From kinejapan at lists.osu.edu  Sat Mar 31 04:18:13 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 31 Mar 2018 08:18:13 +0000
Subject: [KineJapan] Gerow / Kataoka / Kinugasa
Message-ID: <mailman.7030.1522484309.13568.kinejapan@lists.osu.edu>

Aaron is giving a talk on Page of Madness, which he wrote a wonderful book
about. He?s the indisputed master of this film?s complex history. He will
be appearing with benshi Kataoka Ichiro and live music. Kataoka?s setsumei
is as thought provoking as Aaron?s take on the film. Both completely
changed how I understood and appreciated the film. If you are in Tokyo,
this is definitely worth checking out.

http://mameromantic.com/?p=56926

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  Fri Mar 30 06:13:42 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 30 Mar 2018 19:13:42 +0900
Subject: [KineJapan] Sea of Youth
In-Reply-To: <mailman.5460.1522392703.36066.kinejapan@lists.osu.edu>
References: <mailman.5460.1522392703.36066.kinejapan@lists.osu.edu>
Message-ID: <mailman.6014.1522405136.13568.kinejapan@lists.osu.edu>

very glad to hear that, Markus
at this point, I?m very curious to know the reaction to Heta Village...

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



> On Mar 30, 2018, at 15:51, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> I am in France introducing Ogawa films and lecturing at Cin?ma du R?el, Jeu de Paume, and ?cole des hautes ?tudes en sciences sociales (they kept me so busy I have yet to have eaten a real meal). They are pretty much showing all the Ogawa films. The program has attracted a lot of attention. I?ve met people who have travelled from as far away as Italy, Portugal, and Germany just for this retrospective. 
> 
> We?re three films in so far and the crowds are actually applauding after each showing.......even for Sea of Youth!??!   Usually, you have to apologize for that film, and promise everyone that it gets better. These people are going to have their minds blown from here on out. The Sanrizuka Series starts today. Parisian audiences are amazing. 
> 
> 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
> 
> _______________________________________________
> 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 Mar 30 02:51:27 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 30 Mar 2018 06:51:27 +0000
Subject: [KineJapan] Sea of Youth
Message-ID: <mailman.5460.1522392703.36066.kinejapan@lists.osu.edu>

I am in France introducing Ogawa films and lecturing at Cin?ma du R?el, Jeu
de Paume, and ?cole des hautes ?tudes en sciences sociales (they kept me so
busy I have yet to have eaten a real meal). They are pretty much showing
all the Ogawa films. The program has attracted a lot of attention. I?ve met
people who have travelled from as far away as Italy, Portugal, and Germany
just for this retrospective.

We?re three films in so far and the crowds are actually applauding after
each showing.......even for Sea of Youth!??!   Usually, you have to
apologize for that film, and promise everyone that it gets better. These
people are going to have their minds blown from here on out. The Sanrizuka
Series starts today. Parisian audiences are amazing.

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  Tue Mar 27 11:18:09 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 27 Mar 2018 11:18:09 -0400
Subject: [KineJapan] Imaizumi Kouichi Screening in Boston on Saturday
In-Reply-To: <mailman.1947.1522158045.36066.kinejapan@lists.osu.edu>
References: <mailman.1947.1522158045.36066.kinejapan@lists.osu.edu>
Message-ID: <mailman.2152.1522163894.36066.kinejapan@lists.osu.edu>

Dear Kine-Japanners,

I'm happy to say I worked with Kawaguchi Takao on the subtitles for
Imaizumi's most recent film. Viewers may want to be aware there are plenty
of direct sex scenes.  (I say this not as word of warning, but as word of
encouragement, or perhaps encouragement is too much.)

Personally, I found the film interesting in parts, especially the attempt
to capture in cinema the way in which manga squares and centers sex.
Imaizumi was very conscious of this matter while filming and editing, and
you can really see it.

Since we've been talking about TV of late, I should add to Alex's comment.
Long beloved by the gay community, Tagame's manga work is reaching
mainstream TV audiences through the broadcast serialization of *My
Brother's Husband*.

Jonathan M Hall
Los Angeles



On Tue, Mar 27, 2018 at 9:40 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Hello All!
>
> For those in the Boston area this weekend: On Saturday (the 31st) the new
> film by Imaizumi Kouichi is playing at the Brattle Theater as part of the
> Wicked Queer Film Festival. I haven?t seen the film yet but it?s a really
> interesting project- a film shot in Berlin with a script by Tagame Gengoroh
> (the manga artist- well known for his work for gay magazines, and more
> recently of the hit manga *My Brother?s Husband*).
>
>
>
> Imaizumi will be at the screening to talk about the film. He is one of the
> most prominent queer filmmakers in Japan, with a prior career acting in
> pink film. His films have long been screened at international film
> festivals; this time the film seems a bit less experimental than his
> previous works.
>
>
>
> Ian Condry has Kindly volunteered to help with interpretation for the Q&A
> after the screening- one more reason to check it out!
>
>
> Best,
>
> Alex
>
>
> ????????
>
> Alexander Zahlten
>
> Associate Professor
>
> Dept. of East Asian Languages and Civilizations
>
> Harvard University
>
> Director of Graduate Studies, Regional Studies East Asia
>
>
>
> _______________________________________________
> 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  Tue Mar 27 09:40:40 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 27 Mar 2018 22:40:40 +0900
Subject: [KineJapan] Imaizumi Kouichi Screening in Boston on Saturday
Message-ID: <mailman.1947.1522158045.36066.kinejapan@lists.osu.edu>

Hello All!

For those in the Boston area this weekend: On Saturday (the 31st) the new
film by Imaizumi Kouichi is playing at the Brattle Theater as part of the
Wicked Queer Film Festival. I haven?t seen the film yet but it?s a really
interesting project- a film shot in Berlin with a script by Tagame Gengoroh
(the manga artist- well known for his work for gay magazines, and more
recently of the hit manga *My Brother?s Husband*).



Imaizumi will be at the screening to talk about the film. He is one of the
most prominent queer filmmakers in Japan, with a prior career acting in
pink film. His films have long been screened at international film
festivals; this time the film seems a bit less experimental than his
previous works.



Ian Condry has Kindly volunteered to help with interpretation for the Q&A
after the screening- one more reason to check it out!


Best,

Alex


????????

Alexander Zahlten

Associate Professor

Dept. of East Asian Languages and Civilizations

Harvard University

Director of Graduate Studies, Regional Studies East Asia
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From kinejapan at lists.osu.edu  Tue Mar 20 11:08:49 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 12:08:49 -0300
Subject: [KineJapan] Looking for people working on morning dramas
	(asadora)
In-Reply-To: <mailman.2049.1521556633.25778.kinejapan@lists.osu.edu>
References: <mailman.2049.1521556633.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.1996.1522141636.13568.kinejapan@lists.osu.edu>

Dear Elisabeth Scherer and Timo Thelen,

I have an interest in the subject and would like to know more.

Almir Almas
Filmmaker, Associate Professor in the Department of Cinema, R?dio and
Television
of the School od Communications and Arts of the University of S?o Paulo.




On Tue, Mar 20, 2018 at 11:37 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Dear KineJapan members,
>
> me and my colleague Timo Thelen (both from Dusseldorf University, Germany)
> are currently doing research on Japanese morning dramas (asadora).
> One of our articles has recently been published by Japan Forum; we still
> have some free eprints left, in case you are interested:
> http://www.tandfonline.com/eprint/bM5hIkv8iWrHuPVgxDum/full
>
> We are working together with some other scholars, but are still looking
> for people who are interested in the series format of asadora. Our
> impression is that the circle of people doing research on asadora is rather
> small, in spite of the still rather high audience ratings these dramas get.
>
> So if you are doing research in this field (or are planning to do so), we
> would be very happy to get in contact!
>
> Best wishes from Germany,
> Elisabeth
>
>
> ------------------------------------------------------------
> Dr. Elisabeth Scherer
> Institut f?r Modernes Japan
> Heinrich-Heine-Universit?t D?sseldorf
> Universit?tsstra?e 1
> 40225 D?sseldorf
>
> Tel. 0211-81-14354
> scherer at phil.hhu.de
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>


-- 
Almir Almas
alalmas at gmail.com
alalmas at usp.br

55-11-99103-4266
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From kinejapan at lists.osu.edu  Mon Mar 26 15:05:43 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 26 Mar 2018 22:05:43 +0300
Subject: [KineJapan] FCCJ April film events
Message-ID: <mailman.1264.1522091146.36066.kinejapan@lists.osu.edu>

Dear KineJapaners,


The Foreign Correspondents' Club in Yurakucho is hosting two
English-subtitled screenings in April, one of them a documentary about the
British CEO who blew the whistle on massive accounting fraud at Olympus
Corp., and the other a cross-culture dramedy about a shady English teacher
in Tokyo, and the midlife liberation he incites in a student. Both feature
Q&As with the directors and stars.


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 screenings, as seats are
limited.


*1) Wednesday, April 4, 7 pm *


*SAMURAI AND IDIOTS ? THE OLYMPUS AFFAIR *

Followed by a Q&A with director Hyoe Yamamoto, documentary cast members
Yoshimasa Yamaguchi, Jonathan Soble and Waku Miller

https://goo.gl/ugT5UE


*2) Thursday, April 26, 7 pm*


*OH LUCY! *

Followed by a Q&A with director Atsuko Hirayanagi and star Shinobu Terajima

https://goo.gl/pDQfoQ

-- 
Posted by Eija Niskanen
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From kinejapan at lists.osu.edu  Sun Mar 25 12:44:52 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 25 Mar 2018 19:44:52 +0300
Subject: [KineJapan] Sailor suit and Machine Gun scene
Message-ID: <mailman.156.1521996296.13568.kinejapan@lists.osu.edu>

Hi!

Is there any legal site by for ex. paying to download Somai Shinji's Sailor
Suit and Machine Gun - I would like to show one scene (one take) in my
class.

Thanks,

-- 
Eija Niskanen
+358-50-355 3189
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From kinejapan at lists.osu.edu  Thu Mar 22 21:32:54 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 23 Mar 2018 10:32:54 +0900
Subject: [KineJapan] Osaka Asian Film Festival
In-Reply-To: <mailman.4796.1521734910.25778.kinejapan@lists.osu.edu>
References: <mailman.1837.1521548354.25778.kinejapan@lists.osu.edu>
	<mailman.4796.1521734910.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.5398.1521768781.25778.kinejapan@lists.osu.edu>

Actually, the translation situation at OAFF is very fascinating to me.

The subtitles are almost always (always?) English and Japanese. But they
are very inconsistent in quality. I had the feeling the Japanese were
fairly standard, if not high. From what I hear, most of the films are going
straight from the local languages to Japanese without being routed through
English. There are well-known specialists for south Asian languages, and
they even have an enthusiastic SE Asian translation team from Kyoto
University. The latter?Kobayashi-sensei and Nishi-sensei?held an
interesting panel discussion this year on Chinese Indonesians in cinema.

The English subs were of varying quality. Lim Karwai, a Malaysian filmmaker
who lives much of his life in Osaka, showed a film he shot in Ljubljana (!)
on a micro-budget. Lim did the English subs, which were embarrassingly
poor. I saw at least one other film that seemed to have been done via
Google Translate. Others were great.

In contrast, the level of interpretation is very high. They bring in
interpreters from Tokyo that specialize in cinema. And they are going from
Indonesian, Cantonese, Tagalog, and other Asian languages.

But my favorite translation experience of the festival was Riu-san. A burly
Taiwanese  that's been living in Osaka for three decades with his Japanese
wife. He is a "producer" for Japanese architects like Ando Tadao for
projects in Taiwan. This year, for reasons I don't quite get, he was tapped
to do the interpretation for Chang Yi and Yang Hui-shan. Riu has a huge
voice and a big personality.....and speaks in hard-core Osaka-ben. It was
lovely.

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 Fri, Mar 23, 2018 at 1:07 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Thanks for your postings, Markus. I?ve never been to OAFF.
>
> Is there anything to say on translation? OAFF not titling themselves
> ?international?, they aren?t actually obliged to provide English subtitles,
> but the full english version of all their pages carry that promise.  I
> guess these days that any fiction film aiming for an international
> distribution comes on a DCP which has English subtitles. So the festival
> has to concentrate on Japanese subtitles ? I saw some warning about their
> being hard to read.
>
> And the discussions and Q&As ?
> Roger
> macyroger at yahoo.co.uk
>
>
>
> On Tuesday, 20 March 2018, 12:19:22 GMT, Japanese Cinema Discussion Forum
> via KineJapan <kinejapan at lists.osu.edu> wrote:
>
>
> Osaka Asian Film Festival ended on Sunday (http://www.oaff.jp/2018/en/
> index.html). It is a VERY different scene from Yamagata and Yubari,
> that's for sure. For one thing, I think there is a lot more fun going on at
> those other festivals?at least for the professional crowd on hand. There
> are parties in Osaka, but their are fairly staid affairs sponsored by the
> embassies of various countries.
>
> There is definitely a local fan base for the festival, and I'm not sure
> it's an exaggeration to say that it's dominated by middle-aged women. There
> is a strong fanish thing going on. It's most obvious after the screenings.
> Q and As include photo op at the end, where the directors and stars stand
> next to their poster and look left....then center....then right.....then
> towards the video cameras. It's a strange ritual, and followed by a
> sain-kai in the lobby where fans line up to get stuff signed.
>
> One bad rap OAFF gets is that the films "aren't great." Well, true. But
> only in a certain sense. They are clearly out to please the audiences. The
> films aren't terribly definitely not extreme. If you look at their flier, a
> majority of the PR photos for the films feature young couples. Says a lot.
>
> It's not the way I'd program a festival of Asian cinema. But I to
> appreciate the opportunity to see some popular films that otherwise don't
> get shown at festivals or get distributed. They also hold discussions on
> different topics about different parts of Asia. This year, I learned a lot
> about what's going on in Indonesia, which is increasingly looking like an
> industry that must be reckoned with. Growing like crazy, with enormous
> headroom for huge expansion and lots of young, creative filmmakers.
>
> Unfortunately, I didn't see the Japanese films that got awards?especially
> unfortunate since I didn't care for the Japanese films I saw. I heard
> especially good things about one of the Japanese award winners: Hayama
> Mo?t's *KUSHINA, what will you be*.
>
> Actually, my favorite film of the festival was the out-of-competition *Poppy
> Goes to Hollywood Redux *(http://www.oaff.jp/2018/en/program/n06.html), a
> Cambodian comedy about a transgender revue that flees to the countryside
> when they get in trouble with gangsters. No pretense to high art here. Just
> lots of fun upending gender norms, stereotypes, genres?basically
> everything.
>
> But the highlight of the festival for me was meeting director Chang Yi and
> actress Yang Hui-shan. They were huge figures in the New Taiwan Cinema. At
> Osaka, they showed a delightful and often stunning beautiful animated film
> which had four different stories about dogs?mysteriously programmed late on
> a weekend night when kids couldn't go. Chang checked out from filmmaking
> nearly three decades ago to become famous glass artists, but took up the
> challenge of animation from Edward Yang; the latter was a good friend and
> died during the production of an ambitious animated film. But the reason I
> was anxious to meet them was that I walked blindly into a Taipei theater
> one day in 1984 and encountered their *Jade Love.* I was blown away by
> the film, and right after that Hou's *Summer and Grandpa's *and then
> Yang's *That Day on the Beach.* Because of this I discovered how amazing
> Asian cinema could be and soon found myself in grad school a couple years
> later. So it's no exaggeration to say Chang and Yang changed my life and I
> feel grateful Osaka Asian gave me the chance to meet them.
>
> Markus
>
> OAFF 2018 Award Winners! <http://www.oaff.jp/2018/en/outline/prizes.html>
>
> ?Grand Prix (Best Picture Award) / ?No. 1 Chung Ying Street?
> <http://www.oaff.jp/2018/en/program/c10.html>
>
> ?Most Promising Talent Award / Mikhail RED "?NEOMANILA?
> <http://www.oaff.jp/2018/en/program/c09.html> Director
>
> ?Best Actress Award / IIJIMA Shuna "?Bad Poetry Tokyo?
> <http://www.oaff.jp/2018/en/program/c01.html> Actress
>
> ?ABC Award / ?Take Me To the Moon?
> <http://www.oaff.jp/2018/en/program/c14.html>
>
> ?Yakushi Pearl Award / Ryza CENON ?Mr. and Mrs. Cruz?
> <http://www.oaff.jp/2018/en/program/c08.html> Actress
>
> ?JAPAN CUTS Award / ?KUSHINA, what will you be?
> <http://www.oaff.jp/2018/en/program/if06.html>
>
> ?Housen Short Film Award / ?CYCLE-CYCLE?
> <http://www.oaff.jp/2018/en/program/if02.html>
>
>
> _______________________________________________
> 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  Thu Mar 22 14:28:02 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 22 Mar 2018 14:28:02 -0400
Subject: [KineJapan] Some questions about Imprint
In-Reply-To: <mailman.4909.1521739803.25778.kinejapan@lists.osu.edu>
References: <1461390508.43145.1521739794759.ref@mail.yahoo.com>
	<mailman.4909.1521739803.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.5612.1521743288.41567.kinejapan@lists.osu.edu>

Hola Victoria. I?ve often worked with your professor
On my website is an essay I wrote about the Orpheus myth on screen. It?s under ?Selected Essays?, on www.braidednarrative.com

I include Ugetsu Monogatari in that list, as well as Saura/Gades? El Amor Brujo
Hope this helps 

Sent from my iPhone

> On Mar 22, 2018, at 1:29 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> Hi everybody!
> My name is Victoria S?nchez, I?m studying Journalism and Audiovisual Communication in the University Rey Juan Carlos of Madrid. I?m currently doing my final degree project with the tutoring of professor Lorenzo Javier Torres Hortelano. I?m working with the film Imprint (2016) of Takashi Miike and my problem is that I don?t get a translation (spanish or english) of the book Bokkee Kyotee (1999) of Shimako Iwai and I don?t know Japanese. 
> 
> Someone can help me where to find a translation of this story? 
> And, if someone has read this story and has seen the film, can tell me differences and similarities of both?
> 
> One more thing,
> I haven?t got the original DVD of Imprint and I can?t find the part of features of the film. Someone know where I can find it?
> 
> As well, I would like to know if anyone knows if there exists in Japanese culture some myth similar to that of Orpheus and Eurydice in Greek mythology.
> 
> Thank you very much to all,
> Victoria S.
> 
> 
> _______________________________________________
> 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 Mar 22 13:29:54 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 22 Mar 2018 17:29:54 +0000 (UTC)
Subject: [KineJapan] Some questions about Imprint
References: <1461390508.43145.1521739794759.ref@mail.yahoo.com>
Message-ID: <mailman.4909.1521739803.25778.kinejapan@lists.osu.edu>


Hi everybody!

My name is Victoria S?nchez, I?m studying Journalism and Audiovisual Communication in the University Rey Juan Carlos of Madrid. I?m currently doing my final degree project with the tutoring of professor Lorenzo Javier Torres Hortelano. I?m working with the film Imprint (2016) of Takashi Miike and my problem is that I don?t get a translation (spanish or english) of the book Bokkee Kyotee (1999) of Shimako Iwai and I don?t know Japanese. 


Someone can help me where to find a translation of this story? 

And, if someone has read this story and has seen the film, can tell me differences and similarities of both?


One more thing,

I haven?t got the original DVD of Imprint and I can?t find the part of features of the film. Someone know where I can find it?


As well, I would like to know if anyone knows if there exists in Japanese culture some myth similar to that of Orpheus and Eurydice in Greek mythology.


Thank you very much to all,

Victoria S.


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From kinejapan at lists.osu.edu  Thu Mar 22 12:07:51 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 22 Mar 2018 16:07:51 +0000 (UTC)
Subject: [KineJapan] Osaka Asian Film Festival
In-Reply-To: <mailman.1837.1521548354.25778.kinejapan@lists.osu.edu>
References: <mailman.1837.1521548354.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.4796.1521734910.25778.kinejapan@lists.osu.edu>


Thanks for your postings,Markus. I?ve never been to OAFF.

Isthere anything to say on translation? OAFF not titling themselves ?international?,they aren?t actually obliged to provide English subtitles, but the full englishversion of all their pages carry that promise. ?I guess these days that any fiction filmaiming for an international distribution comes on a DCP which has Englishsubtitles. So the festival has to concentrate on Japanese subtitles ? I sawsome warning about their being hard to read.

Andthe discussions and Q&As ?
Rogermacyroger at yahoo.co.uk
 

    On Tuesday, 20 March 2018, 12:19:22 GMT, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:  
 
 Osaka Asian Film Festival ended on Sunday (http://www.oaff.jp/2018/en/index.html). It is a VERY different scene from Yamagata and Yubari, that's for sure. For one thing, I think there is a lot more fun going on at those other festivals?at least for the professional crowd on hand. There are parties in Osaka, but their are fairly staid affairs sponsored by the embassies of various countries.?
There is definitely a local fan base for the festival, and I'm not sure it's an exaggeration to say that it's dominated by middle-aged women. There is a strong fanish thing going on. It's most obvious after the screenings. Q and As include photo op at the end, where the directors and stars stand next to their poster and look left....then center....then right.....then towards the video cameras. It's a strange ritual, and followed by a sain-kai in the lobby where fans line up to get stuff signed.?
One bad rap OAFF gets is that the films "aren't great." Well, true. But only in a certain sense. They are clearly out to please the audiences. The films aren't terribly definitely not extreme. If you look at their flier, a majority of the PR photos for the films feature young couples. Says a lot.?
It's not the way I'd program a festival of Asian cinema. But I to appreciate the opportunity to see some popular films that otherwise don't get shown at festivals or get distributed. They also hold discussions on different topics about different parts of Asia. This year, I learned a lot about what's going on in Indonesia, which is increasingly looking like an industry that must be reckoned with. Growing like crazy, with enormous headroom for huge expansion and lots of young, creative filmmakers.?
Unfortunately, I didn't see the Japanese films that got awards?especially unfortunate since I didn't care for the Japanese films I saw. I heard especially good things about one of the Japanese award winners: Hayama Mo?t's KUSHINA, what will you be.?
Actually, my favorite film of the festival was the out-of-competition Poppy Goes to Hollywood Redux (http://www.oaff.jp/2018/en/program/n06.html), a Cambodian comedy about a transgender revue that flees to the countryside when they get in trouble with gangsters. No pretense to high art here. Just lots of fun upending gender norms, stereotypes, genres?basically everything.?
But the highlight of the festival for me was meeting director Chang Yi and actress Yang Hui-shan. They were huge figures in the New Taiwan Cinema. At Osaka, they showed a delightful and often stunning beautiful animated film which had four different stories about dogs?mysteriously programmed late on a weekend night when kids couldn't go. Chang checked out from filmmaking nearly three decades ago to become famous glass artists, but took up the challenge of animation from Edward Yang; the latter was a good friend and died during the production of an ambitious animated film. But the reason I was anxious to meet them was that I walked blindly into a Taipei theater one day in 1984 and encountered their Jade Love.?I was blown away by the film, and right after that Hou's Summer and Grandpa's and then Yang's That Day on the Beach.?Because of this I discovered how amazing Asian cinema could be and soon found myself in grad school a couple years later. So it's no exaggeration to say Chang and Yang changed my life and I feel grateful Osaka Asian gave me the chance to meet them.?
Markus   
      -    
OAFF 2018 Award Winners!
   
?Grand Prix (Best Picture Award) /??No. 1 Chung Ying Street?
   
?Most Promising Talent Award / Mikhail RED?"?NEOMANILA??Director
   
?Best Actress Award / IIJIMA Shuna?"?Bad Poetry Tokyo??Actress
   
?ABC Award /??Take Me To the Moon?
   
?Yakushi Pearl Award / Ryza CENON??Mr. and Mrs. Cruz??Actress
   
?JAPAN CUTS Award /??KUSHINA, what will you be?
   
?Housen Short Film Award /??CYCLE-CYCLE?



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From kinejapan at lists.osu.edu  Thu Mar 22 09:35:39 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 22 Mar 2018 22:35:39 +0900
Subject: [KineJapan] Variety: VOD growing steadily in Japan
In-Reply-To: <mailman.4714.1521687038.41567.kinejapan@lists.osu.edu>
References: <mailman.4714.1521687038.41567.kinejapan@lists.osu.edu>
Message-ID: <mailman.4523.1521725752.25778.kinejapan@lists.osu.edu>

on a related note, I found out just now Uplink Cloud, a
VOD service with some interested titles (Soda?s documentaries for instance)
https://t.co/WHFS6ncjGb

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



> On Mar 22, 2018, at 11:50, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> There was a Dokuritsu Eiga Nabe at OAFF last weekend. The outlook for indecent films in Japan was dim, a pretty typical discussion of late. It?s not so hard to make a film, but it is very tough to show it. Even tougher to base a career on it. 
> 
> I?ve always been struck that VOD doesn?t get much or any attention in these discussions. Variety reports steady and healthy growth:
> 
> ?Amazon nearly doubled its share and Netflix grew strongly in Japan?s streaming market last year as the two global services try to raise their profiles in Asia........Total SVOD sales last is estimated at 183 billion yen ($1.7 billion), a 12.2% increase from the year before. GEM forecasts that Japan?s streaming market will grow to 255 billion yen ($2.4 billion) in 2022.?
> 
> Amazon, Netflix Gain Ground in Japanese Streaming Market.    Variety Japan.        March 21, 2018 6:48AM PDT
> http://variety.com/2018/tv/news/amazon-netflix-gain-ground-japan-streaming-1202729953/
> 
> 
> 
> 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
> 
> _______________________________________________
> 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 Mar 21 22:50:21 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 22 Mar 2018 02:50:21 +0000
Subject: [KineJapan] Variety: VOD growing steadily in Japan
Message-ID: <mailman.4714.1521687038.41567.kinejapan@lists.osu.edu>

There was a Dokuritsu Eiga Nabe at OAFF last weekend. The outlook for
indecent films in Japan was dim, a pretty typical discussion of late. It?s
not so hard to make a film, but it is very tough to show it. Even tougher
to base a career on it.

I?ve always been struck that VOD doesn?t get much or any attention in these
discussions. Variety reports steady and healthy growth:

?Amazon nearly doubled its share and Netflix
<http://variety.com/t/netflix/> grew
strongly in Japan <http://variety.com/t/japan/>?s streaming market last
year as the two global services try to raise their profiles in
Asia........Total SVOD sales last is estimated at 183 billion yen ($1.7
billion), a 12.2% increase from the year before. GEM forecasts that Japan?s
streaming market will grow to 255 billion yen ($2.4 billion) in 2022.?
Amazon, Netflix Gain Ground in Japanese Streaming Market.    Variety Japan.
       March 21, 2018 6:48AM PDT

http://variety.com/2018/tv/news/amazon-netflix-gain-ground-japan-streaming-1202729953/


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  Wed Mar 21 16:53:20 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 22 Mar 2018 04:53:20 +0800
Subject: [KineJapan] 300 DPI stills (Japanese Cinema Discussion Forum)
Message-ID: <mailman.3971.1521665625.25778.kinejapan@lists.osu.edu>

Dear Ken,
I did not know that. Thank you.
best
ej
Earl Jackson
Professor
Chair, Foreign Languages and Literatures
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute
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From kinejapan at lists.osu.edu  Wed Mar 21 07:53:25 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 21 Mar 2018 12:53:25 +0100
Subject: [KineJapan] Looking for people working on morning dramas
	(asadora)
In-Reply-To: <mailman.2670.1521560183.41567.kinejapan@lists.osu.edu>
References: <789900700.6247794.1521560177981.ref@mail.yahoo.com>
	<mailman.2670.1521560183.41567.kinejapan@lists.osu.edu>
Message-ID: <mailman.3068.1521633210.25778.kinejapan@lists.osu.edu>

Same here! Even studying all its mechanisms of creating nostalgia and
feelings of "we Japanese" did not protect me from somehow enjoying Hiyokko.
I guess this really is the strange power of asadora.

Best wishes,
Elisabeth




2018-03-20 16:36 GMT+01:00 Japanese Cinema Discussion Forum via KineJapan <
kinejapan at lists.osu.edu>:

> Given my specialist subjects, I'm somewhat ashamed to admit that I
> actually got quite into Hiyokko. My fiance is an Asadora devotee who tends
> to watch them all, even the ones she admits are not actually that good. And
> I'm with you on Warotenka, Aaron. Dear lord.
>
> Jim Harper.
>
> On Tue, 20/3/18, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
>  Subject: Re: [KineJapan] Looking for people working on morning dramas
> (asadora)
>  To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
>  Date: Tuesday, 20 March, 2018, 14:53
>
>  Good to hear
>  you have been working on Asadora. And thanks for the
>  e-print.
>  It
>  would be nice to talk someday, because for better or for
>  worse, I have watched most of the Asadora in the last decade
>  (I am suffering through Warotenka right now). I should try
>  to make something out of the experience.
>  Yours,
>  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
>
>  2018/03/20 ??11:37?Japanese
>  Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
>  ?????
>  Dear KineJapan members,
>
>  me and my colleague Timo Thelen
>  (both from Dusseldorf University, Germany) are currently
>  doing research on Japanese morning dramas (asadora).
>  One of our articles
>  has recently been published by Japan Forum; we still have
>  some free eprints left, in case you are interested:
> http://www.tandfonline.com/
>  eprint/bM5hIkv8iWrHuPVgxDum/ full
>
>  We are working together with
>  some other scholars, but are still looking for people who
>  are interested in the series format of asadora. Our
>  impression is that the circle of people doing research on
>  asadora is rather small, in spite of the still rather high
>  audience ratings these dramas get.
>
>  So if
>  you are doing research in this field (or are planning to do
>  so), we would be very happy to get in contact!
>
>  Best
>  wishes from Germany,
>  Elisabeth
>
>
>  ------------------------------------------------------------
>
>  Dr. Elisabeth Scherer
>
>  Institut f?r Modernes Japan
>
>  Heinrich-Heine-Universit?t D?sseldorf
>
>  Universit?tsstra?e 1
>
>  40225 D?sseldorf
>
>
>
>  Tel. 0211-81-14354
>
>  scherer at phil.hhu.de
>
>
>
>  _______________________________________________
>  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
>
>  -----Inline Attachment Follows-----
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>
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From kinejapan at lists.osu.edu  Wed Mar 21 02:45:19 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 23:45:19 -0700
Subject: [KineJapan] 300 DPI stills
In-Reply-To: <mailman.3195.1521578809.41567.kinejapan@lists.osu.edu>
References: <mailman.3195.1521578809.41567.kinejapan@lists.osu.edu>
Message-ID: <mailman.2953.1521614722.25778.kinejapan@lists.osu.edu>

Hi Earl,

The trick is in the monitor resolution, not really the capture software.
The higher your monitor's resolution, the bigger the image will be after
capturing a still (typically at 72 dpi) and then converting it to 300dpi in
Photoshop or other conversion software.

Best,
Ken

On Tue, Mar 20, 2018 at 1:46 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Dear Everyone
> I would be really grateful for suggestions of software for PC that will
> pull stills from DVDs (and if possible, Blu-rays) that are 300 dpi or above.
> I currently use DVD-X but I have to use my older laptop as it doesn't work
> on Windows 10 and in any event the resulting stills are not copy-ready.
> Thank you
> best
> earl
> 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
>
> _______________________________________________
> 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  Tue Mar 20 23:05:41 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 21 Mar 2018 12:05:41 +0900
Subject: [KineJapan] New Hara Film
In-Reply-To: <mailman.2769.1521583065.25778.kinejapan@lists.osu.edu>
References: <mailman.5273.1519883900.51483.kinejapan@lists.osu.edu>
	<mailman.2769.1521583065.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.3430.1521601547.41567.kinejapan@lists.osu.edu>

Roger's review is very interesting to me. He picks up on an aspect of the
Minamata, Sanrizuka and 311 films that rarely draws comment: that you
actually learn little about the background and details of the controversies
and scandals, while the focus is on more intimate and emotional stories of
communities of victims. I've often wondered the degree to which this is a
choice to construct a documentary built on implication (in opposition to
TV's documentary of explanation), or a mere assumption that the audience
already comes into the theater knowing what they need to know.

At least what's interesting here is that it's not just Hara's film.

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 Wed, Mar 21, 2018 at 6:56 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Apologies for jumping back to an old thread but, if anyone's interested,
> my review of 'Sennan Asbestos Disaster' for the Japan Society of the UK is
> now up here
> https://www.japansociety.org.uk/44376/sennan-asbestos-disaster/
> Roger
> macyroger at yahoo.co.uk
>
>
>
>
>
> On Thursday, 1 March 2018, 05:58:27 GMT, Japanese Cinema Discussion Forum
> via KineJapan <kinejapan at lists.osu.edu> wrote:
>
>
> There's a new Hara Kazuo film out. He's been working on it forever. So
> far, it's shown a several festivals and to much praise....especially by
> audiences, which have given him "audiences prizes" at Yamagata and Filmex.
> I heard he's very frustrated the juries are snubbing him. But this is not
> the usual Hara film. It's sedate in comparison and extremely long.
>
> But I like it. Definitely seek it out.
>
> *Today Mark Schilling published his review: *
>
> ?I wanted to tell them ?Are you joking? Stop it!'? Hara says. ?I hate it
> when Japanese are praised for being so patient in a situation like that. In
> the film I clearly criticize Japanese who are like that. I mean, I love
> them but we ought to detest those who call someone like Shiozaki a ?nice
> guy.? That?s the message of the film.
>
> ?If we don?t, we?ll never have real peace in this country. The willingness
> of the Japanese to forgive the powerful is a danger to our democracy. You
> don?t forgive them. But Japanese people are indifferent to that.?
>
> https://www.japantimes.co.jp/culture/2018/02/28/films/
> kazuo-hara-returns-form-documentary-filmmaker-sennan-asbestos-disaster/#.
> WpeTvmamM1J
>
> Mark also published a review for Sunny/32 with the provocative headline, "If
> idol-pop and ?Saw? were to have a baby, this may be it."
>
> https://www.japantimes.co.jp/culture/2018/02/28/films/film-
> reviews/sunny-32-idol-pop-saw-baby-may/#.WpeTw2amM1J
>
> 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*
>
> _______________________________________________
> 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  Tue Mar 20 17:56:53 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 21:56:53 +0000 (UTC)
Subject: [KineJapan] New Hara Film
In-Reply-To: <mailman.5273.1519883900.51483.kinejapan@lists.osu.edu>
References: <mailman.5273.1519883900.51483.kinejapan@lists.osu.edu>
Message-ID: <mailman.2769.1521583065.25778.kinejapan@lists.osu.edu>

Apologies for jumping back to an old thread but, if anyone's interested, my review of 'Sennan Asbestos Disaster' for the Japan Society of the UK is now up herehttps://www.japansociety.org.uk/44376/sennan-asbestos-disaster/Rogermacyroger at yahoo.co.uk


 

    On Thursday, 1 March 2018, 05:58:27 GMT, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:  
 
 There's a new Hara Kazuo film out. He's been working on it forever. So far, it's shown a several festivals and to much praise....especially by audiences, which have given him "audiences prizes" at Yamagata and Filmex. I heard he's very frustrated the juries are snubbing him. But this is not the usual Hara film. It's sedate in comparison and extremely long.?
But I like it. Definitely seek it out.?
Today Mark Schilling published his review:?

?I wanted to tell them ?Are you joking? Stop it!'? Hara says. ?I hate it when Japanese are praised for being so patient in a situation like that. In the film I clearly criticize Japanese who are like that. I mean, I love them but we ought to detest those who call someone like Shiozaki a ?nice guy.? That?s the message of the film.

?If we don?t, we?ll never have real peace in this country. The willingness of the Japanese to forgive the powerful is a danger to our democracy. You don?t forgive them. But Japanese people are indifferent to that.?

https://www.japantimes.co.jp/culture/2018/02/28/films/kazuo-hara-returns-form-documentary-filmmaker-sennan-asbestos-disaster/#.WpeTvmamM1J


Mark also published a review for Sunny/32 with the provocative headline, "If idol-pop and ?Saw? were to have a baby, this may be it."

https://www.japantimes.co.jp/culture/2018/02/28/films/film-reviews/sunny-32-idol-pop-saw-baby-may/#.WpeTw2amM1J


Markus















---?
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
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From kinejapan at lists.osu.edu  Tue Mar 20 16:46:24 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 16:46:24 -0400
Subject: [KineJapan] 300 DPI stills
Message-ID: <mailman.3195.1521578809.41567.kinejapan@lists.osu.edu>

Dear Everyone
I would be really grateful for suggestions of software for PC that will
pull stills from DVDs (and if possible, Blu-rays) that are 300 dpi or above.
I currently use DVD-X but I have to use my older laptop as it doesn't work
on Windows 10 and in any event the resulting stills are not copy-ready.
Thank you
best
earl
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 Mar 20 12:16:18 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 16:16:18 +0000
Subject: [KineJapan] Looking for people working on morning dramas
	(asadora)
In-Reply-To: <mailman.2670.1521560183.41567.kinejapan@lists.osu.edu>
References: <789900700.6247794.1521560177981.ref@mail.yahoo.com>
	<mailman.2670.1521560183.41567.kinejapan@lists.osu.edu>
Message-ID: <mailman.2746.1521562591.41567.kinejapan@lists.osu.edu>

Worse than Amachan?

On Wed, Mar 21, 2018 at 12:36 AM Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Given my specialist subjects, I'm somewhat ashamed to admit that I
> actually got quite into Hiyokko. My fiance is an Asadora devotee who tends
> to watch them all, even the ones she admits are not actually that good. And
> I'm with you on Warotenka, Aaron. Dear lord.
>
> Jim Harper.
>
> On Tue, 20/3/18, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
>  Subject: Re: [KineJapan] Looking for people working on morning dramas
> (asadora)
>  To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
>  Date: Tuesday, 20 March, 2018, 14:53
>
>  Good to hear
>  you have been working on Asadora. And thanks for the
>  e-print.
>  It
>  would be nice to talk someday, because for better or for
>  worse, I have watched most of the Asadora in the last decade
>  (I am suffering through Warotenka right now). I should try
>  to make something out of the experience.
>  Yours,
>  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
>
>  2018/03/20 ??11:37?Japanese
>  Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
>  ?????
>  Dear KineJapan members,
>
>  me and my colleague Timo Thelen
>  (both from Dusseldorf University, Germany) are currently
>  doing research on Japanese morning dramas (asadora).
>  One of our articles
>  has recently been published by Japan Forum; we still have
>  some free eprints left, in case you are interested:
> http://www.tandfonline.com/
>  eprint/bM5hIkv8iWrHuPVgxDum/ full
>
>  We are working together with
>  some other scholars, but are still looking for people who
>  are interested in the series format of asadora. Our
>  impression is that the circle of people doing research on
>  asadora is rather small, in spite of the still rather high
>  audience ratings these dramas get.
>
>  So if
>  you are doing research in this field (or are planning to do
>  so), we would be very happy to get in contact!
>
>  Best
>  wishes from Germany,
>  Elisabeth
>
>
>  ------------------------------------------------------------
>
>  Dr. Elisabeth Scherer
>
>  Institut f?r Modernes Japan
>
>  Heinrich-Heine-Universit?t D?sseldorf
>
>  Universit?tsstra?e 1
>
>  40225 D?sseldorf
>
>
>
>  Tel. 0211-81-14354
>
>  scherer at phil.hhu.de
>
>
>
>  _______________________________________________
>  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
>
>  -----Inline Attachment Follows-----
>
>
> _______________________________________________
> 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  Tue Mar 20 11:36:17 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 15:36:17 +0000 (UTC)
Subject: [KineJapan] Looking for people working on morning
	dramas	(asadora)
References: <789900700.6247794.1521560177981.ref@mail.yahoo.com>
Message-ID: <mailman.2670.1521560183.41567.kinejapan@lists.osu.edu>

Given my specialist subjects, I'm somewhat ashamed to admit that I actually got quite into Hiyokko. My fiance is an Asadora devotee who tends to watch them all, even the ones she admits are not actually that good. And I'm with you on Warotenka, Aaron. Dear lord.

Jim Harper.

On Tue, 20/3/18, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:

 Subject: Re: [KineJapan] Looking for people working on morning dramas	(asadora)
 To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
 Date: Tuesday, 20 March, 2018, 14:53
 
 Good to hear
 you have been working on Asadora. And thanks for the
 e-print.
 It
 would be nice to talk someday, because for better or for
 worse, I have watched most of the Asadora in the last decade
 (I am suffering through Warotenka right now). I should try
 to make something out of the experience.
 Yours,
 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
 
 2018/03/20 ??11:37?Japanese
 Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
 ?????
 Dear KineJapan members,
 
 me and my colleague Timo Thelen
 (both from Dusseldorf University, Germany) are currently
 doing research on Japanese morning dramas (asadora). 
 One of our articles
 has recently been published by Japan Forum; we still have
 some free eprints left, in case you are interested: http://www.tandfonline.com/
 eprint/bM5hIkv8iWrHuPVgxDum/ full
 
 We are working together with
 some other scholars, but are still looking for people who
 are interested in the series format of asadora. Our
 impression is that the circle of people doing research on
 asadora is rather small, in spite of the still rather high
 audience ratings these dramas get. 
 
 So if
 you are doing research in this field (or are planning to do
 so), we would be very happy to get in contact!
 
 Best
 wishes from Germany, 
 Elisabeth
 
 
 ------------------------------------------------------------
 
 Dr. Elisabeth Scherer
 
 Institut f?r Modernes Japan
 
 Heinrich-Heine-Universit?t D?sseldorf
 
 Universit?tsstra?e 1
 
 40225 D?sseldorf
 
 
 
 Tel. 0211-81-14354
 
 scherer at phil.hhu.de
 
 
 
 _______________________________________________
 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
 
 -----Inline Attachment Follows-----
 
 
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From kinejapan at lists.osu.edu  Tue Mar 20 10:53:42 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 23:53:42 +0900
Subject: [KineJapan] Looking for people working on morning dramas
 (asadora)
In-Reply-To: <mailman.2049.1521556633.25778.kinejapan@lists.osu.edu>
References: <mailman.2049.1521556633.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.2079.1521557628.25778.kinejapan@lists.osu.edu>

Good to hear you have been working on Asadora. And thanks for the e-print.

It would be nice to talk someday, because for better or for worse, I have watched most of the Asadora in the last decade (I am suffering through Warotenka right now). I should try to make something out of the experience.

Yours,

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


> 2018/03/20 ??11:37?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
> 
> Dear KineJapan members,
> 
> me and my colleague Timo Thelen (both from Dusseldorf University, Germany) are currently doing research on Japanese morning dramas (asadora). 
> One of our articles has recently been published by Japan Forum; we still have some free eprints left, in case you are interested: http://www.tandfonline.com/eprint/bM5hIkv8iWrHuPVgxDum/full <http://www.tandfonline.com/eprint/bM5hIkv8iWrHuPVgxDum/full>
> 
> We are working together with some other scholars, but are still looking for people who are interested in the series format of asadora. Our impression is that the circle of people doing research on asadora is rather small, in spite of the still rather high audience ratings these dramas get. 
> 
> So if you are doing research in this field (or are planning to do so), we would be very happy to get in contact!
> 
> Best wishes from Germany, 
> Elisabeth
> 
> 
> ------------------------------------------------------------
> Dr. Elisabeth Scherer
> Institut f?r Modernes Japan
> Heinrich-Heine-Universit?t D?sseldorf
> Universit?tsstra?e 1
> 40225 D?sseldorf
> 
> Tel. 0211-81-14354
> scherer at phil.hhu.de <mailto:scherer at phil.hhu.de>
> 
> 
> _______________________________________________
> 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  Tue Mar 20 10:37:10 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 15:37:10 +0100
Subject: [KineJapan] Looking for people working on morning dramas (asadora)
Message-ID: <mailman.2049.1521556633.25778.kinejapan@lists.osu.edu>

Dear KineJapan members,

me and my colleague Timo Thelen (both from Dusseldorf University, Germany)
are currently doing research on Japanese morning dramas (asadora).
One of our articles has recently been published by Japan Forum; we still
have some free eprints left, in case you are interested:
http://www.tandfonline.com/eprint/bM5hIkv8iWrHuPVgxDum/full

We are working together with some other scholars, but are still looking for
people who are interested in the series format of asadora. Our impression
is that the circle of people doing research on asadora is rather small, in
spite of the still rather high audience ratings these dramas get.

So if you are doing research in this field (or are planning to do so), we
would be very happy to get in contact!

Best wishes from Germany,
Elisabeth


------------------------------------------------------------
Dr. Elisabeth Scherer
Institut f?r Modernes Japan
Heinrich-Heine-Universit?t D?sseldorf
Universit?tsstra?e 1
40225 D?sseldorf

Tel. 0211-81-14354
scherer at phil.hhu.de
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From kinejapan at lists.osu.edu  Tue Mar 20 10:17:49 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 23:17:49 +0900
Subject: [KineJapan] Ogawa Shinsuke "Acting"
In-Reply-To: <mailman.1973.1521553031.25778.kinejapan@lists.osu.edu>
References: <mailman.1973.1521553031.25778.kinejapan@lists.osu.edu>
Message-ID: <mailman.2503.1521555475.41567.kinejapan@lists.osu.edu>

I remember seeing it few years back...amusing....

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



> On Mar 20, 2018, at 22:37, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> I just came across a strange and wonderful clip of Ogawa Shinsuke's appearance in a fiction film: 
> 
> https://youtu.be/BwXAWQvf0Zo
> 
> The film is "Yokaiden Satori," Higashi Yoichi's second effort. I've never seen it, and I had no idea Ogawa had a walk-on role. Check it out; you'll see why he never acted again. 
> 
> http://www.cine.co.jp/detail/0009.html
> 
> Markus
> 
> 
> _______________________________________________
> 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  Tue Mar 20 09:37:06 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 22:37:06 +0900
Subject: [KineJapan] Ogawa Shinsuke "Acting"
Message-ID: <mailman.1973.1521553031.25778.kinejapan@lists.osu.edu>

I just came across a strange and wonderful clip of Ogawa Shinsuke's
appearance in a fiction film:

https://youtu.be/BwXAWQvf0Zo

The film is "Yokaiden Satori," Higashi Yoichi's second effort. I've never
seen it, and I had no idea Ogawa had a walk-on role. Check it out; you'll
see why he never acted again.

http://www.cine.co.jp/detail/0009.html

Markus
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From kinejapan at lists.osu.edu  Tue Mar 20 08:19:02 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 21:19:02 +0900
Subject: [KineJapan] Osaka Asian Film Festival
Message-ID: <mailman.1837.1521548354.25778.kinejapan@lists.osu.edu>

Osaka Asian Film Festival ended on Sunday (
http://www.oaff.jp/2018/en/index.html). It is a VERY different scene from
Yamagata and Yubari, that's for sure. For one thing, I think there is a lot
more fun going on at those other festivals?at least for the professional
crowd on hand. There are parties in Osaka, but their are fairly staid
affairs sponsored by the embassies of various countries.

There is definitely a local fan base for the festival, and I'm not sure
it's an exaggeration to say that it's dominated by middle-aged women. There
is a strong fanish thing going on. It's most obvious after the screenings.
Q and As include photo op at the end, where the directors and stars stand
next to their poster and look left....then center....then right.....then
towards the video cameras. It's a strange ritual, and followed by a
sain-kai in the lobby where fans line up to get stuff signed.

One bad rap OAFF gets is that the films "aren't great." Well, true. But
only in a certain sense. They are clearly out to please the audiences. The
films aren't terribly definitely not extreme. If you look at their flier, a
majority of the PR photos for the films feature young couples. Says a lot.

It's not the way I'd program a festival of Asian cinema. But I to
appreciate the opportunity to see some popular films that otherwise don't
get shown at festivals or get distributed. They also hold discussions on
different topics about different parts of Asia. This year, I learned a lot
about what's going on in Indonesia, which is increasingly looking like an
industry that must be reckoned with. Growing like crazy, with enormous
headroom for huge expansion and lots of young, creative filmmakers.

Unfortunately, I didn't see the Japanese films that got awards?especially
unfortunate since I didn't care for the Japanese films I saw. I heard
especially good things about one of the Japanese award winners: Hayama
Mo?t's *KUSHINA, what will you be*.

Actually, my favorite film of the festival was the out-of-competition *Poppy
Goes to Hollywood Redux *(http://www.oaff.jp/2018/en/program/n06.html), a
Cambodian comedy about a transgender revue that flees to the countryside
when they get in trouble with gangsters. No pretense to high art here. Just
lots of fun upending gender norms, stereotypes, genres?basically
everything.

But the highlight of the festival for me was meeting director Chang Yi and
actress Yang Hui-shan. They were huge figures in the New Taiwan Cinema. At
Osaka, they showed a delightful and often stunning beautiful animated film
which had four different stories about dogs?mysteriously programmed late on
a weekend night when kids couldn't go. Chang checked out from filmmaking
nearly three decades ago to become famous glass artists, but took up the
challenge of animation from Edward Yang; the latter was a good friend and
died during the production of an ambitious animated film. But the reason I
was anxious to meet them was that I walked blindly into a Taipei theater
one day in 1984 and encountered their *Jade Love.* I was blown away by the
film, and right after that Hou's *Summer and Grandpa's *and then Yang's *That
Day on the Beach.* Because of this I discovered how amazing Asian cinema
could be and soon found myself in grad school a couple years later. So it's
no exaggeration to say Chang and Yang changed my life and I feel grateful
Osaka Asian gave me the chance to meet them.

Markus

OAFF 2018 Award Winners! <http://www.oaff.jp/2018/en/outline/prizes.html>

?Grand Prix (Best Picture Award) / ?No. 1 Chung Ying Street?
<http://www.oaff.jp/2018/en/program/c10.html>

?Most Promising Talent Award / Mikhail RED "?NEOMANILA?
<http://www.oaff.jp/2018/en/program/c09.html> Director

?Best Actress Award / IIJIMA Shuna "?Bad Poetry Tokyo?
<http://www.oaff.jp/2018/en/program/c01.html> Actress

?ABC Award / ?Take Me To the Moon?
<http://www.oaff.jp/2018/en/program/c14.html>

?Yakushi Pearl Award / Ryza CENON ?Mr. and Mrs. Cruz?
<http://www.oaff.jp/2018/en/program/c08.html> Actress

?JAPAN CUTS Award / ?KUSHINA, what will you be?
<http://www.oaff.jp/2018/en/program/if06.html>

?Housen Short Film Award / ?CYCLE-CYCLE?
<http://www.oaff.jp/2018/en/program/if02.html>
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From kinejapan at lists.osu.edu  Tue Mar 20 05:19:18 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 18:19:18 +0900
Subject: [KineJapan] Fwd: H-Japan: Living With Godzilla: Challenge,
	Tribulation, Resilience, and Transformation in Heisei Japan
References: <5aab6782.4a3dc80a.8093a.a85fSMTPIN_ADDED_MISSING@mx.google.com>
Message-ID: <mailman.2125.1521537564.41567.kinejapan@lists.osu.edu>

> 
> Japan Studies Association?s faculty enhancement workshop: Living With Godzilla: Challenge, Tribulation, Resilience, and Transformation in Heisei Japan <https://networks.h-net.org/user/login?destination=node/1543437>
> by Maggie Ivanova
> Your network editor has reposted this from H-Announce <https://networks.h-net.org/node/73374/announcements/1534393/japan-studies-association%E2%80%99s-faculty-enhancement-workshop-living>. The byline reflects the original authorship.
> 
> Type: 
> Workshop
> Date: 
> March 23, 2018
> Location: 
> Arkansas, United States
> Subject Fields: 
> Contemporary History, East Asian History / Studies, Japanese History / Studies, Military History, Cultural History / Studies
> Japan Studies Association?s faculty enhancement workshop:
> 
> Living With Godzilla: Challenge, Tribulation, Resilience, and Transformation in Heisei Japan
> 
> Hosted by Hendrix College in Conway, Arkansas, April 12-14, 2018
> 
> Registration deadline: March 23, 2018
> 
> The film Shin Gojira (New Godzilla, Toho Studios 2016) reboots the famous franchise begun in 1954 with a new version of the creature which embodies the constantly evolving array of threats and challenges (both foreign and domestic) that have visited Japan since the beginning of the Heisei period in 1989. The film ends with the monster immobilized in the center of Tokyo, contained but a constant presence to which the Japanese people must accommodate themselves.
> 
> Join us in exploring Heisei Japan with an eye towards identifying the key events, trends, changes and continuities of the reign of Emperor Akihito. Our speakers will address various topics including:
> 
> Stacia Bensyl, Prof. Missouri State University: Art in the Barracks ? Creativity in Japanese American Incarceration Camps.
> 
> Paul Dunscomb, Prof. University of Alaska Anchorage: The Crisis in Japanese Professional Baseball and the Nature of Change in Heisei Japan.
> 
> Karl Kim, Prof. of Urban Planning, University of Hawaii: Disaster Governance, Governance Disaster; Government Response in Shin Gojira.
> 
> Barak Kushner, Prof. Cambridge University: Holding Japan to Account: The Internationalization of War Responsibility in the Heisei Era.
> 
> Nathaniel Smith, Prof. University of Arizona: Recalibrating the Right in Heisei Japan.
> 
> Michael Strausz, Prof. Texas Christian University: Changing LDP, Changing Japan: the Evolution of Politics in Heisei Japan.
> 
> William M. Tsutsui, President, Hendrix College: The Meaning of Godzilla.
> 
> The workshop is made possible with support from Hendrix College.
> 
> The Japan Studies Association invites applications from faculty members based at community colleges, liberal arts colleges, and universities. Those who are not East Asian or Japan specialists are especially encouraged to apply. 
> 
> For out-of-the-area participants: Registration includes two nights lodging at the Hilton Garden Inn, Conway, Arkansas, with breakfast: Registration also includes two light lunches, Reception Thursday night, dinner Friday night, and JSA Membership.
> 
>      $500 pp (single room) or $475 if JSA member.
> 
>      $385 pp (for those planning to share a twin room) or $360 if JSA member. 
> 
> Airport pickup will take place at schedule times Wednesday. Free transportation between hotel and meeting rooms at Hendrix College. 
> 
> For local participants with no hotel stay: $200 pp ($175 for JSA members). includes two lunches, Reception. Dinner Friday optional for an additional $40.
> 
> Participants can register through the Japan Studies Association website: www.japanstudies.org/2018-workshop-at-hendrix-college.html <http://www.japanstudies.org/2018-workshop-at-hendrix-college.html>
> Registration Deadline is Friday, March 23.
> 
>  
> Contact Info: 
> Prof. Stacia Bensyl, Missouri State University (bensyl at missouriwestern.edu <mailto:bensyl at missouriwestern.edu>)
> 
> Prof. Paul Dunscomb, University of Alaska Anchorage (pedunscomb at alaska.edu <mailto:pedunscomb at alaska.edu>)
> 
> Contact Email: 
> pedunscomb at alaska.edu <mailto:pedunscomb at alaska.edu>
> URL: 
> http://www.japanstudies.org/2018-workshop-at-hendrix-college.html <http://www.japanstudies.org/2018-workshop-at-hendrix-college.html>
> Read more or reply <https://networks.h-net.org/user/login?destination=node/1543437>
> Back to top <x-msg://23/#topdigest>



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 Mar 20 01:20:27 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 20 Mar 2018 14:20:27 +0900
Subject: [KineJapan] Yubari International Fantastic Film Festival
Message-ID: <mailman.1662.1521523232.25778.kinejapan@lists.osu.edu>

Hi All,

I just wanted to provide some impression from this year's Yubari
International Fantastic Film Festival, which I returned from last night.

Yubari is one of the thee most interesting festivals in Japan (my opinion),
and all of them begin with 'Y': Yubari, Yufuin, and Yamagata. More than
even many of the other festivals in Japan, Yubari is in a dire financial
situation. The city filed for bankruptcy in 2007, and Yubari is (according
to The Guardian) the town with the highest average population age in Japan
- and that's saying something. And yet the festival goes on, running on
pure enthusiasm - there are few festivals with such a low average age of
the directors and staff, and it remains one of the epicenters of Jishu-film.

The energy of the filmmakers was, as always, amazing. Every night is full
of hours of high-octane film discussion - there is really no other film
festival I know with that kind of energy. At the same time it's clearly a
very gendered festival- as even a brief look at the list of directors will
tell you. Actress and director Hotaru was on the jury last year and broke
into tears at the closing ceremony, saying she wished the festival were a
bit more open to female filmmakers (and a bit less embracing of a male
adolescent perspective in the films' sensibilities).

The support the town itself and the people of Yubari give the festival is
stunning every time- as the buses with guests and film staff roll into town
people line the streets waving and calling  greetings (in the middle of the
Hokkaido winter- and the average age is probably around 70). People
actually turn out to watch all the weird, provocative stuff that Yubari is
famous for, organize nighttime stove parties with deer and bear meat they
hunted themselves and cook soup for the receptions.

It was a real honor to be on the Off Theater Competition Jury with head of
the jury Zeze Takahisa, director Irie Yu (8000 Miles / Saitama no Rappa),
actress Takiuchi Kimi (Side Job, director Hiroki Ryuichi), and Puchon Film
Festival Programmer Kim Bongseok. The International Short Film Competition
jurors were director Omori Tatsushi, animation director Ishiguro Kyohei,
and animation director Hara Toshiko.


The winners in the Off-Theater competition were:
Grand Prix: ED (Nishiguchi Hikaru)
Jury Special Award: Night of the Dead Geisha ((????????, Naruse Kiyoto)
Governor of Hokkaido Prize: Cyclops (??????, Oba Norichika)
Cinegar Award: Cyclops (??????, Oba Norichika)

And the winners in the International Short Film Competition:
Grand Prix: Pan ?????Tsuji Nagiko and Sakamoto Yuugo)
There are a number of other prizes you can check out on the Yubari website.

My three takeaways from Yubari this year:
1) I wish there were more female directors in the Off Theater Competition
2) Kansai is going strong- the winners of the Grand Prize and the Jury's
Special Award are both from Osaka University of the Arts
3) Tsuji Nagiko is one to watch out for, and destined for great things. She
acted in several of the films in the competition, Night of the Dead Geisha
among them, and co-directed (and scripted) Pan. And she stole every scene
she was in. I originally met her through her involvement with Planet
Studyo+1 and the CO2 Film Festival- she's very young, but she's everywhere
at the moment, and exploding with talent.


There was a kind of counter-festival running at the same time as Yubari -
in Yubari itself, even. Director and special-effects expert Nishimura Yoshihiro
(a jury member in 2015) organized the ????? or Resistance/Revolt Film
Festival to counter what he felt was Yubari itself losing its edge in
recent years.


There is a lot more to say about Yubari, but that's it for now-


Alex


Alexander Zahlten

Dept. of East Asian Languages & Civilizations

Harvard University
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From kinejapan at lists.osu.edu  Wed Mar 14 08:19:54 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 14 Mar 2018 23:19:54 +1100
Subject: [KineJapan] Pink Film Restoration Project
In-Reply-To: <mailman.1451.1520913522.17441.kinejapan@lists.osu.edu>
References: <mailman.1451.1520913522.17441.kinejapan@lists.osu.edu>
Message-ID: <mailman.2955.1521030070.17441.kinejapan@lists.osu.edu>

Can put my archivist hat on for a moment? If that?s OK,  I?d hope that the scanning might be done on something better than the Blackmagic. 

Don?t get me wrong. Love the things. Its brilliant that they based on the old Cinetel telecine mechanics and I, of course want to be patriotic for an Australian product. And they give a lot of bag per buck for around $US60k fully set up - for something like doing release prints or fine grains in good condition for re-release on HD TV. 

But their best output is actually only UHD (that?s really only 3k, not the full 4k) for 35mm. 2k only for 16mm, if that?s part of the project. And to a max of 10 colour bit. This is a bit short of what the consensus in the field agrees will record true 35mm colour, which is at least 4k and maybe 12 or 16 colour bit. They are also bit unforgiving for shrunken or damaged film, or for doing scans off and not up to A and B rolls. Which in some cases is the source material you really need to go back to, to do a ?preservation scan? which will both give you plenty of restoration options once the scan?s been done and create a decent .dpx file you can return in future if you have money and time to do a better job. For a bit more (say a bit upwards of $100-150k), there is a whole class of scanners that go the next level up (its? a little off-topic, but see the Swiss Diastor Projects recent white paper on current film scanner technologies here for a bit of background briefing on this: https://diastor.ch)

But then who has even $100k US in the Japanese indie sector? The work Imagica does in restoring Japanese studio classic cinema is world class. It?s probably got better since the there Bologna film archive people, whose film restoration unit is the market leader in this field, set up office in Hong Kong and gave them a competitor  for Asian film restoration business. It?s a pity that the Japanese indie sector can?t access this resource in at least a good corporate citizenship kind of way. Maybe through a Japanese equivalent to the US National Film Preservation Foundation 25 films of significance listings and to the attached kudos, publicity and preservation funding that goes with this. 

Those who know the NFPF lists and something of the politics behind the lobbying and decision will detect the very strategic balance each year?s list strikes between classic Hollywood and vital works from the canon of US indie / documentary / avant grade / minority community representation / home movie filmmaking. About 50-50%. 

I?m being quixotic, but perhaps one of the first initiatives of the new, stand alone NFC can be to work on industry partnerships towards a similar Japanese conversation starter and consensus-based funding program? 

Quentin Turnour.
National Archives of Australia.
> On 12 Mar 2018, at 1:21 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> I had a nice talk with Aihara Hiromi, who helps out with foreign film festivals here and there. She's involved in an interesting project. Rapid Eye Lab (Peter Schulz, Stephan Holl, et al) acquired a Black Magic scanner that enables 4K scans on the (relative) cheap. They are apparently focussing on independent films of note, and not just Japan. 
> 
> The pink film project was just announced at Berlin with a tribute to producer Sato Keiko. First films are Yamatoya's Inflatable Sex Doll of the Wastelands, Adachi's Gushing Prayer and Suo's Abnormal Family. Films by Mukai and Watanabe in the pipeline. 
> 
> I've heard the film center has collected some pink film, but I've never heard of restorations. So this is a great thing, and the choices are interesting. These films are easily rentable now for those involved in programming. Details are in the attached press kit.
> 
> 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
> 
> <180206_Pink_Presskit_III.pdf>_______________________________________________
> 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 Mar 11 12:11:13 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 11 Mar 2018 17:11:13 +0100
Subject: [KineJapan] Upcoming cinema lecture at Kyoto University
Message-ID: <mailman.1454.1520913543.17441.kinejapan@lists.osu.edu>

 Dear KineJapan members,

I'd like to share an upcoming cinema lecture at Kyoto University - the
topic is not strictly Japanese Film, but perhaps local members may find it
of interest.
Please find the info below and poster attached: I'd be very grateful if you
could circulate it though the KineJapan network.

With many thanks,

Jennifer

Dr. Jennifer Coates
Assistant Professor
Hakubi Center for Advanced Research
Kyoto University
http://www.hakubi.kyoto-u.ac.jp/eng/02_mem/05coates.shtml
http://www.hkupress.org/Common/Reader/Products/ShowProduct.jsp?Pid=1&Version=0&Cid=16&Charset=iso-8859-1&page=-1&key=9789888208999

Contemporary Complex Cinema: The Case of Impossible Puzzles
Speaker: Dr Mikl?s Kiss, University of Groningen
Date: Friday March 23, 2018 16:00-18:00
Place: Hakubi Center for Advanced Research, Research Administration
Building (no. 61), Seminar room 3, Floor B1, Kyoto University Main Campus
Yoshida-honmachi, Sakyo-ku, Kyoto 606-8501

Since the late 1990s there has been a palpable increase in complex
storytelling in movies. But how and why do complex movies create perplexity
and confusion? How do we engage with these challenges?
Dr. Mikl?s Kiss is Assistant Professor in Film and Media Studies at the
University of Groningen, the Netherlands. His research focuses on
contemporary audiovisual media, intersecting the fields of narrative and
cognitive film theories.
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From kinejapan at lists.osu.edu  Sun Mar 11 22:21:50 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 12 Mar 2018 11:21:50 +0900
Subject: [KineJapan] Pink Film Restoration Project
Message-ID: <mailman.1451.1520913522.17441.kinejapan@lists.osu.edu>

I had a nice talk with Aihara Hiromi, who helps out with foreign film
festivals here and there. She's involved in an interesting project. Rapid
Eye Lab (Peter Schulz, Stephan Holl, et al) acquired a Black Magic scanner
that enables 4K scans on the (relative) cheap. They are apparently
focussing on independent films of note, and not just Japan.

The pink film project was just announced at Berlin with a tribute to
producer Sato Keiko. First films are Yamatoya's *Inflatable Sex Doll of the
Wastelands, *Adachi's *Gushing Prayer* and Suo's *Abnormal Family*. Films
by Mukai and Watanabe in the pipeline.

I've heard the film center has collected some pink film, but I've never
heard of restorations. So this is a great thing, and the choices are
interesting. These films are easily rentable now for those involved in
programming. Details are in the attached press kit.

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  Mon Mar 12 08:15:03 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 12 Mar 2018 12:15:03 +0000 (UTC)
Subject: [KineJapan] Bowing before Eastwood
References: <116060257.23025983.1520856903385.ref@mail.yahoo.com>
Message-ID: <mailman.279.1520856908.17441.kinejapan@lists.osu.edu>

As you say, Japanese directors often focus on decidedly non-mainstream figures, and films too. It's possible to find American directors and academics speaking positively about Hooper's Texas Chain Saw Massacre, or Salem's Lot and Poltergeist, but in Kurosawa's opinion Hooper's best films are Lifeforce (a Hammer tribute that's generally considered at best an amusing bit of fluff) and Spontaneous Combustion, a film that is usually only mentioned when describing just how bad Hooper's post-TCSM career has become. Finding westerners defending either of those works is virtually impossible. 

Jim Harper.

On Fri, 9/3/18, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:

 Subject: Re: [KineJapan] Bowing before Eastwood
 To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
 Date: Friday, 9 March, 2018, 14:01
 
 Knowing a
 number of filmmakers who studied under Hasumi, I know about
 this love for Eastwood. It can be explained in part by a
 refusal to do ideological film analysis, by respect for a
 great one who can?t be criticized (like Hasumi himself),
 and by a very different view of American cinema than the one
 many American academics have. I once tried to discuss this
 with Aoyama Shinji around the time Lost in America came out
 in 2000.?
 Do
 remember that greats like Kurosawa Kiyoshi are fans of films
 most American academics have forgotten. I?m not just
 talking about Tobe Hooper, who was like God to Kurosawa-san,
 but directors like Richard Fleischer. When Kurosawa came to
 Yale, he talked at length and gave a precise analysis of a
 scene from Fleischer's Boston Strangler.?
 The
 Takeshi switch is interesting, but it won?t work because
 Takeshi is treated the same as Eastwood. I might have
 written a book on him, but I will admit Takeshi has made
 some bad films. But someone like Abe Kasho will never admit
 it.
 Aaron
 Gerow
 
 2018/03/09 ??10:12?Japanese
 Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
 ?????
 
 I just had
 the Eastwood fight too, and we got into Eastwood's
 recent political speech. ?The position in defense of his
 films was that?Eastwood the crank is isolated?outside the
 work, which stands on its own as storytelling?craft or
 whatever. ?I haven't seen the new film, and don't
 intend to, but I would like to hear someone try to?make the
 argument that this material is isolated from ideology! ?I
 wish I'd thought of Jeremy's clever?Takeshi switch
 when I was fighting this one out.
 The Japan Times
 article is great. ?I laughed out loud several times while
 reading it.
 Ryan
 (Cook)From:?KineJapan
 <kinejapan-bounces+ryan.cook=emory.edu at lists.osu.edu>
 on behalf of Japanese Cinema Discussion Forum via KineJapan
 <kinejapan at lists.osu.edu>
 Sent:?Friday,
 March 9, 2018 7:58:23 AM
 To:?Japanese
 Cinema Discussion Forum
 Subject:?Re:
 [KineJapan] Bowing before Eastwood?I was wondering about this,
 Mark. All the people I've had the Clintwood argument
 with are men. I do think his swaggering masculinity is part
 of the attraction. Combined with auteurism, it's a heady
 mix.
 Markus
 ---?
 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
 
 On Fri, Mar 9, 2018 at
 12:23 PM, Japanese Cinema Discussion Forum via
 KineJapan?<kinejapan at lists.osu.edu>?wrote:
 Thanks
 for the reference to?St?phane Bouquet's book,
 Jeremy.
 I
 guess a follow-up question would be: is the "Eastwood
 effect" in Japan similar to what?Bouquet describes
 amongst audiences in France. I.e., does his work enjoy a
 generally favorable reception, not so much because of any
 quality of his films, but rather because of an aura that
 surrounds the man himself, an imaginary of "la vieille
 Am?rique, ... l?Am?rique id?ale" ?
 M.
 RobertsUniversity of Tokyo
 Center for Philosophy (UTCP)
 On Mar 9, 2018, at 11:17, Japanese
 Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
 wrote:
 Wow, yeah.?I've had the
 American Sniper fight too. Good read, this
 article.
 I want to concede that
 being from the same country can leave one blind to an
 artist's beauty, but it's so true that no one will
 ever say what they think is so *good* about his movies. And
 it?s not like they?re all terrible enough to knock down
 one by one. They just don?t feel very meticulously
 considered or crafted. It has led to many very frustrating
 nights of drinking with othewise great friends (possibly on
 this list?) - cinefils and movie lovers. The first time it
 started happening, around 2008, I went and watched every
 movie he?d made for the previous ten years. And they just
 don?t even begin to warrant comparisons to other American
 masters?say John Ford, whose name has come up in these
 conversations. (nor, per the article, Hitchcok and
 Ozu)
 I do have a modest
 response to (Japanese) people I?ve met who were apparently
 moved by Gran Torino as some kind of redemption for US wars
 in Asia, which is to ask them to imagine the same movie made
 by and starring Takeshi as a racist cold-hearted war
 veteran, with the audience laughing along with him cursing
 up a storm of racial slurs for the first half, until he
 warms to some delicious food and underage kids whom only he
 can save, through literal sacrifice in a shower of cherry
 blossoms. Set in Okubo or someplace. Call the film
 Yamazakura or Yaezakura or something.This comparision
 doesn?t work for Eastwood fans who don?t like Gran
 Torino though.
 Apparently it?s a
 scourge in France too: ?Clint
 Fucking Eastwood?"Eastwood a le
 droit ? un ?trange traitement de faveur qui s?explique,
 me semble-t-il, par le fait qu?on a cru, et continue ?
 croire, au f?tiche. Il y a une fa?on d?h?ro?sation du
 cin?aste qui fonctionne ? plein chez les spectateurs,
 comme s?ils ?taient contents d?avoir encore un objet ?
 v?n?rer. Je pousserais volontiers un pas plus loin en
 pr?cisant que le f?tiche que v?n?rent les spectateurs
 fran?ais ce n?est pas seulement l?homme Eastwood mais
 l?homme qui se prend pour la vieille Am?rique, pour
 l?Am?rique id?ale."
 
 Jeremy HarleyMabashi Movie
 Festival
 On Thu, Mar 8, 2018 at
 7:15 PM, Japanese Cinema Discussion Forum via KineJapan?<kinejapan at lists.osu.edu>?wrote:
 Is Hasumi
 really that influential at Kinema Junpo?
 On Thu, Mar 8, 2018 at 6:11 PM
 Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
 wrote:
 ?Nice Hadfield article on the
 critical fawning for Clint Eastwood on Japan. I once had a
 conversation with Funahashi-san about American Sniper that
 devolved into an argument where neither of us could
 understand the other or care to budge. Since then I
 studiously avoid the subject. I can?t say Hadfield has
 cracked the Clint Code?-unless I is, indeed, Hasumi?s
 fault?- but it?s an entertaining read.
 Markus
 https://www.japantimes.co.jp/c
 ulture/2018/03/07/films/clint-
 eastwoods-japan-critics-always -make-day/--?
 ---?
 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
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 _________________
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 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/
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 KineJapan mailing list
 KineJapan at lists.osu.edu
 https://lists.osu.edu/mailman/
 listinfo/kinejapan
 
 
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 https://lists.osu.edu/mailman/
 listinfo/kinejapan
 
 
 
 
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From kinejapan at lists.osu.edu  Sat Mar 10 08:12:13 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 10 Mar 2018 22:12:13 +0900
Subject: [KineJapan] Chris Marker, the film-essay, and the meeting with Japan
Message-ID: <mailman.3933.1520687539.2064.kinejapan@lists.osu.edu>

Dear members, 

An interesting exhibition about Marker and Japan kicked off yesterday in Copenhagen:

With or Without the Sun

Chris Marker, the film-essay, and the meeting with Japan

http://www.sixtyeight.dk/upcoming2.html

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


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From kinejapan at lists.osu.edu  Fri Mar  9 09:01:41 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 23:01:41 +0900
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.1087.1520601147.2130.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
	<mailman.2612.1520565840.2064.kinejapan@lists.osu.edu>
	<mailman.2792.1520600310.2064.kinejapan@lists.osu.edu>
	<mailman.1087.1520601147.2130.kinejapan@lists.osu.edu>
Message-ID: <mailman.2920.1520604112.2064.kinejapan@lists.osu.edu>

Knowing a number of filmmakers who studied under Hasumi, I know about this love for Eastwood. It can be explained in part by a refusal to do ideological film analysis, by respect for a great one who can?t be criticized (like Hasumi himself), and by a very different view of American cinema than the one many American academics have. I once tried to discuss this with Aoyama Shinji around the time Lost in America came out in 2000. 

Do remember that greats like Kurosawa Kiyoshi are fans of films most American academics have forgotten. I?m not just talking about Tobe Hooper, who was like God to Kurosawa-san, but directors like Richard Fleischer. When Kurosawa came to Yale, he talked at length and gave a precise analysis of a scene from Fleischer's Boston Strangler. 

The Takeshi switch is interesting, but it won?t work because Takeshi is treated the same as Eastwood. I might have written a book on him, but I will admit Takeshi has made some bad films. But someone like Abe Kasho will never admit it.

Aaron Gerow

> 2018/03/09 ??10:12?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
> 
> 
> I just had the Eastwood fight too, and we got into Eastwood's recent political speech.  The position in defense of his films was that Eastwood the crank is isolated outside the work, which stands on its own as storytelling craft or whatever.  I haven't seen the new film, and don't intend to, but I would like to hear someone try to make the argument that this material is isolated from ideology!  I wish I'd thought of Jeremy's clever Takeshi switch when I was fighting this one out.
> 
> The Japan Times article is great.  I laughed out loud several times while reading it.
> 
> Ryan (Cook)
> From: KineJapan <kinejapan-bounces+ryan.cook=emory.edu at lists.osu.edu <mailto:kinejapan-bounces+ryan.cook=emory.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: Friday, March 9, 2018 7:58:23 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] Bowing before Eastwood
>  
> I was wondering about this, Mark. All the people I've had the Clintwood argument with are men. I do think his swaggering masculinity is part of the attraction. Combined with auteurism, it's a heady mix.
> 
> 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 Fri, Mar 9, 2018 at 12:23 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
> Thanks for the reference to St?phane Bouquet's book, Jeremy.
> 
> I guess a follow-up question would be: is the "Eastwood effect" in Japan similar to what Bouquet describes amongst audiences in France. I.e., does his work enjoy a generally favorable reception, not so much because of any quality of his films, but rather because of an aura that surrounds the man himself, an imaginary of "la vieille Am?rique, ... l?Am?rique id?ale" ?
> 
> M. Roberts
> University of Tokyo Center for Philosophy (UTCP)
> 
>> On Mar 9, 2018, at 11:17, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
>> 
>> Wow, yeah. 
>> I've had the American Sniper fight too. Good read, this article.
>> 
>> I want to concede that being from the same country can leave one blind to an artist's beauty, but it's so true that no one will ever say what they think is so *good* about his movies. And it?s not like they?re all terrible enough to knock down one by one. They just don?t feel very meticulously considered or crafted. It has led to many very frustrating nights of drinking with othewise great friends (possibly on this list?) - cinefils and movie lovers. The first time it started happening, around 2008, I went and watched every movie he?d made for the previous ten years. And they just don?t even begin to warrant comparisons to other American masters?say John Ford, whose name has come up in these conversations. (nor, per the article, Hitchcok and Ozu)
>> 
>> I do have a modest response to (Japanese) people I?ve met who were apparently moved by Gran Torino as some kind of redemption for US wars in Asia, which is to ask them to imagine the same movie made by and starring Takeshi as a racist cold-hearted war veteran, with the audience laughing along with him cursing up a storm of racial slurs for the first half, until he warms to some delicious food and underage kids whom only he can save, through literal sacrifice in a shower of cherry blossoms. Set in Okubo or someplace. Call the film Yamazakura or Yaezakura or something.
>> This comparision doesn?t work for Eastwood fans who don?t like Gran Torino though.
>> 
>> Apparently it?s a scourge in France too:  
>> Clint Fucking Eastwood? <http://www.capricci.fr/clint-fucking-eastwood-80.html>
>> "Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les spectateurs, comme s?ils ?taient contents d?avoir encore un objet ? v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour l?Am?rique id?ale."
>> 
>> 
>> Jeremy Harley
>> Mabashi Movie Festival
>> 
>> On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
>> Is Hasumi really that influential at Kinema Junpo?
>> 
>> On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
>>  Nice Hadfield article on the critical fawning for Clint Eastwood on Japan. I once had a conversation with Funahashi-san about American Sniper that devolved into an argument where neither of us could understand the other or care to budge. Since then I studiously avoid the subject. I can?t say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s fault?- but it?s an entertaining read.
>> 
>> Markus
>> 
>> https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/ <https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/>-- 
>> --- 
>> 
>> 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
>> 
>> _______________________________________________
>> 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 <mailto:KineJapan at lists.osu.edu>
>> https://lists.osu.edu/mailman/listinfo/kinejapan <https://lists.osu.edu/mailman/listinfo/kinejapan>
> 
> 
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> 
> 
> 
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From kinejapan at lists.osu.edu  Fri Mar  9 08:12:22 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 13:12:22 +0000
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.2792.1520600310.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
	<mailman.2612.1520565840.2064.kinejapan@lists.osu.edu>,
	<mailman.2792.1520600310.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.1087.1520601147.2130.kinejapan@lists.osu.edu>


I just had the Eastwood fight too, and we got into Eastwood's recent political speech.  The position in defense of his films was that Eastwood the crank is isolated outside the work, which stands on its own as storytelling craft or whatever.  I haven't seen the new film, and don't intend to, but I would like to hear someone try to make the argument that this material is isolated from ideology!  I wish I'd thought of Jeremy's clever Takeshi switch when I was fighting this one out.


The Japan Times article is great.  I laughed out loud several times while reading it.


Ryan (Cook)

________________________________
From: KineJapan <kinejapan-bounces+ryan.cook=emory.edu at lists.osu.edu> on behalf of Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Sent: Friday, March 9, 2018 7:58:23 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Bowing before Eastwood

I was wondering about this, Mark. All the people I've had the Clintwood argument with are men. I do think his swaggering masculinity is part of the attraction. Combined with auteurism, it's a heady mix.

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 Fri, Mar 9, 2018 at 12:23 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
Thanks for the reference to St?phane Bouquet's book, Jeremy.

I guess a follow-up question would be: is the "Eastwood effect" in Japan similar to what Bouquet describes amongst audiences in France. I.e., does his work enjoy a generally favorable reception, not so much because of any quality of his films, but rather because of an aura that surrounds the man himself, an imaginary of "la vieille Am?rique, ... l?Am?rique id?ale" ?

M. Roberts
University of Tokyo Center for Philosophy (UTCP)

On Mar 9, 2018, at 11:17, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:

Wow, yeah.
I've had the American Sniper fight too. Good read, this article.

I want to concede that being from the same country can leave one blind to an artist's beauty, but it's so true that no one will ever say what they think is so *good* about his movies. And it?s not like they?re all terrible enough to knock down one by one. They just don?t feel very meticulously considered or crafted. It has led to many very frustrating nights of drinking with othewise great friends (possibly on this list?) - cinefils and movie lovers. The first time it started happening, around 2008, I went and watched every movie he?d made for the previous ten years. And they just don?t even begin to warrant comparisons to other American masters?say John Ford, whose name has come up in these conversations. (nor, per the article, Hitchcok and Ozu)

I do have a modest response to (Japanese) people I?ve met who were apparently moved by Gran Torino as some kind of redemption for US wars in Asia, which is to ask them to imagine the same movie made by and starring Takeshi as a racist cold-hearted war veteran, with the audience laughing along with him cursing up a storm of racial slurs for the first half, until he warms to some delicious food and underage kids whom only he can save, through literal sacrifice in a shower of cherry blossoms. Set in Okubo or someplace. Call the film Yamazakura or Yaezakura or something.
This comparision doesn?t work for Eastwood fans who don?t like Gran Torino though.

Apparently it?s a scourge in France too:
Clint Fucking Eastwood <http://www.capricci.fr/clint-fucking-eastwood-80.html>
"Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les spectateurs, comme s?ils ?taient contents d?avoir encore un objet ? v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour l?Am?rique id?ale."


Jeremy Harley
Mabashi Movie Festival

On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
Is Hasumi really that influential at Kinema Junpo?

On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
 Nice Hadfield article on the critical fawning for Clint Eastwood on Japan. I once had a conversation with Funahashi-san about American Sniper that devolved into an argument where neither of us could understand the other or care to budge. Since then I studiously avoid the subject. I can?t say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s fault?- but it?s an entertaining read.

Markus

https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/--
---
[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

_______________________________________________
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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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  Fri Mar  9 07:58:23 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 21:58:23 +0900
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.2612.1520565840.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
	<mailman.2612.1520565840.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.2792.1520600310.2064.kinejapan@lists.osu.edu>

I was wondering about this, Mark. All the people I've had the Clintwood
argument with are men. I do think his swaggering masculinity is part of the
attraction. Combined with auteurism, it's a heady mix.

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 Fri, Mar 9, 2018 at 12:23 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Thanks for the reference to St?phane Bouquet's book, Jeremy.
>
> I guess a follow-up question would be: is the "Eastwood effect" in Japan
> similar to what Bouquet describes amongst audiences in France. I.e., does
> his work enjoy a generally favorable reception, not so much because of any
> quality of his films, but rather because of an aura that surrounds the man
> himself, an imaginary of "la vieille Am?rique, ... l?Am?rique id?ale" ?
>
> M. Roberts
> University of Tokyo Center for Philosophy (UTCP)
>
> On Mar 9, 2018, at 11:17, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
> Wow, yeah.
> I've had the American Sniper fight too. Good read, this article.
>
> I want to concede that being from the same country can leave one blind to
> an artist's beauty, but it's so true that no one will ever say what they
> think is so *good* about his movies. And it?s not like they?re all terrible
> enough to knock down one by one. They just don?t feel very meticulously
> considered or crafted. It has led to many very frustrating nights of
> drinking with othewise great friends (possibly on this list?) - cinefils
> and movie lovers. The first time it started happening, around 2008, I went
> and watched every movie he?d made for the previous ten years. And they just
> don?t even begin to warrant comparisons to other American masters?say John
> Ford, whose name has come up in these conversations. (nor, per the article,
> Hitchcok and Ozu)
>
> I do have a modest response to (Japanese) people I?ve met who were
> apparently moved by Gran Torino as some kind of redemption for US wars in
> Asia, which is to ask them to imagine the same movie made by and starring
> Takeshi as a racist cold-hearted war veteran, with the audience laughing
> along with him cursing up a storm of racial slurs for the first half, until
> he warms to some delicious food and underage kids whom only he can save,
> through literal sacrifice in a shower of cherry blossoms. Set in Okubo or
> someplace. Call the film Yamazakura or Yaezakura or something.
> This comparision doesn?t work for Eastwood fans who don?t like Gran Torino
> though.
>
> Apparently it?s a scourge in France too:
> Clint Fucking Eastwood
> <http://www.capricci.fr/clint-fucking-eastwood-80.html>
> "Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me
> semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il
> y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les
> spectateurs, comme s?ils ?taient contents d?avoir encore un objet ?
> v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le
> f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement
> l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour
> l?Am?rique id?ale."
>
>
> Jeremy Harley
> Mabashi Movie Festival
>
> On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>> Is Hasumi really that influential at Kinema Junpo?
>>
>> On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via
>> KineJapan <kinejapan at lists.osu.edu> wrote:
>>
>>>  Nice Hadfield article on the critical fawning for Clint Eastwood on
>>> Japan. I once had a conversation with Funahashi-san about American Sniper
>>> that devolved into an argument where neither of us could understand the
>>> other or care to budge. Since then I studiously avoid the subject. I can?t
>>> say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s
>>> fault?- but it?s an entertaining read.
>>>
>>> Markus
>>>
>>> https://www.japantimes.co.jp/culture/2018/03/07/films/clint-
>>> eastwoods-japan-critics-always-make-day/--
>>> ---
>>>
>>> *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*
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.osu.edu
>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>
>>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Thu Mar  8 22:23:53 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 12:23:53 +0900
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.2612.1520565840.2064.kinejapan@lists.osu.edu>

Thanks for the reference to St?phane Bouquet's book, Jeremy.

I guess a follow-up question would be: is the "Eastwood effect" in Japan similar to what Bouquet describes amongst audiences in France. I.e., does his work enjoy a generally favorable reception, not so much because of any quality of his films, but rather because of an aura that surrounds the man himself, an imaginary of "la vieille Am?rique, ... l?Am?rique id?ale" ?

M. Roberts
University of Tokyo Center for Philosophy (UTCP)

> On Mar 9, 2018, at 11:17, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> Wow, yeah. 
> I've had the American Sniper fight too. Good read, this article.
> 
> I want to concede that being from the same country can leave one blind to an artist's beauty, but it's so true that no one will ever say what they think is so *good* about his movies. And it?s not like they?re all terrible enough to knock down one by one. They just don?t feel very meticulously considered or crafted. It has led to many very frustrating nights of drinking with othewise great friends (possibly on this list?) - cinefils and movie lovers. The first time it started happening, around 2008, I went and watched every movie he?d made for the previous ten years. And they just don?t even begin to warrant comparisons to other American masters?say John Ford, whose name has come up in these conversations. (nor, per the article, Hitchcok and Ozu)
> 
> I do have a modest response to (Japanese) people I?ve met who were apparently moved by Gran Torino as some kind of redemption for US wars in Asia, which is to ask them to imagine the same movie made by and starring Takeshi as a racist cold-hearted war veteran, with the audience laughing along with him cursing up a storm of racial slurs for the first half, until he warms to some delicious food and underage kids whom only he can save, through literal sacrifice in a shower of cherry blossoms. Set in Okubo or someplace. Call the film Yamazakura or Yaezakura or something.
> This comparision doesn?t work for Eastwood fans who don?t like Gran Torino though.
> 
> Apparently it?s a scourge in France too:  
> Clint Fucking Eastwood? <http://www.capricci.fr/clint-fucking-eastwood-80.html>
> "Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les spectateurs, comme s?ils ?taient contents d?avoir encore un objet ? v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour l?Am?rique id?ale."
> 
> 
> Jeremy Harley
> Mabashi Movie Festival
> 
> On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
> Is Hasumi really that influential at Kinema Junpo?
> 
> On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu>> wrote:
>  Nice Hadfield article on the critical fawning for Clint Eastwood on Japan. I once had a conversation with Funahashi-san about American Sniper that devolved into an argument where neither of us could understand the other or care to budge. Since then I studiously avoid the subject. I can?t say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s fault?- but it?s an entertaining read.
> 
> Markus
> 
> https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/ <https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/>-- 
> --- 
> 
> 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
> 
> _______________________________________________
> 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  Thu Mar  8 22:07:33 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 12:07:33 +0900
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.2590.1520562609.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
	<mailman.796.1520562107.2130.kinejapan@lists.osu.edu>
	<mailman.2590.1520562609.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.808.1520564878.2130.kinejapan@lists.osu.edu>

It makes no sense to compare Eastwood to directors from an entirely
different era like Hitchcock, Ozu, or Ford. He's the American Yamada Yoji.

On Fri, Mar 9, 2018 at 11:30 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Guess you might want to read my anthology on Eastwood coming out this
> fall: 'Tough Aint Enough...'
>    And tell his Japanese admirers to translate the book!   ?
>
>
> David Desser
> Sent from my Verizon, Samsung Galaxy smartphone
>
>
> -------- Original message --------
> From: Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu>
> Date: 3/8/18 6:21 PM (GMT-08:00)
> To: 'Japanese Cinema Discussion Forum' <kinejapan at lists.osu.edu>
> Subject: Re: [KineJapan] Bowing before Eastwood
>
> One would think the French would have a word for auteurism . . .
>
>
>
> *From:* KineJapan [mailto:kinejapan-bounces at lists.osu.edu] *On Behalf Of *Japanese
> Cinema Discussion Forum via KineJapan
> *Sent:* Thursday, March 8, 2018 8:18 PM
> *To:* Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
> *Subject:* Re: [KineJapan] Bowing before Eastwood
>
>
>
> Wow, yeah.
>
> I've had the American Sniper fight too. Good read, this article.
>
>
>
> I want to concede that being from the same country can leave one blind to
> an artist's beauty, but it's so true that no one will ever say what they
> think is so *good* about his movies. And it?s not like they?re all terrible
> enough to knock down one by one. They just don?t feel very meticulously
> considered or crafted. It has led to many very frustrating nights of
> drinking with othewise great friends (possibly on this list?) - cinefils
> and movie lovers. The first time it started happening, around 2008, I went
> and watched every movie he?d made for the previous ten years. And they just
> don?t even begin to warrant comparisons to other American masters?say John
> Ford, whose name has come up in these conversations. (nor, per the article,
> Hitchcok and Ozu)
>
>
>
> I do have a modest response to (Japanese) people I?ve met who were
> apparently moved by Gran Torino as some kind of redemption for US wars in
> Asia, which is to ask them to imagine the same movie made by and starring
> Takeshi as a racist cold-hearted war veteran, with the audience laughing
> along with him cursing up a storm of racial slurs for the first half, until
> he warms to some delicious food and underage kids whom only he can save,
> through literal sacrifice in a shower of cherry blossoms. Set in Okubo or
> someplace. Call the film Yamazakura or Yaezakura or something.
>
> This comparision doesn?t work for Eastwood fans who don?t like Gran Torino
> though.
>
>
>
> Apparently it?s a scourge in France too:
>
> Clint Fucking Eastwood
> <http://www.capricci.fr/clint-fucking-eastwood-80.html>
>
> "Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me
> semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il
> y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les
> spectateurs, comme s?ils ?taient contents d?avoir encore un objet ?
> v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le
> f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement
> l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour
> l?Am?rique id?ale."
>
>
>
>
>
> Jeremy Harley
>
> Mabashi Movie Festival
>
>
>
> On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
> Is Hasumi really that influential at Kinema Junpo?
>
>
>
> On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>  Nice Hadfield article on the critical fawning for Clint Eastwood on
> Japan. I once had a conversation with Funahashi-san about American Sniper
> that devolved into an argument where neither of us could understand the
> other or care to budge. Since then I studiously avoid the subject. I can?t
> say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s
> fault?- but it?s an entertaining read.
>
>
>
> Markus
>
>
>
> https://www.japantimes.co.jp/culture/2018/03/07/films/
> clint-eastwoods-japan-critics-always-make-day/--
>
> ---
>
> *[image: Image removed by sender.]*
>
> *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*
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Thu Mar  8 21:30:01 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 02:30:01 +0000
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.796.1520562107.2130.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>,
	<mailman.796.1520562107.2130.kinejapan@lists.osu.edu>
Message-ID: <mailman.2590.1520562609.2064.kinejapan@lists.osu.edu>

Guess you might want to read my anthology on Eastwood coming out this fall: 'Tough Aint Enough...'
   And tell his Japanese admirers to translate the book!   ?


David Desser
Sent from my Verizon, Samsung Galaxy smartphone


-------- Original message --------
From: Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Date: 3/8/18 6:21 PM (GMT-08:00)
To: 'Japanese Cinema Discussion Forum' <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Bowing before Eastwood

One would think the French would have a word for auteurism . . .

From: KineJapan [mailto:kinejapan-bounces at lists.osu.edu] On Behalf Of Japanese Cinema Discussion Forum via KineJapan
Sent: Thursday, March 8, 2018 8:18 PM
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Bowing before Eastwood

Wow, yeah.
I've had the American Sniper fight too. Good read, this article.

I want to concede that being from the same country can leave one blind to an artist's beauty, but it's so true that no one will ever say what they think is so *good* about his movies. And it?s not like they?re all terrible enough to knock down one by one. They just don?t feel very meticulously considered or crafted. It has led to many very frustrating nights of drinking with othewise great friends (possibly on this list?) - cinefils and movie lovers. The first time it started happening, around 2008, I went and watched every movie he?d made for the previous ten years. And they just don?t even begin to warrant comparisons to other American masters?say John Ford, whose name has come up in these conversations. (nor, per the article, Hitchcok and Ozu)

I do have a modest response to (Japanese) people I?ve met who were apparently moved by Gran Torino as some kind of redemption for US wars in Asia, which is to ask them to imagine the same movie made by and starring Takeshi as a racist cold-hearted war veteran, with the audience laughing along with him cursing up a storm of racial slurs for the first half, until he warms to some delicious food and underage kids whom only he can save, through literal sacrifice in a shower of cherry blossoms. Set in Okubo or someplace. Call the film Yamazakura or Yaezakura or something.
This comparision doesn?t work for Eastwood fans who don?t like Gran Torino though.

Apparently it?s a scourge in France too:
Clint Fucking Eastwood <http://www.capricci.fr/clint-fucking-eastwood-80.html>
"Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les spectateurs, comme s?ils ?taient contents d?avoir encore un objet ? v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour l?Am?rique id?ale."


Jeremy Harley
Mabashi Movie Festival

On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
Is Hasumi really that influential at Kinema Junpo?

On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
 Nice Hadfield article on the critical fawning for Clint Eastwood on Japan. I once had a conversation with Funahashi-san about American Sniper that devolved into an argument where neither of us could understand the other or care to budge. Since then I studiously avoid the subject. I can?t say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s fault?- but it?s an entertaining read.

Markus

https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/--
---
[Image removed by sender.]
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

_______________________________________________
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  Thu Mar  8 21:21:45 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 8 Mar 2018 20:21:45 -0600
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
	<mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.796.1520562107.2130.kinejapan@lists.osu.edu>

One would think the French would have a word for auteurism . . .

 

From: KineJapan [mailto:kinejapan-bounces at lists.osu.edu] On Behalf Of Japanese Cinema Discussion Forum via KineJapan
Sent: Thursday, March 8, 2018 8:18 PM
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Bowing before Eastwood

 

Wow, yeah. 

I've had the American Sniper fight too. Good read, this article.

 

I want to concede that being from the same country can leave one blind to an artist's beauty, but it's so true that no one will ever say what they think is so *good* about his movies. And it?s not like they?re all terrible enough to knock down one by one. They just don?t feel very meticulously considered or crafted. It has led to many very frustrating nights of drinking with othewise great friends (possibly on this list?) - cinefils and movie lovers. The first time it started happening, around 2008, I went and watched every movie he?d made for the previous ten years. And they just don?t even begin to warrant comparisons to other American masters?say John Ford, whose name has come up in these conversations. (nor, per the article, Hitchcok and Ozu)

 

I do have a modest response to (Japanese) people I?ve met who were apparently moved by Gran Torino as some kind of redemption for US wars in Asia, which is to ask them to imagine the same movie made by and starring Takeshi as a racist cold-hearted war veteran, with the audience laughing along with him cursing up a storm of racial slurs for the first half, until he warms to some delicious food and underage kids whom only he can save, through literal sacrifice in a shower of cherry blossoms. Set in Okubo or someplace. Call the film Yamazakura or Yaezakura or something.

This comparision doesn?t work for Eastwood fans who don?t like Gran Torino though.

 

Apparently it?s a scourge in France too:  

Clint Fucking Eastwood <http://www.capricci.fr/clint-fucking-eastwood-80.html>  

"Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les spectateurs, comme s?ils ?taient contents d?avoir encore un objet ? v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour l?Am?rique id?ale."

 

 

Jeremy Harley

Mabashi Movie Festival

 

On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu> > wrote:

Is Hasumi really that influential at Kinema Junpo?

 

On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu <mailto:kinejapan at lists.osu.edu> > wrote:

 Nice Hadfield article on the critical fawning for Clint Eastwood on Japan. I once had a conversation with Funahashi-san about American Sniper that devolved into an argument where neither of us could understand the other or care to budge. Since then I studiously avoid the subject. I can?t say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s fault?- but it?s an entertaining read.

 

Markus

 

https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/-- 

--- 



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

 

_______________________________________________
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  Thu Mar  8 21:17:34 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 9 Mar 2018 11:17:34 +0900
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
	<mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.2587.1520561859.2064.kinejapan@lists.osu.edu>

Wow, yeah.
I've had the American Sniper fight too. Good read, this article.

I want to concede that being from the same country can leave one blind to
an artist's beauty, but it's so true that no one will ever say what they
think is so *good* about his movies. And it?s not like they?re all terrible
enough to knock down one by one. They just don?t feel very meticulously
considered or crafted. It has led to many very frustrating nights of
drinking with othewise great friends (possibly on this list?) - cinefils
and movie lovers. The first time it started happening, around 2008, I went
and watched every movie he?d made for the previous ten years. And they just
don?t even begin to warrant comparisons to other American masters?say John
Ford, whose name has come up in these conversations. (nor, per the article,
Hitchcok and Ozu)

I do have a modest response to (Japanese) people I?ve met who were
apparently moved by Gran Torino as some kind of redemption for US wars in
Asia, which is to ask them to imagine the same movie made by and starring
Takeshi as a racist cold-hearted war veteran, with the audience laughing
along with him cursing up a storm of racial slurs for the first half, until
he warms to some delicious food and underage kids whom only he can save,
through literal sacrifice in a shower of cherry blossoms. Set in Okubo or
someplace. Call the film Yamazakura or Yaezakura or something.
This comparision doesn?t work for Eastwood fans who don?t like Gran Torino
though.

Apparently it?s a scourge in France too:
Clint Fucking Eastwood
<http://www.capricci.fr/clint-fucking-eastwood-80.html>
"Eastwood a le droit ? un ?trange traitement de faveur qui s?explique, me
semble-t-il, par le fait qu?on a cru, et continue ? croire, au f?tiche. Il
y a une fa?on d?h?ro?sation du cin?aste qui fonctionne ? plein chez les
spectateurs, comme s?ils ?taient contents d?avoir encore un objet ?
v?n?rer. Je pousserais volontiers un pas plus loin en pr?cisant que le
f?tiche que v?n?rent les spectateurs fran?ais ce n?est pas seulement
l?homme Eastwood mais l?homme qui se prend pour la vieille Am?rique, pour
l?Am?rique id?ale."


Jeremy Harley
Mabashi Movie Festival

On Thu, Mar 8, 2018 at 7:15 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Is Hasumi really that influential at Kinema Junpo?
>
> On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>>  Nice Hadfield article on the critical fawning for Clint Eastwood on
>> Japan. I once had a conversation with Funahashi-san about American Sniper
>> that devolved into an argument where neither of us could understand the
>> other or care to budge. Since then I studiously avoid the subject. I can?t
>> say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s
>> fault?- but it?s an entertaining read.
>>
>> Markus
>>
>> https://www.japantimes.co.jp/culture/2018/03/07/films/
>> clint-eastwoods-japan-critics-always-make-day/--
>> ---
>>
>> *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*
>>
>> _______________________________________________
>> 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  Thu Mar  8 05:15:56 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 08 Mar 2018 10:15:56 +0000
Subject: [KineJapan] Bowing before Eastwood
In-Reply-To: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
References: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>
Message-ID: <mailman.1291.1520504170.2064.kinejapan@lists.osu.edu>

Is Hasumi really that influential at Kinema Junpo?

On Thu, Mar 8, 2018 at 6:11 PM Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

>  Nice Hadfield article on the critical fawning for Clint Eastwood on
> Japan. I once had a conversation with Funahashi-san about American Sniper
> that devolved into an argument where neither of us could understand the
> other or care to budge. Since then I studiously avoid the subject. I can?t
> say Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s
> fault?- but it?s an entertaining read.
>
> Markus
>
>
> https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/--
>
> ---
>
> *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*
>
> _______________________________________________
> 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 Mar  8 04:21:58 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 08 Mar 2018 10:21:58 +0100
Subject: [KineJapan] thomas blake glover house in Nagasaki
In-Reply-To: <20180308101702.Horde.z4hE3BlVt28DbIwkEWe32kg@webmail.servus.at>
References: <mailman.4694.1519312911.58580.kinejapan@lists.osu.edu>
	<20180308101702.Horde.z4hE3BlVt28DbIwkEWe32kg@webmail.servus.at>
Message-ID: <mailman.1272.1520500927.2064.kinejapan@lists.osu.edu>

Dear all,

I am trying to get hold of an historic image of Thomas Blake Glover's  
house in Nagasaki for inclusion in a major forthcoming publication,  
reference image in this article (on the right hand side):
https://www.japantimes.co.jp/life/2011/12/11/general/the-scot-who-shaped-japan/#.WqDzTng3Pbo
or
http://www.japansmeijiindustrialrevolution.com/en/site/nagasaki/component05.html

I cannot identify copyright holders and whom to best contact.

Can anyone on the list please help-advise? I would be enormously grateful.

Thank you!
Verina

Dr. Verina Gfader
artist and researcher
Animate Assembly[1]



Links:
------
[1] http://art.gold.ac.uk/animate/
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From kinejapan at lists.osu.edu  Thu Mar  8 04:10:53 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 08 Mar 2018 09:10:53 +0000
Subject: [KineJapan] Bowing before Eastwood
Message-ID: <mailman.1267.1520500270.2064.kinejapan@lists.osu.edu>

 Nice Hadfield article on the critical fawning for Clint Eastwood on Japan.
I once had a conversation with Funahashi-san about American Sniper that
devolved into an argument where neither of us could understand the other or
care to budge. Since then I studiously avoid the subject. I can?t say
Hadfield has cracked the Clint Code?-unless I is, indeed, Hasumi?s fault?-
but it?s an entertaining read.

Markus

https://www.japantimes.co.jp/culture/2018/03/07/films/clint-eastwoods-japan-critics-always-make-day/--

---

*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  Tue Mar  6 12:05:03 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 6 Mar 2018 17:05:03 +0000
Subject: [KineJapan] MLA CFP of interest to KineJapan list members
Message-ID: <mailman.2640.1520355907.43426.kinejapan@lists.osu.edu>

Good afternoon all,


At the risk of posting this a bit last-minute, I wanted to share a CFP for a session I'm submitting to MLA 2019 for consideration as an executive member of LLC Japanese Since 1900. I'm looking for papers that address a variety of media, so I hope it could be of interest to some list members. Note that all the presenters' abstracts I submit to MLA on April 1 need to be current members, although the session is not guaranteed. Please see below and let me know directly if you have any questions, and feel free to share with others I might have missed.


Dr. Molly C. Des Jardin

Japanese Studies Librarian

University of Pennsylvania

527 Van Pelt-Dietrich Library

3420 Walnut Street

Philadelphia, PA 19104

mollydes at upenn.edu

orcid.org/0000-0001-7294-2898<https://orcid.org/0000-0001-7294-2898>

(215) 898-3205


CFP: "Textual Transference in Modern and Contemporary Japan"


Deadline 15 March 2018
250-word abstract & CV to -> Molly Des Jardin mollydes at upenn.edu

How does creative work get reused, translated, or adapted in modern and contemporary Japan? This panel seeks to explore questions of "transference" writ large: cultural memes, tropes, characters, fictional works, and their reinterpretation in media of all kinds. Potential topics might include:

- Translation into modern language (gendaigo-yaku) of premodern or early modern Japanese works, (ex: some volumes of the Nihon bungaku zensh? pub. Kawade Shob?, 2014-)
- Adaptation of works into other formats, such as literature reinterpreted as manga, film, video games, or fanfiction
- Echoes of common themes or tropes over time or across media
- Franchises reusing characters or stories in multiple media formats
- Substantial editing or framing of earlier creative work in new editions

The panel seeks to pursue these issues as broadly as possible, within the framework of Japanese literature (and other creative media) after 1900. Both original research and papers reflecting on the pedagogy or practice of translation, reuse, and reinterpretation are welcome.

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From kinejapan at lists.osu.edu  Fri Mar  2 18:55:04 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 3 Mar 2018 08:55:04 +0900
Subject: [KineJapan] Hara Masato documentary
In-Reply-To: <mailman.6785.1520029524.36637.kinejapan@lists.osu.edu>
References: <mailman.212.1518359832.63088.kinejapan@lists.osu.edu>
	<mailman.366.1518397949.63088.kinejapan@lists.osu.edu>
	<mailman.7036.1518401405.19964.kinejapan@lists.osu.edu>
	<mailman.422.1518405539.63088.kinejapan@lists.osu.edu>
	<mailman.423.1518405760.63088.kinejapan@lists.osu.edu>
	<mailman.438.1518409380.63088.kinejapan@lists.osu.edu>
	<mailman.480.1518417150.63088.kinejapan@lists.osu.edu>
	<mailman.89.1518418589.44057.kinejapan@lists.osu.edu>
	<mailman.6785.1520029524.36637.kinejapan@lists.osu.edu>
Message-ID: <mailman.7691.1520034913.51483.kinejapan@lists.osu.edu>

I just finished watching the documentary and  surprisingly it was more interesting than I thought. Besides being, obviously, about Hara himself, the film is very revealing about the daily life and struggles of a filmmaker/poet/video artist, and how much ?art? is often made possible by the support and at the expense of the people around him/her. I really felt a strong undercurrent of sadness in the movie, especially in the last 30 minutes or so, after his twins are born. 

As Alex pointed out (by the way, I?m looking forward to reading the interviews) Hara is continuosly reworking his movies, and basically each of his performance/singing/screening is unique, when I saw First Emperor in Tokyo, Hara reminded me of a benshi...a very off-key benshi...reinterpreting and giving new sense to his works at every screening. In the documentary I think it?s Yomota Inuhiko who says that because of this protean nature, Hara?s works are an oddity in the contemporary cinematic landscape, where everything is transferable and reproducible. 

Regards

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



> On Mar 3, 2018, at 7:25, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> Apologies for being so late to this discussion. Hara is really a fascinating character, and someone who is (in several ways) central to the explosion in jishu film production in the 1970s. There are a number of reasons he hasn't gotten a lot of retrospective attention, but historically he's an incredibly important figure. I did several interviews with him three years ago, which at some point in the near future will hopefully see the light of day. In the meantime the Eiga Geijutsu site has a three-part interview with Hara up (in Japanese) here: http://eigageijutsu.com/article/154100250.html
> 
> And, for all those that have libraries they can request to purchase DVDs, some of Hara's most well-known works can be ordered from his website (there are several versions of many of his films, partially because he never stops reworking them):
> http://web.kyoto-inet.or.jp/people/hara-mov/first1.html 
> 
> Alex
> 
> 
> 
>> On Mon, Feb 12, 2018 at 3:56 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>> I agree, and was disappointed that the film didn?t deal with this??though it would be tough. 
>> 
>> Also, one of the interesting things about his late work is its protean nature. Not only is a live performance connected to the screening, but he continually reworks and re-edits. In one of them, he even started working in silent-style intertitles about Deleuze! 
>> 
>> Hara was actually up to far more than the film lets onto when it describes his youth. I mean, someone that young screenwriting for Oshima and writing theoretical criticism for a venue like Dai-2 Eiga Hihyo is really the stuff of Japanese cinema. My favorite part. 
>> 
>> Unfortunately, Hara is also exemplary of an unfortunate tendency of male filmmakers from that era. While there is something admirable about the way they stick to their aesthetic ideals, they are regrettably oblivious to the points of cruelty when it comes to recognizing the toll that takes on the people around them. There?s a key, almost heartbreaking scene near the end where he is telling his wife he needs thousands of dollars for the biggest hard drive possible; she eventually comes around and agrees to it, adding, ?You really should get a job....?. 
>> 
>> BTW, I visited Sato Tadao a couple weeks ago, and dropped by a nearby furuhonya. I found a book of criticism by Hara that I didn?t know existed. Haven?t cracked it, yet. But it?s impressive he even published a book back then, and that it was published at all says a lot about his rep back then.
>> 
>> Markus
>> 
>> 
>> 
>> 
>>> On Mon, Feb 12, 2018 at 3:32 PM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>>> Don?t forget that Hara-san was also an intriguing figure in the history of Japanese film theory; he has published a series of essays back in the late 1960s and early '70s using Melreau-Ponty as his inspiration. His theoretical essays appeared first in the legendary dai-2-ji Eiga Hihyo edited by Matsuda Masao and were compiled later in the book entitled ?Mitai eiga no koto dake o? (1977). Given the popularity of phenomenology today, wouldn?t it be nice paying some ?serious? attention to his writing, in addition to his notorious obsession with DIY music :)? 
>>> 
>>> Naoki
>>> 
>>> Naoki Yamamoto
>>> Assistant Professor
>>> Film and Media Studies
>>> University of California, Santa Barbara
>>> yamamoto at filmandmedia.ucsb.edu
>>> 
>>>> On Feb 11, 2018, at 8:22 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>>>> 
>>>> agree, he shouldn?t sing! I often find his DIY touch unnerving and cheap, but sometimes buried in his movies here and there there are moments of pure beauty (20th Century Nostalgia, ?????????, etc.) 
>>>> 
>>>> PS in ????????? there?s what probably is Suzuki Seijun?s last appearance on screen
>>>> 
>>>> Matteo Boscarol
>>>> ????? ????
>>>> ???????????
>>>> - Documentary in Japan and Asia
>>>> http://storiadocgiappone.wordpress.com
>>>> - Film writer for Il Manifesto
>>>> http://ilmanifesto.it
>>>> 
>>>> 
>>>> 
>>>>> On Feb 12, 2018, at 12:22, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>>>>> 
>>>>> Yup, I told him to use Vimeo. I think he?s already taken down the YouTube video.
>>>>> 
>>>>> Aaron
>>>>> 
>>>>>> 2018/02/12 ??0:18?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
>>>>>> 
>>>>>> Hmmmm. He should have told me that. I?ve written to him to apologize. (He should be using Vimeo!)
>>>>>> 
>>>>>> 7 hours?!?  I?ve seen it twice, clocked in at about 4 hours. I like the film very much, and at the same time I really, really, really find his inability to hold a note grating. I can admire the DIY spirit behind it, as well as some compelling songwriting. But the minute he starts singing I want to flee the theater. 
>>>>>> 
>>>>>>> On Mon, Feb 12, 2018 at 11:10 AM Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>>>>>>> Just a note, but please do not share this Youtube link with others. Kaneko-san has told me it is only for festival organizers. He is planning a theatrical release of the film.
>>>>>>> 
>>>>>>> Aaron Gerow
>>>>>>> 
>>>>>>>> 2018/02/12 ??10:12?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
>>>>>>> 
>>>>>>>> 
>>>>>>>> thank you for sharing this Markus, watching First Emperor 10 or so years ago in Tokyo (with live music by Hara and Kaneko, a 7 hours screening) is still one of the most mesmerising and demanding cinematic experiences I?ve ever had. 
>>>>>>>> 
>>>>>>>> 
>>>>>>>> Matteo Boscarol
>>>>>>>> ????? ????
>>>>>>>> ???????????
>>>>>>>> - Documentary in Japan and Asia
>>>>>>>> http://storiadocgiappone.wordpress.com
>>>>>>>> - Film writer for Il Manifesto
>>>>>>>> http://ilmanifesto.it
>>>>>>>> 
>>>>>>>> 
>>>>>>>> 
>>>>>>>>> On Feb 11, 2018, at 23:37, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>>>>>>>>> 
>>>>>>>>> Kaneko Yu has made a feature length documentary on the legendary Hara Masato. Hara-san was known as the "tensai seishun santoku" back in the late 60s and early 70s, when he was making experimental films on 8mm and 16mm. After winning awards and garnering lots of press, writing his own criticism, Oshima tapped him to co-write The Man Who Left His Will on Film. Not long after that Hara kind of dropped from sight and finally came up for air with a new film at the 1993 Yamagata. He also showed his most famous work, First Emperor (Hatsukuni shiramikoto, 1973). Since then, he's been showing multi-screen, multi-format films with live music......regrettably he loves to sing, which is definitely not good for the films. Kaneko's film is somewhat messy?echoing Hara-san's own life??but is still a fascinating look at an important director from the experimental world. 
>>>>>>>>> 
>>>>>>>>> https://youtu.be/sTWdnZNp-qM
>>>>>>>>> 
>>>>>>>>> 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
>>>>>>>>> 
>>>>>>>>> _______________________________________________
>>>>>>>>> KineJapan mailing list
>>>>>>>>> KineJapan at lists.osu.edu
>>>>>>>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>>>>>> _______________________________________________
>>>>>>>> KineJapan mailing list
>>>>>>>> KineJapan at lists.osu.edu
>>>>>>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>>>>> _______________________________________________
>>>>>>> KineJapan mailing list
>>>>>>> KineJapan at lists.osu.edu
>>>>>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>>>> 
>>>>>> -- 
>>>>>> --- 
>>>>>> 
>>>>>> 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
>>>>>> 
>>>>>> _______________________________________________
>>>>>> KineJapan mailing list
>>>>>> KineJapan at lists.osu.edu
>>>>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>>> 
>>>>> _______________________________________________
>>>>> KineJapan mailing list
>>>>> KineJapan at lists.osu.edu
>>>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>> _______________________________________________
>>>> KineJapan mailing list
>>>> KineJapan at lists.osu.edu
>>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>> 
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.osu.edu
>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>> 
>> -- 
>> --- 
>> 
>> 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
>> 
>> 
>> _______________________________________________
>> 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 Mar  2 17:29:50 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 3 Mar 2018 07:29:50 +0900
Subject: [KineJapan] David Plath Media Award
Message-ID: <mailman.7651.1520029795.51483.kinejapan@lists.osu.edu>

Hello Everyone,

below is a call for submissions for the 2018 David Plath Media Award for
work on East Asian Anthropology. The type of media that can be submitted is
pretty broad, so I imagine this could be interesting to a number of people.

Best,
Alex



? CALL FOR SUBMISSIONS ?

2018 David Plath Media Award
for Best Film/Video/Multimedia Work on East Asian Anthropology

Entry Deadline: June 15, 2018 Submission Details:

http://seaa.americananthro.org/awards/david-plath-media-award/

The Society for East Asian Anthropology invites submissions for the David
Plath Media Award. This biennial award ? named in honor of David Plath,
renowned Japan-scholar and producer of award-winning documentary films ?
recognizes the best work (film, video, audio, and/or multimedia/interactive
media, such as websites) on any aspect of East Asian anthropology and/or
East Asian anthropology?s contribution to the broader field. The next David
Plath Media Award will be presented in 2018 for material produced in 2016
or 2017. Submissions are welcome from any part of the world.

Eligible submissions are those that contribute to the anthropology of East
Asia. Projects may take a diverse range of forms including research footage
and documentation that adds to the historical and/or ethnographic record or
is used for further analysis (such as linguistics, dance, and art);
ethnographic media that contributes to theoretical debate and development;
media designed to enhance teaching; and media produced for television
broadcasting and other forms of mass communication. Nominations for the
award may be made by producers/authors, distributors, or interested third
parties. The award carries a $300 prize and will be announced at the SEAA
Business Meeting during the 2018 AAA Annual Meeting (San Jose, CA).

The deadline for submissions is June 15, 2018. Submission details are
available on the SEAA website. All submissions should be accompanied by a
short abstract of the project. Online submissions are preferred, but three
(3) non-returnable DVD copies of media can also be mailed to:

Gavin H. Whitelaw [David Plath Media Award Committee Chair] Edwin O.
Reischauer Institute of Japanese Studies
Harvard University
CGIS South Building, 1730 Cambridge Street

Cambridge, MA 02138

USA
Please feel free to contact Gavin Whitelaw (whitelaw at fas.harvard.edu), with
any questions. Thank you and we look forward to your submissions.
Gavin H. Whitelaw (on behalf of the 2018 David Plath Media Award Prize
Committee)
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From kinejapan at lists.osu.edu  Fri Mar  2 17:25:19 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 3 Mar 2018 07:25:19 +0900
Subject: [KineJapan] Hara Masato documentary
In-Reply-To: <mailman.89.1518418589.44057.kinejapan@lists.osu.edu>
References: <mailman.212.1518359832.63088.kinejapan@lists.osu.edu>
	<mailman.366.1518397949.63088.kinejapan@lists.osu.edu>
	<mailman.7036.1518401405.19964.kinejapan@lists.osu.edu>
	<mailman.422.1518405539.63088.kinejapan@lists.osu.edu>
	<mailman.423.1518405760.63088.kinejapan@lists.osu.edu>
	<mailman.438.1518409380.63088.kinejapan@lists.osu.edu>
	<mailman.480.1518417150.63088.kinejapan@lists.osu.edu>
	<mailman.89.1518418589.44057.kinejapan@lists.osu.edu>
Message-ID: <mailman.6785.1520029524.36637.kinejapan@lists.osu.edu>

Apologies for being so late to this discussion. Hara is really a
fascinating character, and someone who is (in several ways) central to the
explosion in jishu film production in the 1970s. There are a number of
reasons he hasn't gotten a lot of retrospective attention, but historically
he's an incredibly important figure. I did several interviews with him
three years ago, which at some point in the near future will hopefully see
the light of day. In the meantime the Eiga Geijutsu site has a three-part
interview with Hara up (in Japanese) here:
http://eigageijutsu.com/article/154100250.html

And, for all those that have libraries they can request to purchase DVDs,
some of Hara's most well-known works can be ordered from his website (there
are several versions of many of his films, partially because he never stops
reworking them):
http://web.kyoto-inet.or.jp/people/hara-mov/first1.html

Alex



On Mon, Feb 12, 2018 at 3:56 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> I agree, and was disappointed that the film didn?t deal with this??though
> it would be tough.
>
> Also, one of the interesting things about his late work is its protean
> nature. Not only is a live performance connected to the screening, but he
> continually reworks and re-edits. In one of them, he even started working
> in silent-style intertitles about Deleuze!
>
> Hara was actually up to far more than the film lets onto when it describes
> his youth. I mean, someone that young screenwriting for Oshima and writing
> theoretical criticism for a venue like Dai-2 Eiga Hihyo is really the stuff
> of Japanese cinema. My favorite part.
>
> Unfortunately, Hara is also exemplary of an unfortunate tendency of male
> filmmakers from that era. While there is something admirable about the way
> they stick to their aesthetic ideals, they are regrettably oblivious to the
> points of cruelty when it comes to recognizing the toll that takes on the
> people around them. There?s a key, almost heartbreaking scene near the end
> where he is telling his wife he needs thousands of dollars for the biggest
> hard drive possible; she eventually comes around and agrees to it, adding,
> ?You really should get a job....?.
>
> BTW, I visited Sato Tadao a couple weeks ago, and dropped by a nearby
> furuhonya. I found a book of criticism by Hara that I didn?t know existed.
> Haven?t cracked it, yet. But it?s impressive he even published a book back
> then, and that it was published at all says a lot about his rep back then.
>
> Markus
>
>
>
>
> On Mon, Feb 12, 2018 at 3:32 PM Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>> Don?t forget that Hara-san was also an intriguing figure in the history
>> of Japanese film theory; he has published a series of essays back in the
>> late 1960s and early '70s using Melreau-Ponty as his inspiration. His
>> theoretical essays appeared first in the legendary dai-2-ji Eiga Hihyo
>> edited by Matsuda Masao and were compiled later in the book entitled ?Mitai
>> eiga no koto dake o? (1977). Given the popularity of phenomenology today,
>> wouldn?t it be nice paying some ?serious? attention to his writing, in
>> addition to his notorious obsession with DIY music :)?
>>
>> Naoki
>>
>> Naoki Yamamoto
>> Assistant Professor
>> Film and Media Studies
>> University of California, Santa Barbara
>> yamamoto at filmandmedia.ucsb.edu
>>
>> On Feb 11, 2018, at 8:22 PM, Japanese Cinema Discussion Forum via
>> KineJapan <kinejapan at lists.osu.edu> wrote:
>>
>> agree, he shouldn?t sing! I often find his DIY touch unnerving and cheap,
>> but sometimes buried in his movies here and there there are moments of pure
>> beauty (20th Century Nostalgia, ?????????, etc.)
>>
>> PS in ????????? there?s what probably is Suzuki Seijun?s last appearance
>> on screen
>>
>> Matteo Boscarol
>> ????? ????
>> ???????????
>> - Documentary in Japan and Asia
>> http://storiadocgiappone.wordpress.com
>> - Film writer for Il Manifesto
>> http://ilmanifesto.it
>>
>>
>>
>> On Feb 12, 2018, at 12:22, Japanese Cinema Discussion Forum via KineJapan
>> <kinejapan at lists.osu.edu> wrote:
>>
>> Yup, I told him to use Vimeo. I think he?s already taken down the YouTube
>> video.
>>
>> Aaron
>>
>> 2018/02/12 ??0:18?Japanese Cinema Discussion Forum via KineJapan <
>> kinejapan at lists.osu.edu> ?????
>>
>> Hmmmm. He should have told me that. I?ve written to him to apologize. (He
>> should be using Vimeo!)
>>
>> 7 hours?!?  I?ve seen it twice, clocked in at about 4 hours. I like the
>> film very much, and at the same time I really, really, really find his
>> inability to hold a note grating. I can admire the DIY spirit behind it, as
>> well as some compelling songwriting. But the minute he starts singing I
>> want to flee the theater.
>>
>> On Mon, Feb 12, 2018 at 11:10 AM Japanese Cinema Discussion Forum via
>> KineJapan <kinejapan at lists.osu.edu> wrote:
>>
>>> Just a note, but please do not share this Youtube link with others.
>>> Kaneko-san has told me it is only for festival organizers. He is planning a
>>> theatrical release of the film.
>>>
>>> Aaron Gerow
>>>
>>> 2018/02/12 ??10:12?Japanese Cinema Discussion Forum via KineJapan <
>>> kinejapan at lists.osu.edu> ?????
>>>
>>>
>>> thank you for sharing this Markus, watching First Emperor 10 or so years
>>> ago in Tokyo (with live music by Hara and Kaneko, a 7 hours screening) is
>>> still one of the most mesmerising and demanding cinematic experiences I?ve
>>> ever had.
>>>
>>>
>>> Matteo Boscarol
>>> ????? ????
>>> ???????????
>>> - Documentary in Japan and Asia
>>> http://storiadocgiappone.wordpress.com
>>> - Film writer for Il Manifesto
>>> http://ilmanifesto.it
>>>
>>>
>>>
>>> On Feb 11, 2018, at 23:37, Japanese Cinema Discussion Forum via
>>> KineJapan <kinejapan at lists.osu.edu> wrote:
>>>
>>> Kaneko Yu has made a feature length documentary on the legendary Hara
>>> Masato. Hara-san was known as the "tensai seishun santoku" back in the late
>>> 60s and early 70s, when he was making experimental films on 8mm and 16mm.
>>> After winning awards and garnering lots of press, writing his own
>>> criticism, Oshima tapped him to co-write The Man Who Left His Will on Film.
>>> Not long after that Hara kind of dropped from sight and finally came up for
>>> air with a new film at the 1993 Yamagata. He also showed his most famous
>>> work, First Emperor (Hatsukuni shiramikoto, 1973). Since then, he's been
>>> showing multi-screen, multi-format films with live music......regrettably
>>> he loves to sing, which is definitely not good for the films. Kaneko's film
>>> is somewhat messy?echoing Hara-san's own life??but is still a fascinating
>>> look at an important director from the experimental world.
>>>
>>> https://youtu.be/sTWdnZNp-qM
>>>
>>> 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*
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.osu.edu
>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.osu.edu
>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at lists.osu.edu
>>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>>
>> --
>> ---
>>
>> *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*
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at lists.osu.edu
>> https://lists.osu.edu/mailman/listinfo/kinejapan
>>
> --
> ---
>
> *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*
>
>
> _______________________________________________
> 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 Mar  1 11:21:55 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 1 Mar 2018 16:21:55 +0000
Subject: [KineJapan] Extended deadline for CFP: Media Journeys 2018: Animation
 in Transcultural Contexts
Message-ID: <mailman.5926.1519996256.36637.kinejapan@lists.osu.edu>

Dear All (and with apologies for cross-posting)


We have decided to extend the deadline on our CFP by a week, due to industrial action affecting researchers here in the UK. If any of you would like to come and talk about anime (or any other transnational animation), then your contributions would be most welcome.


Best wishes

Rayna

Media Journeys 2018: Animation in Transcultural Contexts
Symposium at the University of East Anglia
 24th May 2018

Call For Papers: Deadline 9th March 2018 (extended deadline)

The global animation industries are now one of the world?s most significant, with Nasdaq?s newswire citing animation and video games as a $244 billion global industry in 2017. As this suggests, animation is found everywhere and takes myriad forms, creating flows of animation that traverse the globe. We are seeking papers that reveal the journeys that animated texts go on - from inception to dissemination - in order to think across and between subject-specific discourses on animation. We define animation very broadly, seeing it as a pervasive cultural force that appears everywhere from live action films to video games and social media platforms (Buchan 2013).

Planned as the first Media Journeys Symposium to be held by the Media Consumption Research Group at UEA, Animation in Transcultural Contexts will investigate what is particular and what is universal in the production, distribution and consumption of animated texts. This symposium therefore seeks to bring together debates about animation from across media studies in order to investigate the transnational and transcultural connections between the global animation industries.

Animation in Transcultural Contexts aims to discuss how animation is becoming an increasingly important global (trans)cultural force. From the US animation industry through to Japanese anime and everything in between, we seek papers that address:


?      The transcultural flows of particular texts and animators? work, including under-represented or marginal groups;

?      The transnational production of animation, including transcultural work in animation out-sourcing;

?      Transnational co-productions of animation;

?      Textual analysis of animation, video games and/or special effects;

?      Transnational and transcultural fan communities and their creative work

?      Animation?s transcultural textuality;

?      Industrial uses of animation; e.g., medical, architectural and other forms of hidden/under-recognised animation flows;

?      Adaptation, translation and cultural localization of animation;

?      Transnational distribution of animation from film festivals to streaming;

?      Audiences and fans in transcultural contexts.


If you have any questions or would like to submit a paper proposal for consideration, please contact r.denison at uea.ac.uk<mailto:r.denison at uea.ac.uk>. Paper proposals should be a maximum of 250 words and should include your name, institutional affiliation, contact details and a description of the paper. Potential panels will also be considered (maximum 4 speakers) ? for these please provide the chair?s name, a 100-word overview and 250-word proposals for all papers, including the speaker information requested above. We are also planning some innovative shorter sessions (e.g. poster presentations), so if you would consider taking part in these, please let us know when you send your proposal.
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From kinejapan at lists.osu.edu  Thu Mar  1 00:58:14 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 1 Mar 2018 14:58:14 +0900
Subject: [KineJapan] New Hara Film
Message-ID: <mailman.5273.1519883900.51483.kinejapan@lists.osu.edu>

There's a new Hara Kazuo film out. He's been working on it forever. So far,
it's shown a several festivals and to much praise....especially by
audiences, which have given him "audiences prizes" at Yamagata and Filmex.
I heard he's very frustrated the juries are snubbing him. But this is not
the usual Hara film. It's sedate in comparison and extremely long.

But I like it. Definitely seek it out.

*Today Mark Schilling published his review: *

?I wanted to tell them ?Are you joking? Stop it!'? Hara says. ?I hate it
when Japanese are praised for being so patient in a situation like that. In
the film I clearly criticize Japanese who are like that. I mean, I love
them but we ought to detest those who call someone like Shiozaki a ?nice
guy.? That?s the message of the film.

?If we don?t, we?ll never have real peace in this country. The willingness
of the Japanese to forgive the powerful is a danger to our democracy. You
don?t forgive them. But Japanese people are indifferent to that.?

https://www.japantimes.co.jp/culture/2018/02/28/films/kazuo-hara-returns-form-documentary-filmmaker-sennan-asbestos-disaster/#.WpeTvmamM1J

Mark also published a review for Sunny/32 with the provocative headline, "If
idol-pop and ?Saw? were to have a baby, this may be it."

https://www.japantimes.co.jp/culture/2018/02/28/films/film-reviews/sunny-32-idol-pop-saw-baby-may/#.WpeTw2amM1J

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  Sat Mar 31 18:05:48 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 31 Mar 2018 15:05:48 -0700
Subject: [KineJapan] Oshima on "green"
In-Reply-To: <mailman.7170.1522533474.13568.kinejapan@lists.osu.edu>
References: <mailman.7170.1522533474.13568.kinejapan@lists.osu.edu>
Message-ID: <mailman.6613.1522533954.36066.kinejapan@lists.osu.edu>

It's been a long time, (more than a decade), but I'm pretty sure it's ?.

Jonathan M Hall


On Sat, Mar 31, 2018 at 2:57 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Dear KJ folks~
>
> I?m wondering if anyone has at the tip of their fingers the original title
> of an essay by Oshima Nagisa?s-- one translated in that MIT book as ?Banish
> Green.? I am especially curious if the green was ?midori? one is likely to
> see in real life and things like it, or the more classically inflected
> ?aoi? (such as appeared poetically in the film ???? from 1949). It seems
> like a rather interesting essay in the context of ambient poetics and their
> ideas/ideologies...
>
> Thanks for any tips/better memory and archive than I have at the moment?
>
> Anne McKnight
>
>
> _______________________________________________
> 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 Mar 31 17:57:46 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 31 Mar 2018 14:57:46 -0700
Subject: [KineJapan] Oshima on "green"
Message-ID: <mailman.7170.1522533474.13568.kinejapan@lists.osu.edu>

Dear KJ folks~

I?m wondering if anyone has at the tip of their fingers the original title of an essay by Oshima Nagisa?s-- one translated in that MIT book as ?Banish Green.? I am especially curious if the green was ?midori? one is likely to see in real life and things like it, or the more classically inflected ?aoi? (such as appeared poetically in the film ???? from 1949). It seems like a rather interesting essay in the context of ambient poetics and their ideas/ideologies...

Thanks for any tips/better memory and archive than I have at the moment?

Anne McKnight


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