hashimoto learned screenwriting under Itami Mansaku, and wrote the first draft of an adaptation of Akutagawa's In a Grove on his own while working as a salaryman. The screenplay, ending up in the hands of Kurosawa, was rewritten and made as Rashomon. Hashimoto became part of Kurosawa's screenwriting team and participated in writing such films as Ikiru, Seven Samurai, Throne of Blood, and Hidden Fortress. He wrote scripts for many other great directors, including Kobayashi Masaki (Harakiri, Samurai Rebellion), Okamoto Kihachi (Sword of Doom), Nomura Yoshitaro (Castle of Sand), Naruse Mikio, Gosha Hideo, Yamamoto Satsuo, etc. For TV, his Watashi wa kai ni naritai is one of the monumental TV dramas of Japanese TV history--a script he later adapted for film under his own direction. https://www.asahi.com/articles/ASL7L6T15L7LUCLV022.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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun Jul 22 04:48:39 2018 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 22 Jul 2018 08:48:39 +0000 (UTC) Subject: [KineJapan] Hashimoto Shinobu In-Reply-To: References: Message-ID: <536486348.2200657.1532249319211@mail.yahoo.com> Thanks, Aaron, as ever, foryour feeds and comments like this. I was curious to see on ja.wikipediathat, ??????????????????????????????????????????[7]?????????????????? For his soloscriptwriting, he typed entirely in katakana on a? kana typewriter, because ?when kanji combine,the ?image? becomes fixed?. So, in the daysbefore word-processing, Hashimoto chose to use a katakana typewriter, not somuch for speed, but, because, as I read note 7, it was easier to put a sentence ofdialogue to be perceived as for an untutored ear. The note saysYoda Yoshikata also used a katakana typewriter. I appreciate thatHashimoto is speaking of the script itself as a means of communication toproduce films in an era of dialogue, whereas Eisenstein?s script, in ?? ??????,is the expression of the film itself in a silent era. Eisenstein spoke of kanjicombinations as a metaphor to embrace whereas Hashimoto means it literally, assomething to avoid. But they seem to have spun around the same pole. But this pointmust have been made before somewhere ? Roger On Friday, 20 July 2018, 01:25:55 GMT+1, Gerow Aaron wrote: Hashimoto Shinobu, famed as the screenwriter for Kurosawa Akira's Rashomon and The Severn Samurai, died on the 19th at the age of 100. Hashimoto learned screenwriting under Itami Mansaku, and wrote the first draft of an adaptation of Akutagawa's In a Grove on his own while working as a salaryman. The screenplay, ending up in the hands of Kurosawa, was rewritten and made as Rashomon. Hashimoto became part of Kurosawa's screenwriting team and participated in writing such films as Ikiru, Seven Samurai, Throne of Blood, and Hidden Fortress. He wrote scripts for many other great directors, including Kobayashi Masaki (Harakiri, Samurai Rebellion), Okamoto Kihachi (Sword of Doom), Nomura Yoshitaro (Castle of Sand), Naruse Mikio, Gosha Hideo, Yamamoto Satsuo, etc. For TV, his Watashi wa kai ni naritai is one of the monumental TV dramas of Japanese TV history--a script he later adapted for film under his own direction. https://www.asahi.com/articles/ASL7L6T15L7LUCLV022.html 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 mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun Jul 22 05:54:56 2018 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 22 Jul 2018 09:54:56 +0000 (UTC) Subject: [KineJapan] Ryuichi Sakamoto: Coda References: <1504021297.12504704.1532253296044.ref@mail.yahoo.com> Message-ID: <1504021297.12504704.1532253296044@mail.yahoo.com> Dear KineJapaners, I?mpleased to see that an edited version of the Q&A with Ryuichi Sakamoto and directorStephen Nomura Schible has gone up on the BFI website. https://www.bfi.org.uk/video-ryuichi-sakamoto-soundtracks It?s27 minutes long and perhaps the first third is about the recent documentary,then it goes more into Sakamoto?s music which, of course, often involved film. Iwas keen to catch this as I had to miss the event whilst I was in Bologna. The film, which I have seen during its release, coversSakamoto?s cancer diagnosis unflinchingly. The last part is mainly his readingof J.S. Bach as ?melancholy?. I don?t think Back wrote a note of melancholymusic but I can fully see how Sakamoto would want to read it that way. The filmeventually fades quietly to black, as if Nomura Schible thought it would be releasedposthumously. Somy initial interest in the interview was whether Sakamoto would use the MarkTwain chestnut but, instead he asks Nomura Schible what film he would havereleased if he had died. NomuraSchible?s use of Sakamoto?s son as his cinematographer is an interestingdynamic. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From matt at treyvaud.net Sun Jul 22 10:37:27 2018 From: matt at treyvaud.net (Matt Treyvaud) Date: Sun, 22 Jul 2018 23:37:27 +0900 Subject: [KineJapan] Hashimoto Shinobu In-Reply-To: <536486348.2200657.1532249319211@mail.yahoo.com> References: <536486348.2200657.1532249319211@mail.yahoo.com> Message-ID: <5B5496A7.9020809@treyvaud.net> An HTML attachment was scrubbed... URL: From marcus.bohr at network.rca.ac.uk Tue Jul 24 17:13:09 2018 From: marcus.bohr at network.rca.ac.uk (Marco Bohr) Date: Tue, 24 Jul 2018 22:13:09 +0100 Subject: [KineJapan] =?utf-8?q?CFP=3A_Capture_Japan_=E2=80=93_Visual_Cult?= =?utf-8?q?ure_and_the_Global_Imagination?= Message-ID: Contributions are now being accepted for a new edited book titled ?Capture Japan: Visual Culture and the Global Imagination from 1952 to the Present?. The book aims to analyse, deconstruct and challenge representations of Japan in a variety of different visual media such as cinema, documentary film, photography, visual art, anime, manga, comics, television or advertising. Through a series of case studies by an international group of experts in the field, the book will highlight the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed. The book will point to a vast network of global institutions, each concerned with a different type of image of Japan that fits into an ideological, political, cultural or economic agenda. Internationally, these institutions include film production companies or art museums and galleries, whereas in Japan they include local tourist boards, government agencies or computer game manufacturers. Whilst these institutions have differing interests, this book will identify common threads in the type of image of Japan that is being imagined, produced and promoted by such institutions. The book will make the argument that these images are visual tropes that feed into a type of Japan of the global imagination. The book will identify that the 1952 ?Treaty of Mutual Cooperation and Security between Japan and the United States of America? ? commonly known as Anpo in Japan ? marked the beginning of an era or unprecedented peace and prosperity. Whilst in Japan Anpo created many questions about sovereignty and political agency, particularly during the amendment of 1960, the treaty has underpinned the global economic axis of the post-war era between Japan and the west. The book will argue that the institutional support for certain visual tropes of Japan thus feeds into a larger discourse of maintaining the global economic, political and ideological order of the post-war era. Japan, and how it is represented in images, is therefore inextricably linked to its role in maintaining this status quo since 1952. The proposed book will come out at a crucial time since the re-emergence of China as the largest economy in the world is poised to affect the global economic (dis)equilibrium that has dominated much of the last 70 years. The book will investigate whether the visual discourse of Japan in the global imagination is about to shift into a new era. The word ?capture? in the title of the book recognizes a level of dominance, even aggression with regards to images and how they feed into a larger discourse. It is also a play on words on the photographic term to ?capture?, as well as the notion of a spectacle that is ?captivating?. Contributions to this book by a diverse and interdisciplinary group of scholars will be conscious of the way images feed into, construct or subvert notions about Orientalism (Said) as well as self-exoticising discourses such as Strategic Essentialism (Spivak). Contributors might also consider how images sought to disrupt, subvert or at least challenge visual tropes about Japan thus complicating notions about a global imagination. Contributors might draw from the legacies of Japonisme of the 19th century or the rapid shifts the way Japan was perceived, and perceived itself, through images from the Meiji, Taisho or early Showa era, however the historical timespan for case studies is strictly from 1952 to the present. Please send a 200 to 250 word abstract as well as a 100 short biography to the editor of the book Dr. Marco Bohr m.bohr at lboro.ac.uk by the 1st of October 2018. Accepted contributors will receive notification by the 1st of November 2018. The full chapter of around 6500 words will be due in early 2019 with a view to publish the book in 2020. Marco can be contacted for any inquiries contributors might have. http://visualcultureblog.com/2018/07/call-for-papers-capture-japan-visual-culture-and-the-global-imagination/ -- Marco Bohr Phone 0044 7866 487373 Website http://macobo.com Blog http://visualcultureblog.com Twitter http://twitter.com/marcobohr Tumblr http://marcobohr.tumblr.com Facebook http://facebook.com/visualcultureblog -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Tue Jul 24 17:20:50 2018 From: raine.michael.j at gmail.com (Michael Raine) Date: Tue, 24 Jul 2018 16:20:50 -0500 Subject: [KineJapan] Call for Papers for a special issue on Developments in Japanese Documentary Cinema Message-ID: Marcos Centeno (SOAS) and I are co-editing a special issue of the MPDI journal *Arts *on "Developments in Japanese Documentary Film." Please see the call for papers at the following link: http://www.mdpi.com/journal/arts/special_issues/Developments_Japanese_Documentary_Film We are asking for 4-6,000 word papers on a broad range of topics connected to the theory and history of documentary in Japan, including adjacent practices in dramatic film and other media. The deadline for submission is January 5, 2019. All papers will be peer-reviewed. After the review and editing process accepted papers will be published in the online open-access journal, which is indexed in the ESCI and other databases. Please feel free to print out and post the call for papers, and to forward to anyone you think would be interested. Michael Michael Raine Assistant Professor, English and Writing Studies, Western University, Canada -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Tue Jul 24 18:11:11 2018 From: earljac at gmail.com (Earl Jackson) Date: Wed, 25 Jul 2018 07:11:11 +0900 Subject: [KineJapan] Call for Papers for a special issue on Developments in Japanese Documentary Cinema In-Reply-To: References: Message-ID: Re: Michael Raine Call For Papers on Japanese Documentary Thank you for alerting us to this issue. I'm just writing to point out that the link does not lead to a CFP. best earl jackson Earl Jackson Professor Chair, Foreign Languages and Literatures National Chiao Tung University Associate Professor, Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute On Wed, Jul 25, 2018 at 6:20 AM, Michael Raine wrote: > Marcos Centeno (SOAS) and I are co-editing a special issue of the MPDI > journal *Arts *on "Developments in Japanese Documentary Film." Please see > the call for papers at the following link: > > http://www.mdpi.com/journal/arts/special_issues/Developments_Japanese_Documentary_Film > > > > We are asking for 4-6,000 word papers on a broad range of topics connected > to the theory and history of documentary in Japan, including adjacent > practices in dramatic film and other media. The deadline for submission is > January 5, 2019. All papers will be peer-reviewed. After the review and > editing process accepted papers will be published in the online open-access > journal, which is indexed in the ESCI and other databases. > > Please feel free to print out and post the call for papers, and to forward > to anyone you think would be interested. > > Michael > > Michael Raine > Assistant Professor, English and Writing Studies, > Western University, Canada > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Tue Jul 24 18:18:31 2018 From: raine.michael.j at gmail.com (Michael Raine) Date: Tue, 24 Jul 2018 17:18:31 -0500 Subject: [KineJapan] Call for Papers for a special issue on Developments in Japanese Documentary Cinema In-Reply-To: References: Message-ID: Thank you Earl! Somehow we changed the title but not the link. Here's the correct link: http://www.mdpi.com/journal/arts/special_issues/Developments_Japanese_Documentary_Film Michael Michael Raine Film Studies, Western University, Canada On Tue, Jul 24, 2018 at 5:11 PM, Earl Jackson wrote: > Re: Michael Raine Call For Papers on Japanese Documentary > > Thank you for alerting us to this issue. I'm just writing to point out > that the link does not lead to a CFP. > best > earl jackson > > Earl Jackson > Professor > Chair, Foreign Languages and Literatures > National Chiao Tung University > Associate Professor, Emeritus > University of California, Santa Cruz > Co-Director > Trans-Asia Screen Cultures Institute > > On Wed, Jul 25, 2018 at 6:20 AM, Michael Raine > wrote: > >> Marcos Centeno (SOAS) and I are co-editing a special issue of the MPDI >> journal *Arts *on "Developments in Japanese Documentary Film." Please >> see the call for papers at the following link: >> >> http://www.mdpi.com/journal/arts/special_issues/Developments_Japanese_Documentary_Film >> >> >> >> We are asking for 4-6,000 word papers on a broad range of topics >> connected to the theory and history of documentary in Japan, including >> adjacent practices in dramatic film and other media. The deadline for >> submission is January 5, 2019. All papers will be peer-reviewed. After the >> review and editing process accepted papers will be published in the online >> open-access journal, which is indexed in the ESCI and other databases. >> >> Please feel free to print out and post the call for papers, and to >> forward to anyone you think would be interested. >> >> Michael >> >> Michael Raine >> Assistant Professor, English and Writing Studies, >> Western University, Canada >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> >> > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sat Jul 28 08:43:56 2018 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sat, 28 Jul 2018 21:43:56 +0900 Subject: [KineJapan] Hara Masato Message-ID: Dear All, Nikkan Sports is reporting that last night Hara Masato?s house in Kyoto was burned down and that he suffered minor burns on the face and arms. I really hope he?s ok. Matteo Boscarol ????? ???? ??????????? - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it From aaron.gerow at yale.edu Sat Jul 28 08:55:17 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 28 Jul 2018 21:55:17 +0900 Subject: [KineJapan] Hara Masato In-Reply-To: References: Message-ID: FB reports are saying that he ran back into the burning house to get the hard disk with his new film on it. I?m glad to hear his injuries were not that serious, but I do worry about what burned with the house. Aaron > Nikkan Sports is reporting that last night Hara Masato?s house in Kyoto was burned down and that he suffered minor burns on the face and arms. I really hope he?s ok. > > Matteo Boscarol From azahlten at fas.harvard.edu Sat Jul 28 20:27:21 2018 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sun, 29 Jul 2018 00:27:21 +0000 Subject: [KineJapan] Hara Masato In-Reply-To: References: Message-ID: I received a message from Hara-san's partner- he has already been released from the hospital. Indeed, I believe a lot of his films perished in the fire... I am meeting with him later this week and am sure I will hear the (bad) news. But what a relief he wasn't even more seriously injured. Alex ?On 7/28/18, 21:55, "KineJapan on behalf of Gerow Aaron" wrote: FB reports are saying that he ran back into the burning house to get the hard disk with his new film on it. I?m glad to hear his injuries were not that serious, but I do worry about what burned with the house. Aaron > Nikkan Sports is reporting that last night Hara Masato?s house in Kyoto was burned down and that he suffered minor burns on the face and arms. I really hope he?s ok. > > Matteo Boscarol _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan From nornes at umich.edu Mon Jul 30 11:51:49 2018 From: nornes at umich.edu (Markus Nornes) Date: Mon, 30 Jul 2018 10:51:49 -0500 Subject: [KineJapan] Update on Hara Masato from Neoneo Message-ID: The editorial collective of Neoneo (an important pub on documentary??check it out if you haven?t) has posted an update on Hara Masato?s situation and condition on its website: http://webneo.org/archives/45955 Text is below. It includes a message from Hara, who appears to have some severe burns but will be OK. It doesn?t confirm the fate of his films one way or the other, but it doesn?t look good. Markus ??2018?7?28??16?????????????????????????????????????????????????????????????????????????? ?????????5??????????????????????????????????????????????????????????? ????????????????????????????????????????????????? ????????????????????????????????????????????????????????????????? ????????????????????????????????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????????????????????????????? ?????? ????? ?? ??? ???? ??????? ?????????? MOVIE STARS PROJECT???? ????? ????????????? ?? ??????? ??? ?????? ??????????? ?? ??????? ??? ???????????????? ???????????????????? ??? maorixmovie at gmail.com *?????????* https://www.kyoto-np.co.jp/local/article/20180727000210 *???????????* https://www.nikkansports.com/general/news/201807280000023.html *****************?????????????***************** 7????????????????? ???????????????????????????????????????? ?????????????????????????? ?????????????????????????????????????8???????????????????????????? ??????????????????????????????????????????? 090-7362-7620??? -- --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: