From kinejapan at lists.osu.edu  Wed May 30 05:43:32 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 30 May 2018 09:43:32 +0000 (UTC)
Subject: [KineJapan] Tamura Masaki, RIP
References: <411901698.11767975.1527673412502.ref@mail.yahoo.com>
Message-ID: <mailman.2280.1527673420.18400.kinejapan@lists.osu.edu>

In my various coverage of the film, I've always made a point of mentioning Tamura's cinematography as a key part of the films success. Evil Dead Trap an extremely visual film, and I think without Tamura the results would have been neither as impressive or as popular with cult audiences.

Jim Harper.

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

--------------------------------------------
On Tue, 29/5/18, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:

 Subject: Re: [KineJapan] Tamura Masaki, RIP
 To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
 Date: Tuesday, 29 May, 2018, 19:30
 
 Hi
 all - 
 
 I was saddened to
 read the messages about Tamura Masaki. In a way,
 Tamura's camera was the backbone to the wave of new
 Japanese art cinema in the late 1990s that propelled
 discussion about Japanese film here on KineJapan and
 elsewhere. While most of the conversation then (as now)
 revolved around auteurs, Tamura brought a way of looking to
 those movies that felt like it could eclipse the imagination
 of the people directing and producing them.
 I'm thrilled that it has become
 easier to see the Ogawa films since then, but I'm also
 sad that so much of Tamura's work since the '90s is
 becoming difficult to fully appreciate. I have very fond
 memories of watching Eureka multiple times when it played at
 Theatre Shinjuku. The price was a ridiculous 2500 yen a pop,
 but the view was worth it (even with the constant threat of
 bad 35mm projection there). Ever since, I've been
 waiting for another chance to see Eureka on the big screen.
 The DVD doesn't come close to doing it justice, and I
 don't think there has ever been a HD video
 release.
 Coincidentally, a few days ago I
 found a cheap used copy of the U.S. edition Evil Dead Trap
 DVD at a nearby record store. I would guess that this, along
 with Tampopo, Lady Snowblood, Moe no Suzaku, and a couple of
 others, is among Tamura's most-seen credits outside of
 Japan. I decided to give it a spin after reading the bad
 news. This never was a pleasant story, and the DVD image
 quality is horrible, but the picture is still full of
 interesting ideas--
 
 extravagantly?roomy
 framings,?flashing or exploding flames
 and lights, flickering TV screens (sometimes stacks of
 them), surprisingly
 long takes,?and a mobile camera that
 quietly finds space to float through all of the horror and
 special effects, occasionally shivering and pulsing as if it
 has its own heartbeat.
 While Evil Dead Trap is clearly no
 Shonben Rider or Summer in Sanrizuka, it always impressed me
 as an unusual moment in Tamura's career that connected
 spectacularly to body genres and--via the J-Horror and DVD
 booms--to international audiences. (The visual effects by
 Ito Takashi are worth mentioning too.) I know we've
 shared some thoughts about the movie here in the past. Has
 anything new been written about it? The only published
 mention of Tamura's connection to this that I can
 quickly find is a sentence in the 2004 Variety review of
 Utsukushii Natsu Kirishima: "When lenser Masaki
 Tamura's ("Eureka," "Evil Dead
 Trap," "The Crazy Family") handsome camera
 compositions venture outside to capture the local landscape,
 results are ravishing. Tech aspects are first
 rate."
 Aside from
 a handful of people in Pink, I'd be hard-pressed to
 identify another active, established cinematographer in
 Japan, especially somebody who has had this much of an
 impact on contemporary film. Who am I overlooking? Who else
 is working below (or on?) the line today that has a career
 as rich or a style as visible as Tamura's?
 
 Michael Arnold
 
 On Sun,
 May 27, 2018 at 9:20 AM, Japanese Cinema Discussion Forum
 via KineJapan <kinejapan at lists.osu.edu>
 wrote:
 Markus,
 Thanks for the touching tribute to
 Tamura-san. I had hesitated to send out this news because so
 far the only mention I?ve seen of it is from Funabashi-san
 on Facebook?nothing else. But I assume you have other
 sources.
 I knew
 Tamura-san first through YIDFF (though probably the first
 film of his I saw was Tampopo, which is not really a Tamura
 film). He was a juror for New Asian Currents when I was the
 coordinator, and he did a splendid job with that hard task.
 But for me, it was his later work with young directors which
 left me with the biggest impression. The three directors he
 worked most with were Ogawa, Yanagimachi, and Aoyama, and
 since I?ve written a lot on Aoyama, I?ve thought a lot
 about Tamura?s work. I once did an interview with him
 about his work with Yanagimachi?the camera through the
 murder scene towards the end of Himatsuri is pure
 Tamura?but I think his work for Aoyama was the best. I
 once asked Aoyama what Tamura was for him, and he simply
 answered: ?Time.??
 Tamura-san also directed one film,
 Drive in Gamo (2014), and co-wrote a book with Aoyama about
 Golden-gai, which he often frequented (though I drank with
 him at another favorite spot: Kirin City).?
 I hope everyone can look at this
 great interview we did with Tamura-san for Documentary Box,
 with Kanai Katsu as the expert interviewer.?
 https://www.yidff.jp/docbox/8/
 box8-3-e.html
 Aaron Gerow
 2018/05/28 ??1:02?Japanese Cinema
 Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
 ?????
 I just learned of Tamura Masaki's passing. I
 met Tamura-san through Ogawa Pro, but I already knew
 him?in a sense?from my intense encounters with his
 cinematography in Farewell to the Land, Himatsuri,
 and Tanpopo. These are stunningly photographed,
 especially the first two. I remember telling Tamura-san that
 I still had the spacey, writhing rice fields of Farewell
 to the Land?imprinted indelibly in my mind. He was so
 pleased and revealed that, although Ogawa Pro had moved to
 Yamagata and produced little of note, it was all his
 experiments with rice photography in Magino that enabled him
 to shoot that film.?
 Although he shot an astounding array
 of films throughout his career, from Lady
 Snowblood?to Eureka, he'll
 undoubtedly be remembered especially for his partnership
 with Ogawa Shinsuke.?He and Ogawa were clearly, incredibly
 close. Looking at the Heta Village making-of film,
 Filmmaking and the Way to the Village, you can see
 that he's the only one that can keep up with Ogawa. In
 the end, they had something of a falling out and Tamura-san
 basically avoided public talk about his experiences with
 Ogawa Pro. I was grateful that he talked to me. I vividly
 recall some bitter stories over cheap maguro and beer at
 some Nakano dive.?
 But more than anything, I remember
 Ogawa's wake. As they do, lively tsuya slowly
 calm down as people peel away, going home or going asleep.
 Before I, too, succumbed to sleep, I was struck that
 Tamura-san quietly chatted in the darkness. The next
 morning, I heard he didn't sleep.?
 In the last part of his career,
 Tamura-san made a very unusual contribution to Japanese
 cinema. At the top of his game, he quite self-consciously
 devoted himself to shooting films for young, up-and-coming
 directors?Aoyama, Kurosawa, Suo, Kawase, and others.
 Impressive. An impressive life.
 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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 KineJapan at lists.osu.edu
 https://lists.osu.edu/mailman/
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From kinejapan at lists.osu.edu  Wed May 30 02:48:04 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 30 May 2018 15:48:04 +0900
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.2120.1527646719.18400.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
	<mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
	<mailman.581.1527589886.24242.kinejapan@lists.osu.edu>
	<mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>
	<mailman.2120.1527646719.18400.kinejapan@lists.osu.edu>
Message-ID: <mailman.2204.1527662889.18400.kinejapan@lists.osu.edu>

Ah, yes, I would add Yamasaki-san to that list. He actually started out in
Nichidai's Eiken, so his first film was Bowl with Adachi Masao and company.
Last night I found out what his latest film is: a documentary on Hand
Susumu, which he has been shooting for three years.

Hani, who is going strong at a few months away from 90 years of age,
appeared at a screening of Nanami last night?organized by Roland, Alex Z,
and Hirasawa Go.

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, May 30, 2018 at 11:18 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> If you are simply talking about range?putting aside the question of
> quality or talent for later?there are actually a number of DPs who work in
> multiple media and genres. One active one that first comes to mind is
> Yamasaki Yutaka, who started in documentary in the 1960s, shot a lot for
> TV, but is probably most known for shooting most of Koreeda?s films. Like
> Tamura-san, he has also shot films by recent directors such as Kawase
> Naomi, Shiota Akihito, Nishikawa Miwa, etc. And he still shoots
> documentary, having shot Mori Tatsuya?s FAKE, or Funabashi?s Nuclear Nation
> films, for instance. And, like Tamura-san, he?s also directed a film. He?s
> actually only a year younger than Tamura-san, but he?s still very active.
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Wed May 30 00:10:20 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 30 May 2018 13:10:20 +0900
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.2120.1527646719.18400.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
 <mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
 <mailman.581.1527589886.24242.kinejapan@lists.osu.edu>
 <mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>
 <mailman.2120.1527646719.18400.kinejapan@lists.osu.edu>
Message-ID: <mailman.1465.1527653427.24242.kinejapan@lists.osu.edu>

I would also add, among cinematographers working in contemporary Japan, Kond? Ry?to(The End of Summer, The Light Shines Only There, and now Kore?eda?s Shoplifters...)

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



> On May 30, 2018, at 11:18, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> If you are simply talking about range?putting aside the question of quality or talent for later?there are actually a number of DPs who work in multiple media and genres. One active one that first comes to mind is Yamasaki Yutaka, who started in documentary in the 1960s, shot a lot for TV, but is probably most known for shooting most of Koreeda?s films. Like Tamura-san, he has also shot films by recent directors such as Kawase Naomi, Shiota Akihito, Nishikawa Miwa, etc. And he still shoots documentary, having shot Mori Tatsuya?s FAKE, or Funabashi?s Nuclear Nation films, for instance. And, like Tamura-san, he?s also directed a film. He?s actually only a year younger than Tamura-san, but he?s still very active.
> 
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Yale University
> 320 York Street, Room 311
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
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From kinejapan at lists.osu.edu  Tue May 29 22:18:31 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 30 May 2018 11:18:31 +0900
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
 <mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
 <mailman.581.1527589886.24242.kinejapan@lists.osu.edu>
 <mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>
Message-ID: <mailman.2120.1527646719.18400.kinejapan@lists.osu.edu>

If you are simply talking about range?putting aside the question of quality or talent for later?there are actually a number of DPs who work in multiple media and genres. One active one that first comes to mind is Yamasaki Yutaka, who started in documentary in the 1960s, shot a lot for TV, but is probably most known for shooting most of Koreeda?s films. Like Tamura-san, he has also shot films by recent directors such as Kawase Naomi, Shiota Akihito, Nishikawa Miwa, etc. And he still shoots documentary, having shot Mori Tatsuya?s FAKE, or Funabashi?s Nuclear Nation films, for instance. And, like Tamura-san, he?s also directed a film. He?s actually only a year younger than Tamura-san, but he?s still very active.

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 May 29 22:07:45 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 30 May 2018 02:07:45 +0000
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
	<mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
	<mailman.581.1527589886.24242.kinejapan@lists.osu.edu>
	<mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>
Message-ID: <mailman.1432.1527646110.24242.kinejapan@lists.osu.edu>

Thank you for sharing Kikuchi's comments, Markus.

I once planned to show Eureka in a class screening and then, after taking
another look at the DVD, changed the syllabus. I would really love to see
that film again someday.

I remember Miki's name from Daisuke Miyao's book, though after a quick
search it appears I've seen very little of his work. And I'm very fond of
Suzuki (I hope he's getting a bit of attention thanks to the recent
re-releases and reissues of Funeral Parade of Roses), but I didn't realize
that he is still active. I stand happily corrected! Of course there were
other great cinematographers like Miyagawa in the past, but I still wonder
which contemporary cinematographers might, twenty or thirty years from now,
be regarded as highly as those people are today. I'm struggling to think of
a recent Japanese movie that I could describe as "luminous"...

Michael Arnold


On Tue, May 29, 2018 at 11:19 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Eureka is absolutely luminous; it can ONLY be shown on celluloid.
>
> The only cinematographers that come to mind that come close to Tamura's
> breath and impact are Miki Shigeru and Suzuki Tatsuo. Miki worked with
> Itami Mansaku (and Tamura worked with Juzo), Mizoguchi and Kamei Fumio.
> Suzuki worked with Tsuchimoto, Matsumoto, Terayama, Shinoda....and stepped
> into Tamura's shoes in the sequel to Lady Snowblood! These three are in a
> league of their own.
>
> Ogawa Pro core member Kikuchi Nobuyuki wrote a powerful remembrance on FB.
> I'll share it here.
>
> 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 Tue, May 29, 2018 at 7:30 PM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>> Hi all -
>>
>> I was saddened to read the messages about Tamura Masaki. In a way,
>> Tamura's camera was the backbone to the wave of new Japanese art cinema in
>> the late 1990s that propelled discussion about Japanese film here on
>> KineJapan and elsewhere. While most of the conversation then (as now)
>> revolved around auteurs, Tamura brought a way of looking to those movies
>> that felt like it could eclipse the imagination of the people directing and
>> producing them.
>>
>> I'm thrilled that it has become easier to see the Ogawa films since then,
>> but I'm also sad that so much of Tamura's work since the '90s is becoming
>> difficult to fully appreciate. I have very fond memories of watching Eureka
>> multiple times when it played at Theatre Shinjuku. The price was a
>> ridiculous 2500 yen a pop, but the view was worth it (even with the
>> constant threat of bad 35mm projection there). Ever since, I've been
>> waiting for another chance to see Eureka on the big screen. The DVD doesn't
>> come close to doing it justice, and I don't think there has ever been a HD
>> video release.
>>
>> Coincidentally, a few days ago I found a cheap used copy of the U.S.
>> edition Evil Dead Trap DVD at a nearby record store. I would guess that
>> this, along with Tampopo, Lady Snowblood, Moe no Suzaku, and a couple of
>> others, is among Tamura's most-seen credits outside of Japan. I decided to
>> give it a spin after reading the bad news. This never was a pleasant story,
>> and the DVD image quality is horrible, but the picture is still full of
>> interesting ideas-- extravagantly roomy framings, flashing or exploding
>> flames and lights, flickering TV screens (sometimes stacks of them), surprisingly
>> long takes, and a mobile camera that quietly finds space to float
>> through all of the horror and special effects, occasionally shivering and
>> pulsing as if it has its own heartbeat.
>>
>> While Evil Dead Trap is clearly no Shonben Rider or Summer in Sanrizuka,
>> it always impressed me as an unusual moment in Tamura's career that
>> connected spectacularly to body genres and--via the J-Horror and DVD
>> booms--to international audiences. (The visual effects by Ito Takashi are
>> worth mentioning too.) I know we've shared some thoughts about the movie
>> here in the past. Has anything new been written about it? The only
>> published mention of Tamura's connection to this that I can quickly find is
>> a sentence in the 2004 Variety review of Utsukushii Natsu Kirishima: "When
>> lenser Masaki Tamura's ("Eureka," "Evil Dead Trap," "The Crazy Family")
>> handsome camera compositions venture outside to capture the local
>> landscape, results are ravishing. Tech aspects are first rate."
>>
>> Aside from a handful of people in Pink, I'd be hard-pressed to identify
>> another active, established cinematographer in Japan, especially somebody
>> who has had this much of an impact on contemporary film. Who am I
>> overlooking? Who else is working below (or on?) the line today that has a
>> career as rich or a style as visible as Tamura's?
>>
>> Michael Arnold
>>
>>
>> On Sun, May 27, 2018 at 9:20 AM, Japanese Cinema Discussion Forum via
>> KineJapan <kinejapan at lists.osu.edu> wrote:
>>
>>> Markus,
>>>
>>> Thanks for the touching tribute to Tamura-san. I had hesitated to send
>>> out this news because so far the only mention I?ve seen of it is from
>>> Funabashi-san on Facebook?nothing else. But I assume you have other sources.
>>>
>>> I knew Tamura-san first through YIDFF (though probably the first film of
>>> his I saw was Tampopo, which is not really a Tamura film). He was a juror
>>> for New Asian Currents when I was the coordinator, and he did a splendid
>>> job with that hard task. But for me, it was his later work with young
>>> directors which left me with the biggest impression. The three directors he
>>> worked most with were Ogawa, Yanagimachi, and Aoyama, and since I?ve
>>> written a lot on Aoyama, I?ve thought a lot about Tamura?s work. I once did
>>> an interview with him about his work with Yanagimachi?the camera through
>>> the murder scene towards the end of Himatsuri is pure Tamura?but I think
>>> his work for Aoyama was the best. I once asked Aoyama what Tamura was for
>>> him, and he simply answered: ?Time.?
>>>
>>> Tamura-san also directed one film, Drive in Gamo (2014), and co-wrote a
>>> book with Aoyama about Golden-gai, which he often frequented (though I
>>> drank with him at another favorite spot: Kirin City).
>>>
>>> I hope everyone can look at this great interview we did with Tamura-san
>>> for Documentary Box, with Kanai Katsu as the expert interviewer.
>>>
>>> https://www.yidff.jp/docbox/8/box8-3-e.html
>>>
>>> Aaron Gerow
>>>
>>> 2018/05/28 ??1:02?Japanese Cinema Discussion Forum via KineJapan <
>>> kinejapan at lists.osu.edu> ?????
>>>
>>> I just learned of Tamura Masaki's passing. I met Tamura-san through
>>> Ogawa Pro, but I already knew him?in a sense?from my intense encounters
>>> with his cinematography in *Farewell to the Land, Himatsuri, *and *Tanpopo.
>>> *These are stunningly photographed, especially the first two. I
>>> remember telling Tamura-san that I still had the spacey, writhing rice
>>> fields of *Farewell to the Land* imprinted indelibly in my mind. He was
>>> so pleased and revealed that, although Ogawa Pro had moved to Yamagata and
>>> produced little of note, it was all his experiments with rice photography
>>> in Magino that enabled him to shoot that film.
>>>
>>> Although he shot an astounding array of films throughout his career,
>>> from *Lady Snowblood* to *Eureka*, he'll undoubtedly be remembered
>>> especially for his partnership with Ogawa Shinsuke. He and Ogawa were
>>> clearly, incredibly close. Looking at the *Heta Village* making-of
>>> film, *Filmmaking and the Way to the Village, *you can see that he's
>>> the only one that can keep up with Ogawa. In the end, they had something of
>>> a falling out and Tamura-san basically avoided public talk about his
>>> experiences with Ogawa Pro. I was grateful that he talked to me. I vividly
>>> recall some bitter stories over cheap maguro and beer at some Nakano dive.
>>>
>>> But more than anything, I remember Ogawa's wake. As they do, lively
>>> *tsuya* slowly calm down as people peel away, going home or going
>>> asleep. Before I, too, succumbed to sleep, I was struck that Tamura-san
>>> quietly chatted in the darkness. The next morning, I heard he didn't sleep.
>>>
>>> In the last part of his career, Tamura-san made a very unusual
>>> contribution to Japanese cinema. At the top of his game, he quite
>>> self-consciously devoted himself to shooting films for young, up-and-coming
>>> directors?Aoyama, Kurosawa, Suo, Kawase, and others. Impressive. An
>>> impressive life.
>>>
>>> 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
>>
>>
>
> _______________________________________________
> 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 May 29 19:19:20 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 30 May 2018 08:19:20 +0900
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.581.1527589886.24242.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
 <mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
 <mailman.581.1527589886.24242.kinejapan@lists.osu.edu>
Message-ID: <mailman.2041.1527635967.18400.kinejapan@lists.osu.edu>

Eureka is absolutely luminous; it can ONLY be shown on celluloid.

The only cinematographers that come to mind that come close to Tamura's
breath and impact are Miki Shigeru and Suzuki Tatsuo. Miki worked with
Itami Mansaku (and Tamura worked with Juzo), Mizoguchi and Kamei Fumio.
Suzuki worked with Tsuchimoto, Matsumoto, Terayama, Shinoda....and stepped
into Tamura's shoes in the sequel to Lady Snowblood! These three are in a
league of their own.

Ogawa Pro core member Kikuchi Nobuyuki wrote a powerful remembrance on FB.
I'll share it here.

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 Tue, May 29, 2018 at 7:30 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Hi all -
>
> I was saddened to read the messages about Tamura Masaki. In a way,
> Tamura's camera was the backbone to the wave of new Japanese art cinema in
> the late 1990s that propelled discussion about Japanese film here on
> KineJapan and elsewhere. While most of the conversation then (as now)
> revolved around auteurs, Tamura brought a way of looking to those movies
> that felt like it could eclipse the imagination of the people directing and
> producing them.
>
> I'm thrilled that it has become easier to see the Ogawa films since then,
> but I'm also sad that so much of Tamura's work since the '90s is becoming
> difficult to fully appreciate. I have very fond memories of watching Eureka
> multiple times when it played at Theatre Shinjuku. The price was a
> ridiculous 2500 yen a pop, but the view was worth it (even with the
> constant threat of bad 35mm projection there). Ever since, I've been
> waiting for another chance to see Eureka on the big screen. The DVD doesn't
> come close to doing it justice, and I don't think there has ever been a HD
> video release.
>
> Coincidentally, a few days ago I found a cheap used copy of the U.S.
> edition Evil Dead Trap DVD at a nearby record store. I would guess that
> this, along with Tampopo, Lady Snowblood, Moe no Suzaku, and a couple of
> others, is among Tamura's most-seen credits outside of Japan. I decided to
> give it a spin after reading the bad news. This never was a pleasant story,
> and the DVD image quality is horrible, but the picture is still full of
> interesting ideas-- extravagantly roomy framings, flashing or exploding
> flames and lights, flickering TV screens (sometimes stacks of them), surprisingly
> long takes, and a mobile camera that quietly finds space to float through
> all of the horror and special effects, occasionally shivering and pulsing
> as if it has its own heartbeat.
>
> While Evil Dead Trap is clearly no Shonben Rider or Summer in Sanrizuka,
> it always impressed me as an unusual moment in Tamura's career that
> connected spectacularly to body genres and--via the J-Horror and DVD
> booms--to international audiences. (The visual effects by Ito Takashi are
> worth mentioning too.) I know we've shared some thoughts about the movie
> here in the past. Has anything new been written about it? The only
> published mention of Tamura's connection to this that I can quickly find is
> a sentence in the 2004 Variety review of Utsukushii Natsu Kirishima: "When
> lenser Masaki Tamura's ("Eureka," "Evil Dead Trap," "The Crazy Family")
> handsome camera compositions venture outside to capture the local
> landscape, results are ravishing. Tech aspects are first rate."
>
> Aside from a handful of people in Pink, I'd be hard-pressed to identify
> another active, established cinematographer in Japan, especially somebody
> who has had this much of an impact on contemporary film. Who am I
> overlooking? Who else is working below (or on?) the line today that has a
> career as rich or a style as visible as Tamura's?
>
> Michael Arnold
>
>
> On Sun, May 27, 2018 at 9:20 AM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>> Markus,
>>
>> Thanks for the touching tribute to Tamura-san. I had hesitated to send
>> out this news because so far the only mention I?ve seen of it is from
>> Funabashi-san on Facebook?nothing else. But I assume you have other sources.
>>
>> I knew Tamura-san first through YIDFF (though probably the first film of
>> his I saw was Tampopo, which is not really a Tamura film). He was a juror
>> for New Asian Currents when I was the coordinator, and he did a splendid
>> job with that hard task. But for me, it was his later work with young
>> directors which left me with the biggest impression. The three directors he
>> worked most with were Ogawa, Yanagimachi, and Aoyama, and since I?ve
>> written a lot on Aoyama, I?ve thought a lot about Tamura?s work. I once did
>> an interview with him about his work with Yanagimachi?the camera through
>> the murder scene towards the end of Himatsuri is pure Tamura?but I think
>> his work for Aoyama was the best. I once asked Aoyama what Tamura was for
>> him, and he simply answered: ?Time.?
>>
>> Tamura-san also directed one film, Drive in Gamo (2014), and co-wrote a
>> book with Aoyama about Golden-gai, which he often frequented (though I
>> drank with him at another favorite spot: Kirin City).
>>
>> I hope everyone can look at this great interview we did with Tamura-san
>> for Documentary Box, with Kanai Katsu as the expert interviewer.
>>
>> https://www.yidff.jp/docbox/8/box8-3-e.html
>>
>> Aaron Gerow
>>
>> 2018/05/28 ??1:02?Japanese Cinema Discussion Forum via KineJapan <
>> kinejapan at lists.osu.edu> ?????
>>
>> I just learned of Tamura Masaki's passing. I met Tamura-san through Ogawa
>> Pro, but I already knew him?in a sense?from my intense encounters with his
>> cinematography in *Farewell to the Land, Himatsuri, *and *Tanpopo. *These
>> are stunningly photographed, especially the first two. I remember telling
>> Tamura-san that I still had the spacey, writhing rice fields of *Farewell
>> to the Land* imprinted indelibly in my mind. He was so pleased and
>> revealed that, although Ogawa Pro had moved to Yamagata and produced little
>> of note, it was all his experiments with rice photography in Magino that
>> enabled him to shoot that film.
>>
>> Although he shot an astounding array of films throughout his career, from *Lady
>> Snowblood* to *Eureka*, he'll undoubtedly be remembered especially for
>> his partnership with Ogawa Shinsuke. He and Ogawa were clearly, incredibly
>> close. Looking at the *Heta Village* making-of film, *Filmmaking and the
>> Way to the Village, *you can see that he's the only one that can keep up
>> with Ogawa. In the end, they had something of a falling out and Tamura-san
>> basically avoided public talk about his experiences with Ogawa Pro. I was
>> grateful that he talked to me. I vividly recall some bitter stories over
>> cheap maguro and beer at some Nakano dive.
>>
>> But more than anything, I remember Ogawa's wake. As they do, lively
>> *tsuya* slowly calm down as people peel away, going home or going
>> asleep. Before I, too, succumbed to sleep, I was struck that Tamura-san
>> quietly chatted in the darkness. The next morning, I heard he didn't sleep.
>>
>> In the last part of his career, Tamura-san made a very unusual
>> contribution to Japanese cinema. At the top of his game, he quite
>> self-consciously devoted himself to shooting films for young, up-and-coming
>> directors?Aoyama, Kurosawa, Suo, Kawase, and others. Impressive. An
>> impressive life.
>>
>> 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
>
>
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From kinejapan at lists.osu.edu  Tue May 29 06:30:41 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 29 May 2018 03:30:41 -0700
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
	<mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>
Message-ID: <mailman.581.1527589886.24242.kinejapan@lists.osu.edu>

Hi all -

I was saddened to read the messages about Tamura Masaki. In a way, Tamura's
camera was the backbone to the wave of new Japanese art cinema in the late
1990s that propelled discussion about Japanese film here on KineJapan and
elsewhere. While most of the conversation then (as now) revolved around
auteurs, Tamura brought a way of looking to those movies that felt like it
could eclipse the imagination of the people directing and producing them.

I'm thrilled that it has become easier to see the Ogawa films since then,
but I'm also sad that so much of Tamura's work since the '90s is becoming
difficult to fully appreciate. I have very fond memories of watching Eureka
multiple times when it played at Theatre Shinjuku. The price was a
ridiculous 2500 yen a pop, but the view was worth it (even with the
constant threat of bad 35mm projection there). Ever since, I've been
waiting for another chance to see Eureka on the big screen. The DVD doesn't
come close to doing it justice, and I don't think there has ever been a HD
video release.

Coincidentally, a few days ago I found a cheap used copy of the U.S.
edition Evil Dead Trap DVD at a nearby record store. I would guess that
this, along with Tampopo, Lady Snowblood, Moe no Suzaku, and a couple of
others, is among Tamura's most-seen credits outside of Japan. I decided to
give it a spin after reading the bad news. This never was a pleasant story,
and the DVD image quality is horrible, but the picture is still full of
interesting ideas-- extravagantly roomy framings, flashing or exploding
flames and lights, flickering TV screens (sometimes stacks of them),
surprisingly
long takes, and a mobile camera that quietly finds space to float through
all of the horror and special effects, occasionally shivering and pulsing
as if it has its own heartbeat.

While Evil Dead Trap is clearly no Shonben Rider or Summer in Sanrizuka, it
always impressed me as an unusual moment in Tamura's career that connected
spectacularly to body genres and--via the J-Horror and DVD booms--to
international audiences. (The visual effects by Ito Takashi are worth
mentioning too.) I know we've shared some thoughts about the movie here in
the past. Has anything new been written about it? The only published
mention of Tamura's connection to this that I can quickly find is a
sentence in the 2004 Variety review of Utsukushii Natsu Kirishima: "When
lenser Masaki Tamura's ("Eureka," "Evil Dead Trap," "The Crazy Family")
handsome camera compositions venture outside to capture the local
landscape, results are ravishing. Tech aspects are first rate."

Aside from a handful of people in Pink, I'd be hard-pressed to identify
another active, established cinematographer in Japan, especially somebody
who has had this much of an impact on contemporary film. Who am I
overlooking? Who else is working below (or on?) the line today that has a
career as rich or a style as visible as Tamura's?

Michael Arnold


On Sun, May 27, 2018 at 9:20 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Markus,
>
> Thanks for the touching tribute to Tamura-san. I had hesitated to send out
> this news because so far the only mention I?ve seen of it is from
> Funabashi-san on Facebook?nothing else. But I assume you have other sources.
>
> I knew Tamura-san first through YIDFF (though probably the first film of
> his I saw was Tampopo, which is not really a Tamura film). He was a juror
> for New Asian Currents when I was the coordinator, and he did a splendid
> job with that hard task. But for me, it was his later work with young
> directors which left me with the biggest impression. The three directors he
> worked most with were Ogawa, Yanagimachi, and Aoyama, and since I?ve
> written a lot on Aoyama, I?ve thought a lot about Tamura?s work. I once did
> an interview with him about his work with Yanagimachi?the camera through
> the murder scene towards the end of Himatsuri is pure Tamura?but I think
> his work for Aoyama was the best. I once asked Aoyama what Tamura was for
> him, and he simply answered: ?Time.?
>
> Tamura-san also directed one film, Drive in Gamo (2014), and co-wrote a
> book with Aoyama about Golden-gai, which he often frequented (though I
> drank with him at another favorite spot: Kirin City).
>
> I hope everyone can look at this great interview we did with Tamura-san
> for Documentary Box, with Kanai Katsu as the expert interviewer.
>
> https://www.yidff.jp/docbox/8/box8-3-e.html
>
> Aaron Gerow
>
> 2018/05/28 ??1:02?Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> ?????
>
> I just learned of Tamura Masaki's passing. I met Tamura-san through Ogawa
> Pro, but I already knew him?in a sense?from my intense encounters with his
> cinematography in *Farewell to the Land, Himatsuri, *and *Tanpopo. *These
> are stunningly photographed, especially the first two. I remember telling
> Tamura-san that I still had the spacey, writhing rice fields of *Farewell
> to the Land* imprinted indelibly in my mind. He was so pleased and
> revealed that, although Ogawa Pro had moved to Yamagata and produced little
> of note, it was all his experiments with rice photography in Magino that
> enabled him to shoot that film.
>
> Although he shot an astounding array of films throughout his career, from *Lady
> Snowblood* to *Eureka*, he'll undoubtedly be remembered especially for
> his partnership with Ogawa Shinsuke. He and Ogawa were clearly, incredibly
> close. Looking at the *Heta Village* making-of film, *Filmmaking and the
> Way to the Village, *you can see that he's the only one that can keep up
> with Ogawa. In the end, they had something of a falling out and Tamura-san
> basically avoided public talk about his experiences with Ogawa Pro. I was
> grateful that he talked to me. I vividly recall some bitter stories over
> cheap maguro and beer at some Nakano dive.
>
> But more than anything, I remember Ogawa's wake. As they do, lively
> *tsuya* slowly calm down as people peel away, going home or going asleep.
> Before I, too, succumbed to sleep, I was struck that Tamura-san quietly
> chatted in the darkness. The next morning, I heard he didn't sleep.
>
> In the last part of his career, Tamura-san made a very unusual
> contribution to Japanese cinema. At the top of his game, he quite
> self-consciously devoted himself to shooting films for young, up-and-coming
> directors?Aoyama, Kurosawa, Suo, Kawase, and others. Impressive. An
> impressive life.
>
> 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  Mon May 28 06:46:20 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 28 May 2018 19:46:20 +0900
Subject: [KineJapan] Iwamoto Kenji on Koreeda
Message-ID: <mailman.643.1527504385.18400.kinejapan@lists.osu.edu>

Iwamoto Kenji wrote a very interesting reminiscence about teaching
screenwriting (!) to Kore-eda at Waseda. Here's the link:

https://www.waseda.jp/inst/sgu/news/2018/05/25/3446/

But I'm pasting the text, since this page is doomed to disappear for sure.

Markus

*????????? ??????*

??????????????????????????????!
?????????????????????????????????
?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
?????????????????????????????????????VHS??????????????????????????????????????????????????????????????????????????????????????????????????????????????????
???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
????????????????????????????????????????

*???????????????*
---

*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 May 28 06:32:31 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 28 May 2018 07:32:31 -0300
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
Message-ID: <mailman.638.1527503588.18400.kinejapan@lists.osu.edu>

Thank you Aaron,
good job!

-- 
Almir Almas
alalmas at gmail.com
alalmas at usp.br
55-11-99103-4266
55-11-3091-4332
University of Sao Paulo
Brazil


On Fri, May 11, 2018 at 11:47 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Hello KineJapan subscribers,
>
> As has been mentioned a number of times on the list, KineJapan is
> currently distributed via a Mailman server at Ohio State University. That
> has been our home for about 20 years, thanks to the generosity of Maureen
> Donovan, who was at OSU and one of the three original owners of the list.
> Maureen, however, recently retired, and without her at OSU, KineJapan is
> now housed at
>
> _______________________________________________
> 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 May 27 12:20:13 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 28 May 2018 01:20:13 +0900
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
Message-ID: <mailman.5828.1527438030.29595.kinejapan@lists.osu.edu>

Markus,

Thanks for the touching tribute to Tamura-san. I had hesitated to send out this news because so far the only mention I?ve seen of it is from Funabashi-san on Facebook?nothing else. But I assume you have other sources.

I knew Tamura-san first through YIDFF (though probably the first film of his I saw was Tampopo, which is not really a Tamura film). He was a juror for New Asian Currents when I was the coordinator, and he did a splendid job with that hard task. But for me, it was his later work with young directors which left me with the biggest impression. The three directors he worked most with were Ogawa, Yanagimachi, and Aoyama, and since I?ve written a lot on Aoyama, I?ve thought a lot about Tamura?s work. I once did an interview with him about his work with Yanagimachi?the camera through the murder scene towards the end of Himatsuri is pure Tamura?but I think his work for Aoyama was the best. I once asked Aoyama what Tamura was for him, and he simply answered: ?Time.? 

Tamura-san also directed one film, Drive in Gamo (2014), and co-wrote a book with Aoyama about Golden-gai, which he often frequented (though I drank with him at another favorite spot: Kirin City). 

I hope everyone can look at this great interview we did with Tamura-san for Documentary Box, with Kanai Katsu as the expert interviewer. 

https://www.yidff.jp/docbox/8/box8-3-e.html

Aaron Gerow

> 2018/05/28 ??1:02?Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> ?????
> 
> I just learned of Tamura Masaki's passing. I met Tamura-san through Ogawa Pro, but I already knew him?in a sense?from my intense encounters with his cinematography in Farewell to the Land, Himatsuri, and Tanpopo. These are stunningly photographed, especially the first two. I remember telling Tamura-san that I still had the spacey, writhing rice fields of Farewell to the Land imprinted indelibly in my mind. He was so pleased and revealed that, although Ogawa Pro had moved to Yamagata and produced little of note, it was all his experiments with rice photography in Magino that enabled him to shoot that film. 
> 
> Although he shot an astounding array of films throughout his career, from Lady Snowblood to Eureka, he'll undoubtedly be remembered especially for his partnership with Ogawa Shinsuke. He and Ogawa were clearly, incredibly close. Looking at the Heta Village making-of film, Filmmaking and the Way to the Village, you can see that he's the only one that can keep up with Ogawa. In the end, they had something of a falling out and Tamura-san basically avoided public talk about his experiences with Ogawa Pro. I was grateful that he talked to me. I vividly recall some bitter stories over cheap maguro and beer at some Nakano dive. 
> 
> But more than anything, I remember Ogawa's wake. As they do, lively tsuya slowly calm down as people peel away, going home or going asleep. Before I, too, succumbed to sleep, I was struck that Tamura-san quietly chatted in the darkness. The next morning, I heard he didn't sleep. 
> 
> In the last part of his career, Tamura-san made a very unusual contribution to Japanese cinema. At the top of his game, he quite self-consciously devoted himself to shooting films for young, up-and-coming directors?Aoyama, Kurosawa, Suo, Kawase, and others. Impressive. An impressive life.
> 
> 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  Sun May 27 12:10:44 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 28 May 2018 01:10:44 +0900
Subject: [KineJapan] Tamura Masaki, RIP
In-Reply-To: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
References: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>
Message-ID: <mailman.5811.1527437682.29595.kinejapan@lists.osu.edu>

Suo--->Suwa  ?M

---

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

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


On Mon, May 28, 2018 at 1:02 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> I just learned of Tamura Masaki's passing. I met Tamura-san through Ogawa
> Pro, but I already knew him?in a sense?from my intense encounters with his
> cinematography in *Farewell to the Land, Himatsuri, *and *Tanpopo. *These
> are stunningly photographed, especially the first two. I remember telling
> Tamura-san that I still had the spacey, writhing rice fields of *Farewell
> to the Land* imprinted indelibly in my mind. He was so pleased and
> revealed that, although Ogawa Pro had moved to Yamagata and produced little
> of note, it was all his experiments with rice photography in Magino that
> enabled him to shoot that film.
>
> Although he shot an astounding array of films throughout his career, from *Lady
> Snowblood* to *Eureka*, he'll undoubtedly be remembered especially for
> his partnership with Ogawa Shinsuke. He and Ogawa were clearly, incredibly
> close. Looking at the *Heta Village* making-of film, *Filmmaking and the
> Way to the Village, *you can see that he's the only one that can keep up
> with Ogawa. In the end, they had something of a falling out and Tamura-san
> basically avoided public talk about his experiences with Ogawa Pro. I was
> grateful that he talked to me. I vividly recall some bitter stories over
> cheap maguro and beer at some Nakano dive.
>
> But more than anything, I remember Ogawa's wake. As they do, lively
> *tsuya* slowly calm down as people peel away, going home or going asleep.
> Before I, too, succumbed to sleep, I was struck that Tamura-san quietly
> chatted in the darkness. The next morning, I heard he didn't sleep.
>
> In the last part of his career, Tamura-san made a very unusual
> contribution to Japanese cinema. At the top of his game, he quite
> self-consciously devoted himself to shooting films for young, up-and-coming
> directors?Aoyama, Kurosawa, Suo, Kawase, and others. Impressive. An
> impressive life.
>
> 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  Sun May 27 12:02:20 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Mon, 28 May 2018 01:02:20 +0900
Subject: [KineJapan] Tamura Masaki, RIP
Message-ID: <mailman.251.1527437042.18400.kinejapan@lists.osu.edu>

I just learned of Tamura Masaki's passing. I met Tamura-san through Ogawa
Pro, but I already knew him?in a sense?from my intense encounters with his
cinematography in *Farewell to the Land, Himatsuri, *and *Tanpopo. *These
are stunningly photographed, especially the first two. I remember telling
Tamura-san that I still had the spacey, writhing rice fields of *Farewell
to the Land* imprinted indelibly in my mind. He was so pleased and revealed
that, although Ogawa Pro had moved to Yamagata and produced little of note,
it was all his experiments with rice photography in Magino that enabled him
to shoot that film.

Although he shot an astounding array of films throughout his career, from *Lady
Snowblood* to *Eureka*, he'll undoubtedly be remembered especially for his
partnership with Ogawa Shinsuke. He and Ogawa were clearly, incredibly
close. Looking at the *Heta Village* making-of film, *Filmmaking and the
Way to the Village, *you can see that he's the only one that can keep up
with Ogawa. In the end, they had something of a falling out and Tamura-san
basically avoided public talk about his experiences with Ogawa Pro. I was
grateful that he talked to me. I vividly recall some bitter stories over
cheap maguro and beer at some Nakano dive.

But more than anything, I remember Ogawa's wake. As they do, lively *tsuya*
slowly calm down as people peel away, going home or going asleep. Before I,
too, succumbed to sleep, I was struck that Tamura-san quietly chatted in
the darkness. The next morning, I heard he didn't sleep.

In the last part of his career, Tamura-san made a very unusual contribution
to Japanese cinema. At the top of his game, he quite self-consciously
devoted himself to shooting films for young, up-and-coming
directors?Aoyama, Kurosawa, Suo, Kawase, and others. Impressive. An
impressive life.

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  Sun May 27 08:31:30 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 27 May 2018 21:31:30 +0900
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.1294.1526993685.29595.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
	<mailman.1931.1526453071.28472.kinejapan@lists.osu.edu>
	<mailman.1294.1526993685.29595.kinejapan@lists.osu.edu>
Message-ID: <mailman.205.1527424297.18400.kinejapan@lists.osu.edu>

One last reminder before we make the switchover in a few days. You can of course subscribe to the new server after June 1, but you?ll miss out on all the fun! So try to resubscribe now.

As for the new server, I will send out a test mail after 12:01 am (EDT) on June 1. From that, the new server will become active. I will close down the old server at the same time.



WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018

Since there are currently a lot of dead addresses on our list (the result again of about 20 years of running KineJapan), it will be best to clean everything out by manually switching subscriptions. In other words:

EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE YALE SERVER

The server is active now, but in order to make a clean cut on the list and with the archives, the switchover will take place on June 1. You can subscribe on the Yale server now, but no posts will be allowed until June 1. Continue to use this list until May 31. (I will then ask Yale IT to transfer the May archive, which will complete the move.)

HOW TO RE-SUBSCRIBE:

First, go to:

http://mailman.yale.edu/mailman/listinfo/kinejapan <http://mailman.yale.edu/mailman/listinfo/kinejapan>

In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and your name. Also pick a password which will allow you to change your settings later.

Then just click ?Subscribe?! It?s easy!

You will be asked to confirm the subscription through a confirmation e-mail sent to you. Also, it turns out that since I have frozen all mails, it means that I have to approve all subscriptions (I am approving everyone, though).

Forgive me in advance, but I will be sending versions of this announcement multiple times over the next few weeks to make sure people see it. 

Hope this goes well!

Aaron Gerow
Yale University
KineJapan owner

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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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KineJapan at lists.osu.edu <mailto:KineJapan at lists.osu.edu>
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From kinejapan at lists.osu.edu  Sat May 26 10:16:13 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 26 May 2018 14:16:13 +0000
Subject: [KineJapan] Nihon Eizo Gakkai 2018
In-Reply-To: <mailman.5792.1527339224.9007.kinejapan@lists.osu.edu>
References: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
	<mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>
	<mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>
	<mailman.5792.1527339224.9007.kinejapan@lists.osu.edu>
Message-ID: <mailman.5822.1527344178.9007.kinejapan@lists.osu.edu>

Here, here!!  Agreed.  Thank you for all your hard work on this wonderful resource.
Matthew H. Bernstein
Emory University

-----Original Message-----
From: KineJapan [mailto:kinejapan-bounces at lists.osu.edu] On Behalf Of Japanese Cinema Discussion Forum via KineJapan
Sent: Saturday, May 26, 2018 8:54 AM
To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Nihon Eizo Gakkai 2018

As someone who has donated my time to various organisations for over 30 years and continue to do so  in various ways ingratitude in life is something I see as a growing phenomena.

I would like to thank all those who share their wisdom, knowledge and opinions on KJ and elsewhere.

I for one appreciate it, as I am sure many others do.

Adrian Wood
Sent via BlackBerry from T-Mobile

-----Original Message-----
From: Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Sender: "KineJapan"
<kinejapan-bounces+adrian=restorationasia.org at lists.osu.edu>
Date: Sat, 26 May 2018 20:37:09
To: Japanese Cinema Discussion Forum<kinejapan at lists.osu.edu>
Reply-To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Nihon Eizo Gakkai 2018

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


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https://lists.osu.edu/mailman/listinfo/kinejapan

________________________________

This e-mail message (including any attachments) is for the sole use of
the intended recipient(s) and may contain confidential and privileged
information. If the reader of this message is not the intended
recipient, you are hereby notified that any dissemination, distribution
or copying of this message (including any attachments) is strictly
prohibited.

If you have received this message in error, please contact
the sender by reply e-mail message and destroy all copies of the
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From kinejapan at lists.osu.edu  Sat May 26 10:11:34 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 26 May 2018 14:11:34 +0000
Subject: [KineJapan] Nihon Eizo Gakkai 2018
In-Reply-To: <mailman.5450.1527342097.29595.kinejapan@lists.osu.edu>
References: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
	<mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>
	<mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>
	<mailman.5450.1527342097.29595.kinejapan@lists.osu.edu>
Message-ID: <mailman.5819.1527343901.9007.kinejapan@lists.osu.edu>

Dear 'Alles klar',

Perhaps the whole world does not share your time zone?

Sadly coincidence might.

  
Sent via BlackBerry from T-Mobile

-----Original Message-----
From: Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Sender: "KineJapan"
	<kinejapan-bounces+adrian=restorationasia.org at lists.osu.edu>
Date: Sat, 26 May 2018 22:41:00 
To: Japanese Cinema Discussion Forum<kinejapan at lists.osu.edu>
Reply-To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Nihon Eizo Gakkai 2018

"Surely it is disappointing that sometimes information drops in late, but that happens."

Yes, "sometimes" means it happens repeatedly, and "sometimes" it might happen twice in less than four hours.

Got it.

Alles klar.



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

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


From kinejapan at lists.osu.edu  Sat May 26 09:41:00 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 26 May 2018 22:41:00 +0900
Subject: [KineJapan] Nihon Eizo Gakkai 2018
In-Reply-To: <mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>
References: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
	<mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>
	<mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>
Message-ID: <mailman.5450.1527342097.29595.kinejapan@lists.osu.edu>

"Surely it is disappointing that sometimes information drops in late, but that happens."

Yes, "sometimes" means it happens repeatedly, and "sometimes" it might happen twice in less than four hours.

Got it.

Alles klar.



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


From kinejapan at lists.osu.edu  Sat May 26 08:53:37 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 26 May 2018 12:53:37 +0000
Subject: [KineJapan] Nihon Eizo Gakkai 2018
In-Reply-To: <mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>
References: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
	<mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>
	<mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>
Message-ID: <mailman.5792.1527339224.9007.kinejapan@lists.osu.edu>

As someone who has donated my time to various organisations for over 30 years and continue to do so  in various ways ingratitude in life is something I see as a growing phenomena.

I would like to thank all those who share their wisdom, knowledge and opinions on KJ and elsewhere.

I for one appreciate it, as I am sure many others do.

Adrian Wood 
Sent via BlackBerry from T-Mobile

-----Original Message-----
From: Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Sender: "KineJapan"
	<kinejapan-bounces+adrian=restorationasia.org at lists.osu.edu>
Date: Sat, 26 May 2018 20:37:09 
To: Japanese Cinema Discussion Forum<kinejapan at lists.osu.edu>
Reply-To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu>
Subject: Re: [KineJapan] Nihon Eizo Gakkai 2018

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


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From kinejapan at lists.osu.edu  Sat May 26 07:37:09 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 26 May 2018 20:37:09 +0900 (JST)
Subject: [KineJapan] Nihon Eizo Gakkai 2018
In-Reply-To: <mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>
References: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
	<mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>
Message-ID: <mailman.5765.1527334634.9007.kinejapan@lists.osu.edu>

Don't be mean, dear stranger! This is not a profit-oriented professional site, we just share informations on Japanese film.
Everybody on KJ works for free, just for the love of the topic. Surely it is disappointing that sometimes information drops in late, but that happens.

In this case, the Japan Society for Image Arts and Sciences gives the information about the conference to its members - if somebody on the list is so kind to share this information with us, we should rather be grateful, don't you think?

Best,
Susanne Schermann



----- Original Message -----
>From: Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
>To: Japanese Cinema Discussion Forum <kinejapan at lists.osu.edu> 
>Date: 2018/5/25, Fri 20:32
>Subject: Re: [KineJapan] Nihon Eizo Gakkai 2018
> 
>...and yet another last-minute announcement.
>
>You really don't want people to join the new KJ list, it seems.
>_______________________________________________
>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 May 26 00:12:27 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 26 May 2018 04:12:27 +0000 (UTC)
Subject: [KineJapan] Fw: SOAS,
	Senior Teaching Fellow in Japanese Film Studies
In-Reply-To: <20180521102257.21134.76462@BAJS>
References: <20180521102257.21134.76462@BAJS>
Message-ID: <mailman.5636.1527307957.9007.kinejapan@lists.osu.edu>

 I'd hoped someone else would have put this up on KineJapan, but I haven't seen it here, so the link is below.
Roger
macyroger at yahoo.co.uk

   ----- Forwarded message ----- From: "bajs at bajs.org.uk" <bajs at bajs.org.uk>To: "bajs at bajs.org.uk" <bajs at bajs.org.uk>Sent: Monday, 21 May 2018, 11:23:51 GMT+1Subject: SOAS, Senior Teaching Fellow in Japanese Film Studies
 
Dear colleagues,

The Department of East Asian Languages and Cultures at SOAS will be recruiting a Senior Teaching Fellow in Japanese Film Studies at 0.5
FTE for three academic years, August 2018 to July 2021. Can you pleasecirculate this opportunity to your networks?

Senior Teaching Fellow in Japanese Film Studies - 0.5 FTE until 31 July 2021
Information: https://jobs.soas.ac.uk/fe/tpl_soasnet01.asp?s=4A515F4E5A565B1A&jobid=69734,9371622386&key=29254553&c=355276994159&pagestamp=semlgxhzudsfyicigb
Closing date: 31 May 2018

Thank you,

Dr Nathan W. Hill
Reader in Tibetan and Historical Linguistics
Head of the Department of East Asian Languages and Cultures
SOAS, University of London
Thornhaugh Street, Russell Square, London WC1H 0XG, UK
Tel: +44 (0)20 7898 4512
Room 377
--
Profile -- http://www.soas.ac.uk/staff/staff46254.php
Tibetan Studies at SOAS -- http://www.soas.ac.uk/cia/tibetanstudies/
  
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From kinejapan at lists.osu.edu  Fri May 25 08:42:59 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 25 May 2018 21:42:59 +0900
Subject: [KineJapan] The Big House/Soda Interview
In-Reply-To: <mailman.4300.1527216906.29595.kinejapan@lists.osu.edu>
References: <mailman.4300.1527216906.29595.kinejapan@lists.osu.edu>
Message-ID: <mailman.4569.1527252183.29595.kinejapan@lists.osu.edu>

Thank you Markus!!!

Jeremy
Mabashi Movie Festival

On Fri, May 25, 2018 at 11:55 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> The Big House, which Soda Kazuhiro and I co-directed as a UM class on
> direct cinema, will be released at Image Forum on June 9. It's booked for
> about 15 mini-theaters across Japan after that. I'll point out some related
> events later, but I wanted to flag an excellent English interview with Soda
> by Kinema Clubber Jeremy Harley.
>
> http://shingetsunewsagency.com/2018/05/24/escape-from-
> freedom-an-interview-with-filmmaker-kazuhiro-soda/
>
> They talk more about politics than the film, and that is actually what
> makes it quite interesting. The talk reveals a lot about what makes Soda
> tick.
>
> 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 May 25 07:32:02 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 25 May 2018 20:32:02 +0900
Subject: [KineJapan] Nihon Eizo Gakkai 2018
In-Reply-To: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
References: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>
Message-ID: <mailman.4502.1527247927.29595.kinejapan@lists.osu.edu>

...and yet another last-minute announcement.

You really don't want people to join the new KJ list, it seems.
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From kinejapan at lists.osu.edu  Fri May 25 07:29:46 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 25 May 2018 20:29:46 +0900
Subject: [KineJapan] Yoshida in IFJT
In-Reply-To: <mailman.4358.1527229603.29595.kinejapan@lists.osu.edu>
References: <mailman.4358.1527229603.29595.kinejapan@lists.osu.edu>
Message-ID: <mailman.4800.1527247792.9007.kinejapan@lists.osu.edu>

Yet another last-minute announcement. Too bad. Could have been interesting.

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From kinejapan at lists.osu.edu  Fri May 25 05:43:34 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 25 May 2018 18:43:34 +0900
Subject: [KineJapan] Nihon Eizo Gakkai 2018
Message-ID: <mailman.4741.1527241421.9007.kinejapan@lists.osu.edu>



***********************************************************************************
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contact the IT Service Desk by calling 614-688-HELP (4357).
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The Nihon Eizo Gakkai (Japan Society of Image Arts and Sciences) will be holding its 2018 conference this weekend, May 26 and 27, at Tokyo Polytechnic University. The JASAIS has long been the main academic society that covers film studies, although there are rivals out there.

This year?s edition will feature a symposium on Matsumoto Toshio, who used to be president of the JASIAS.

The website is here:

https://eizo2018.jimdo.com/


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














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From kinejapan at lists.osu.edu  Fri May 25 02:26:40 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 25 May 2018 15:26:40 +0900
Subject: [KineJapan] Yoshida in IFJT
Message-ID: <mailman.4358.1527229603.29595.kinejapan@lists.osu.edu>

Dear Kinejapaners,

I just wanted to let you know about a program (rather oddly) related to
"mai 68" in French institute next sunday, with the screening of two
classics by Yoshida Kij?, *Eros+Massacre - long version* and *Flame and
Women, *the latter being followed by a talk session with Yoshida, Okada
Mariko and myself (from 19h or so).
Here are the informations in Japanese :
http://www.institutfrancais.jp/tokyo/events-manager/cinema1805120527/

 I will make a conference as well from 15:15 on a broader topic, entitled
"Particles, surfaces, fragments", about Japanese cinema during the 60s, or,
as I prefer to say, during the High Growth Era.
It will be in french, translated in Japanese.
http://www.institutfrancais.jp/tokyo/events-manager/cinema1805271315/
Hoping the see you there,

Mathieu Capel
Maison franco-japonaise
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From kinejapan at lists.osu.edu  Thu May 24 22:55:01 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 25 May 2018 11:55:01 +0900
Subject: [KineJapan] The Big House/Soda Interview
Message-ID: <mailman.4300.1527216906.29595.kinejapan@lists.osu.edu>

The Big House, which Soda Kazuhiro and I co-directed as a UM class on
direct cinema, will be released at Image Forum on June 9. It's booked for
about 15 mini-theaters across Japan after that. I'll point out some related
events later, but I wanted to flag an excellent English interview with Soda
by Kinema Clubber Jeremy Harley.

http://shingetsunewsagency.com/2018/05/24/escape-from-freedom-an-interview-with-filmmaker-kazuhiro-soda/

They talk more about politics than the film, and that is actually what
makes it quite interesting. The talk reveals a lot about what makes Soda
tick.

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 May 22 08:54:38 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 22 May 2018 21:54:38 +0900
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.1931.1526453071.28472.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
	<mailman.1931.1526453071.28472.kinejapan@lists.osu.edu>
Message-ID: <mailman.1294.1526993685.29595.kinejapan@lists.osu.edu>

Sorry for the repeated reminders, but I want to make sure everyone who wants to continue to participate on KineJapan can do so. So far, only about a fifth of our current membership has subscribed on the new server. I suspect half of our current subscriptions are dead in one way or another (which is one reason we need to do the move manually), but there still should be a number of you out there who are active on the list (even if it just means reading posts every now and then) who have not yet subscribed.

So subscribe now!



WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018

Since there are currently a lot of dead addresses on our list (the result again of about 20 years of running KineJapan), it will be best to clean everything out by manually switching subscriptions. In other words:

EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE YALE SERVER

The server is active now, but in order to make a clean cut on the list and with the archives, the switchover will take place on June 1. You can subscribe on the Yale server now, but no posts will be allowed until June 1. Continue to use this list until May 31. (I will then ask Yale IT to transfer the May archive, which will complete the move.)

HOW TO RE-SUBSCRIBE:

First, go to:

http://mailman.yale.edu/mailman/listinfo/kinejapan

In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and your name. Also pick a password which will allow you to change your settings later.

Then just click ?Subscribe?! It?s easy!

You will be asked to confirm the subscription through a confirmation e-mail sent to you. Also, it turns out that since I have frozen all mails, it means that I have to approve all subscriptions (I am approving everyone, though).

Forgive me in advance, but I will be sending versions of this announcement multiple times over the next few weeks to make sure people see it. 

Hope this goes well!

Aaron Gerow
Yale University
KineJapan owner

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From kinejapan at lists.osu.edu  Tue May 22 00:54:43 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 22 May 2018 13:54:43 +0900
Subject: [KineJapan] Mechademia Kyoto, roomshare offered
Message-ID: <mailman.1406.1526964887.9007.kinejapan@lists.osu.edu>

Anyone going to Mechademia and still in need of a place  to stay? I have a
2 person tatami room just for myself, if you want to share, it wouldbe
about 3000 yen a night. It is this one:
https://www.agoda.com/fi-fi/grand-japaning-hotel-nijo/hotel/kyoto-jp.html

-- 
Eija Niskanen
+358-50-355 3189
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From kinejapan at lists.osu.edu  Mon May 21 17:59:02 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 22 May 2018 06:59:02 +0900
Subject: [KineJapan] Mechademia Kyoto
In-Reply-To: <mailman.3162.1524667318.11107.kinejapan@lists.osu.edu>
References: <mailman.2634.1524605467.11107.kinejapan@lists.osu.edu>
 <mailman.2568.1524628831.37054.kinejapan@lists.osu.edu>
 <mailman.3162.1524667318.11107.kinejapan@lists.osu.edu>
Message-ID: <mailman.805.1526939948.29595.kinejapan@lists.osu.edu>

Hi Eija,

The Mechademia schedule has now been posted !
You can see the admission details and program online, on the manga museum
website:
https://www.kyotomm.jp/en/event/eve_mechademia2018/

(for the program, click on "time schedule" in the content section at the
bottom of the page or see image below)



Best,

Lucile


2018-04-25 23:41 GMT+09:00 Japanese Cinema Discussion Forum via KineJapan <
kinejapan at lists.osu.edu>:

> I know the venue, but the conference starts in one month, and there is no
> schedule, no keynote speaker names, the CFP is there, although the deadine
> was 3 weeks back....I am starting to have a suspicion that the whole event
> might be canceled...?
> Eija
>
> 2018-04-25 7:00 GMT+03:00 Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu>:
>
>> Hi Eija,
>>
>> You're right the CFP is still there but the page doesn't show the venue.
>> This other page does:
>> http://www.mechademia.net/2018/02/14/register-now-for-mechad
>> emia-kyoto-2018/
>>
>> It looks like it is going to be held at the Kyoto International Manga
>> Museum, May 25~27.
>>
>>
>> Best,
>>
>> Lucile Druet
>>
>>
>>
>> 2018-04-25 6:31 GMT+09:00 Japanese Cinema Discussion Forum via KineJapan
>> <kinejapan at lists.osu.edu>:
>>
>>> Hi! Does anyone know anything about Mechademia Kyoto? It is supposed to
>>> be in one month, and their website has absolutely nothing, the CFP still
>>> there.
>>>
>>> --
>>> Eija Niskanen
>>>
>>>
>>> _______________________________________________
>>> 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
>>
>>
>
>
> --
> Eija Niskanen
> +358-50-355 3189
> +81-80-3558-1645
>
> _______________________________________________
> 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 May 19 18:22:59 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 20 May 2018 07:22:59 +0900
Subject: [KineJapan] =?utf-8?q?A_conversation_between_Kore=E2=80=99eda_and?=
	=?utf-8?q?_Soda?=
Message-ID: <mailman.5203.1526768588.28472.kinejapan@lists.osu.edu>

Dear all, 

For those of you in Japan, on June 2 and 9 ??????????? will air a conversation on documentary between Kore?eda Hirokazu (he just won the Palm d?Or at Cannes!) and Soda Kazuhiro, more info here:
https://www.nihon-eiga.com/osusume/documentary2018/

Regards

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 May 18 06:54:54 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 18 May 2018 00:54:54 -1000
Subject: [KineJapan] (no subject)
Message-ID: <mailman.4294.1526641028.12695.kinejapan@lists.osu.edu>

http://tag.global-dream-trips.net
Tim Iles



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From kinejapan at lists.osu.edu  Thu May 17 09:15:21 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 17 May 2018 15:15:21 +0200
Subject: [KineJapan] 18th Nippon Connection Film Festival in Frankfurt
Message-ID: <mailman.3468.1526562961.12695.kinejapan@lists.osu.edu>

**

*Dear KineJapan subscribers,*

*

The 18th edition of the Japanese Film Festival Nippon Connectionwill 
take place in Frankfurt am Main, Germany from May 29 to June 3, 2018. 
The program comprises more than 100 short and feature films, most of 
them shown as German, European, international or world premieres. The 
festival will open with Shuichi Okita?ssubtle comedy Mori, The Artist?s 
Habitat. Among the other film highlights can be found such titles as the 
surrealistic war drama Hanagatamiby veteran director Nobuhiko Obayashi, 
Wildernessby Yoshiyuki Kishi(adapted from Shuji Terayama?s 1966 novel) 
as well as a special screening of Kan Mukai?spink film classic Blue Film 
Womanin a restored version. Please find the line-up below. For more 
information, please visit the festival?s 
website:www.nipponconnection.com 
<http://www.nipponconnection.com/nc-2018-english.html>


Numerous filmmakers and artists from Japan will present their works in 
person. The guest list includes directors Isao Yukisada(who will also 
serve as a member of the Nippon Visions jury), Shuichi Okita, Akiko Oku, 
Yukiko Mishima, Daigo Matsui, and J-horror-veteran Hiroshi Takahashi, 
among others. As this year?s guest of honor, renowned actress Shinobu 
Terajimawill receive the Nippon Honor Award. She can be seen starring in 
four films at the festival: Dear Etrangerby Yukiko Mishima, Oh Lucy!by 
Atsuko Hirayanagi, the festival?s closing film The City of Betrayalby 
Daisuke Miura, and the special screening of Ryuichi Hiroki?s Vibrator. 
All guests of the festival: www.nipponconnection.com/gaeste.html 
<http://www.nipponconnection.com/gaeste.html>


The new program section Nippon Docswill direct a sharp focus at 
documentary films, which have generally become increasingly popular with 
festival audiences while also delivering critical perspectives on 
social, political, and cultural issues. Dealing with such topics as the 
consequences of the 2011 Tohoku earthquake, minority rights, or the 
aging of Japanese society, directors like Haruka Komori, Hikaru Toda, 
and Kazuhiro Sodagive proof of the diversity of their genre. A panel 
discussionmoderated by Markus Nornes(University of Michigan) will 
analyze the potential of international co-productions in this field.


This year?s retrospective, organized in cooperation with the Japan 
Foundation, unites selected gems from one of the genres most readily 
associated with Japanese cinema. Under the motto Elegance & Bloodshed ? 
Japanese Sword Fighting Films from the 1960?s, eight films in 35mm and 
16mm format represent the often gloomy and nihilistic aesthetics of that 
era. In addition, Teppei Yamaguchi?s classic Kurama Tengu(1928) will be 
screened with live music and accompaniment by famous benshi Ichiro Kataoka.


A diverse supporting programwill include concerts, performances, 
workshops, and talks with filmmakers. Film-related lectures will be 
given by Tom Mes(University of Leiden): Meiko Kaji Unchained, Naoki 
Niira(Japan VisualMedia Translation Academy, Tokyo): Spirit of the Times 
and the Women Portrayed in Films and Songs, Jonathan M. Hall(Pomona 
College): My Crazy Love For Japanese Camp, and Chantal 
Bertalanffy(University of Edinburgh): New Godzilla, Old Trauma? ? 
Japanese Cinema Post Fukushima.

**

The accreditation form is available on our website: 
www.nipponconnection.com/press.html 
<http://www.nipponconnection.com/press.html>


I?m looking forward to seeing you in Frankfurt!


Best,


Marion Klomfass

Festival director

**

Nippon Connection ** * * 18th Japanese Film Festival May 29 ? June 3, 
2018 Frankfurt am Main, Germany Office: Nippon Connection e.V.,?c/o 
Atelierfrankfurt, Raum 5.08 Schwedlerstra?e 1-5, 60314 Frankfurt am 
Main, Germany Mobile: +49 177 467 11 41 Phone: +49 69 847 765 65, Fax: 
+49 69 847 765 66 Marion at NipponConnection.com www.NipponConnection.com


Film Program Survey(as of May 11, 2018):


NIPPON CINEMA


Bamyby Jun TANAKA, J 2017

Birds without Names (Kanojo ga sono na o shiranai toritachi) by Kazuya 
SHIRAISHI, J 2017, GP

The Blood of Wolves(Koro no chi) by Kazuya SHIRAISHI, J 2018, GP

The City of Betrayal(Uragiri no machi) by Daisuke MIURA, J 2016, GP

Dear Etranger(Osanago warera ni umare) by Yukiko MISHIMA, J 2017, GP

Destiny: The Tale of Kamakura(Destiny Kamakura monogatari) by Takashi 
YAMAZAKI, J 2017, GP

Enokida Trading Post (Enokida boekido) by Ken IIZUKA, J 2017, WP

Flower and Sword(Hana ikusa) by Tetsuo SHINOHARA, J 2017, GP

Foreboding (Yocho sanpo suru shinryakusha gekijoban) by Kyoshi KUROSAWA, 
J 2018

Hanagatami by Nobuhiko OBAYASHI, J 2017, GP

Moon and Thunder(Tsuki to kaminari) by Hiroshi ANDO, J 2017, EP

Mori, The Artists Habitat (Mori no iru basho) by Shuichi OKITA, J 2018, GP

Oh Lucy!by Atsuko HIRAYANAGI, J 2017, GP

Outrage Coda(Autoreiji saishusho) by Takeshi KITANO, J 2017

Pumpkin and Mayonnaise(Kabocha to mayonezu) by Masanori TOMINAGA, J 2017, EP

Recall(Sora tobu taiya) by Katsuhide MOTOKI, J 2018, EP

River?s Edgeby Isao YUKISADA, J 2018

Occult Bolshevism(Reiteki borisheviki) by Hiroshi TAKAHASHI, J 2017, EP

The Third Murder(Sandome no satsujin) by Hirokazu KOREEDA, J 2017, GP

Tremble All You Want(Katte ni furetero) by Akiko OKU, J 2017, GP

We Are (Ao no kaerimichi) by Michihito FUJII, J 2017, WP

Special Screening: Blue Film Woman(Boru firumo no onna) by Kan MUKAI, J 1969

Special Screening: Vibratorby Ryuichi HIROKI, J 2003


NIPPON ANIMATION


Lu Over the Wall(Yoake tsugeru Ru no uta) by Masaaki YUASA, J 2017, GP

Mary and the Witch?s Flower(Meari to majo no hana) by Hiromasa 
YONEBAYASHI, J 2017

Mutafukaz by Shojiro NISHIMI and Guillaume Renard, J / F 2017

The Night Is Short, Walk On Girl by Masaaki YUASA, J 2017, GP

Violence Voyagerby Ujicha, J 2017, EP

The Boy and the Beast (Bakemono no ko) by Mamoru HOSODA, J 2015

Tokyo University of the Arts: Animation

Music of the Visual World: Japanese Indie Animated Shorts


NIPPON VISIONS


Breath of Rokkasho (Ikizuku) by Bunyo KIMURA, J 2017, IP

Cyclops (Kyukuropusu) by Norichika OBA, J 2018, IP

Deep Tastes by Kohei NAKAYAMA, J 2015

Here and Elsewhere, On and On by Yoshimasa JIMBO, J 2017, EP

The Hungry Lion (Ueta raion) by Takaomi OGATA, J 2017, GP

Ice Cream and the Sound of Raindrops (Aiso to amaoto) by Daigo MATSUI, J 
2017, EP

Intergalactic Detektive Dr. Monkula by Alexander Iffl?nder, Germany / J 2018

Interstitial by Shunsaku HAYASHI, J 2017

The Name(Namae) by Akihiro TODA, J 2017, GP

The Night I Swam (Oyogisugita yoru) by Damien Manivel und Kohei 
IGARASHI, J / F 2017, GP

Noise by Yusaku MATSUMOTO, J 2017

One Cut of the Dead (Kamera o tomeru na!) by Shinichiro UEDA, J 2017

Ordinary Everyday by Noriko YUASA , J 2017

Party ?Round the Globe (Chikyu wa omatsurisawagi)by Hirobumi WATANABE, J 
2017, GP

Passage of Life (Boku no kaeru basho) by Akio FUJIMOTO, J / MYA 2017, GP

Remember! by Tetsuhiko TSUCHIYA, J 2016, IP

Skip City Presents: A Girl Untouchable by Hidetaka KOMUKAI, J 2016, IP

Skip City Presents: Mitokomon Z by Shogo OKAWA, J 2016, GP

Skip City Presents: Nagisaby Takeshi KOGAHARA, J 2017, EP

Top Knot Detective by Dominic Pearce und Aaron McCann, AUS 2016

Wilderness (Part 1 & 2) (Aa, koya - zempen?kohen) by Yoshiyuki KISHI, J 
2017, EP

Dearvon Kohei IGARASHI, J 2018



NIPPON DOCS


Danchi Womanby Akiko SUGIMOTO, J 2017, EP

A Free Man(Jiyujin) by Andreas Hartmann, J / D 2017

Inland Sea(Minatomachi) by Kazuhiro SODA, J / USA 2018

Japan Institute of the Moving Image: Short Docs

Love and Wolbachia(Koi to borubakia) by Sayaka ONO, J 2017, IP

Of Love & Law by Hikaru TODA, J / UK / F 2017, GP

Ramen Headsby Koki SHIGENO, J 2017, GP

Trace of Breath(Iki no ato) by Haruka KOMORI, J 2017, GP

Zen and Bones(Zen to hone) by Takayuki NAKAMURA, J 2016, EP

Johnny Jeana: Portrait of a Tokyo Rockabilly by James Partridge, UK 2017


Exclusive Screenings by NHK WORLD-JAPAN:

Tsuroku?s Tea Journey by Keiko MATSUDA, J 2016

Living Ninja Legend by Fuyuhiko NISHI, J 2016

Kurara: The Dazzling Life Of Hokusai?s Daughter by Taku KATO, J 2017, GP



NIPPON RETRO


Kiruby Kenji MISUMI, J 1962

On the Road Forever(Mushuku mono) by Kenji MISUMI, J 1964

Red Peony Gambles Her Life(Hibotan akuto - Hanafuda shobu) by Tai KATO, 
J 1969

Samurai Rebellion(Joiuchi: Hairyo tsuma shimatsu) by Masaki KOBAYASHI, J 
1967

Sword of Doom(Daibosatsu toge) by Kihachi OKAMOTO, J 1966

Thirteen Assassins(13 nin no shikaku) by Eiichi KUDO, J 1963

Yojimboby Akira KUROSAWA, J 1961

Sanjuro(Tsubaki Sanjuro) by Akira KUROSAWA, J 1962

Special Screening: Kurama Tenguby Teppei YAMAGUCHI, J 1928


EP: European Premiere / GP: German Premiere /IP: International Premiere 
/ WP: World Premiere


*

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From kinejapan at lists.osu.edu  Wed May 16 02:44:24 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 16 May 2018 15:44:24 +0900
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
Message-ID: <mailman.1931.1526453071.28472.kinejapan@lists.osu.edu>

The first of several reminders:

WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018

Since there are currently a lot of dead addresses on our list (the result again of about 20 years of running KineJapan), it will be best to clean everything out by manually switching subscriptions. In other words:

EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE YALE SERVER

The server is active now, but in order to make a clean cut on the list and with the archives, the switchover will take place on June 1. You can subscribe on the Yale server now, but no posts will be allowed until June 1. Continue to use this list until May 31. (I will then ask Yale IT to transfer the May archive, which will complete the move.)

HOW TO RE-SUBSCRIBE:

First, go to:

http://mailman.yale.edu/mailman/listinfo/kinejapan

In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and your name. Also pick a password which will allow you to change your settings later.

Then just click ?Subscribe?! It?s easy!

You will be asked to confirm the subscription through a confirmation e-mail sent to you. Also, it turns out that since I have frozen all mails, it means that I have to approve all subscriptions (I am approving everyone, though).

Forgive me in advance, but I will be sending versions of this announcement multiple times over the next few weeks to make sure people see it. 

Hope this goes well!

Aaron Gerow
Yale University
KineJapan owner

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

From kinejapan at lists.osu.edu  Tue May 15 15:54:06 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Tue, 15 May 2018 19:54:06 +0000
Subject: [KineJapan] 1968 Screenings at the Goethe Institute Tokyo
In-Reply-To: <mailman.1535.1526392082.12695.kinejapan@lists.osu.edu>
References: <mailman.4668.1526040324.45175.kinejapan@lists.osu.edu>
	<mailman.5170.1526125423.30581.kinejapan@lists.osu.edu>
	<mailman.5233.1526144902.30581.kinejapan@lists.osu.edu>,
	<mailman.1535.1526392082.12695.kinejapan@lists.osu.edu>
Message-ID: <mailman.1946.1526414051.12695.kinejapan@lists.osu.edu>

Sorry; the discount was only at SCMS.  But here is the link to the book.

http://www.wsupress.wayne.edu/books/detail/1968-and-global-cinema

David Desser <http://www.wsupress.wayne.edu/books/detail/1968-and-global-cinema>
________________________________
From: KineJapan [kinejapan-bounces+desser=uiuc.edu at lists.osu.edu] on behalf of Japanese Cinema Discussion Forum via KineJapan [kinejapan at lists.osu.edu]
Sent: Saturday, May 12, 2018 12:18 PM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] 1968 Screenings at the Goethe Institute Tokyo

I?d be interested in that flyer discount! Looking forward to reading the essays.

Thanks in advance,
Robyn

On May 12, 2018, 1:08 PM -0400, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>, wrote:
Nice!  Roland is always terrific.  Thought you all might like to know of a related project to this:

1968 and Global Cinema Edited by Christina Gerhardt and Sara Saljoughi  Wayne State UP.  It comes out in October.  I have a flyer for a discount if anyone is interested. I  have an essay on Oshima's two films of 1968, Death by Hanging and Three Resurrected Drunkards.  And there's an essay on the films of Ogawa Pro, as well.

David Desser


________________________________
From: KineJapan [kinejapan-bounces at lists.osu.edu] on behalf of Japanese Cinema Discussion Forum via KineJapan [kinejapan at lists.osu.edu]
Sent: Saturday, May 12, 2018 4:43 AM
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] 1968 Screenings at the Goethe Institute Tokyo

Hello All,

my apologies, I forgot to post the link to the screenings! Here it is: https://www.goethe.de/ins/jp/ja/kul/sup/zei/kal.cfm?

Do check out the stunning number of amazing guests sitting in for post-screening talks; it's really quite a lineup. Congratulations to Roland Domenig and Go Hirasawa for putting this together.

Best,

Alex

On Fri, May 11, 2018 at 9:05 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:
Hello All,

if you are in Tokyo do consider checking out the terrific screenings of Japanese and German-language films from 1968 at the Goethe Institute Tokyo, starting later this month. The series is co-curated by Roland Domenig and Hirasawa Go. It's a wonderful idea to watch these films alongside each other.

There are also guests and discussion rounds- I will be talking with Hani Susumu after the screening  of ?????? / Nanami: Inferno of First Love on the 29th.

Hope to see you there!
Alex

.......................................
Alexander Zahlten
Dept. of East Asian Languages and Civilizations
Harvard University

_______________________________________________
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
https://lists.osu.edu/mailman/listinfo/kinejapan
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https://lists.osu.edu/mailman/listinfo/kinejapan

From kinejapan at lists.osu.edu  Sat May 12 15:18:51 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 12 May 2018 15:18:51 -0400
Subject: [KineJapan] 1968 Screenings at the Goethe Institute Tokyo
In-Reply-To: <mailman.5233.1526144902.30581.kinejapan@lists.osu.edu>
References: <mailman.4668.1526040324.45175.kinejapan@lists.osu.edu>
	<mailman.5170.1526125423.30581.kinejapan@lists.osu.edu>
	<mailman.5233.1526144902.30581.kinejapan@lists.osu.edu>
Message-ID: <mailman.1535.1526392082.12695.kinejapan@lists.osu.edu>

I?d be interested in that flyer discount! Looking forward to reading the essays.

Thanks in advance,
Robyn

On May 12, 2018, 1:08 PM -0400, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>, wrote:
> Nice!? Roland is always terrific.? Thought you all might like to know of a related project to this:
>
> 1968 and Global Cinema Edited by Christina Gerhardt and Sara Saljoughi? Wayne State UP.? It comes out in October.? I have a flyer for a discount if anyone is interested. I? have an essay on Oshima's two films of 1968, Death by Hanging and Three Resurrected Drunkards.? And there's an essay on the films of Ogawa Pro, as well.
>
> David Desser
>
>
> From: KineJapan [kinejapan-bounces at lists.osu.edu] on behalf of Japanese Cinema Discussion Forum via KineJapan [kinejapan at lists.osu.edu]
> Sent: Saturday, May 12, 2018 4:43 AM
> To: Japanese Cinema Discussion Forum
> Subject: Re: [KineJapan] 1968 Screenings at the Goethe Institute Tokyo
>
> Hello All,
>
> my apologies, I forgot to post the link to the screenings! Here it is:?https://www.goethe.de/ins/jp/ja/kul/sup/zei/kal.cfm?
>
> Do check out the stunning number of amazing guests sitting in for post-screening talks; it's really quite a lineup. Congratulations to Roland Domenig and Go Hirasawa for putting this together.
>
> Best,
>
> Alex
>
> > On Fri, May 11, 2018 at 9:05 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> > > Hello All,
> > >
> > > if you are in Tokyo do consider checking out the terrific screenings of Japanese and German-language films from 1968 at the Goethe Institute Tokyo, starting later this month. The series is co-curated by Roland Domenig and Hirasawa Go. It's a wonderful idea to watch these films alongside each other.
> > >
> > > There are also guests and discussion rounds- I will be talking with Hani Susumu after the screening ?of ?????? / Nanami: Inferno of First Love on the 29th.
> > >
> > > Hope to see you there!
> > > Alex
> > >
> > > .......................................
> > > Alexander Zahlten
> > > Dept. of East Asian Languages and Civilizations
> > > Harvard University
> > >
> > > _______________________________________________
> > > 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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https://lists.osu.edu/mailman/listinfo/kinejapan

From kinejapan at lists.osu.edu  Sat May 12 10:24:15 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 12 May 2018 16:24:15 +0200
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.5257.1526088014.45175.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
	<mailman.5257.1526088014.45175.kinejapan@lists.osu.edu>
Message-ID: <mailman.5417.1526135059.45175.kinejapan@lists.osu.edu>

Thanks Aaron and CHEERS !

Jacline Moriceau

jmthfrsa at gmail.com

2018-05-12 3:20 GMT+02:00 Japanese Cinema Discussion Forum via KineJapan <
kinejapan at lists.osu.edu>:

> This was a lot of work over a long period of time. Three cheers for Aaron!
>  ?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, May 11, 2018 at 11:47 PM, Japanese Cinema Discussion Forum via
> KineJapan <kinejapan at lists.osu.edu> wrote:
>
>> Hello KineJapan subscribers,
>>
>> As has been mentioned a number of times on the list, KineJapan is
>> currently distributed via a Mailman server at Ohio State University. That
>> has been our home for about 20 years, thanks to the generosity of Maureen
>> Donovan, who was at OSU and one of the three original owners of the list.
>> Maureen, however, recently retired, and without her at OSU, KineJapan is
>> now housed at an institution where we don?t have any direct influence.
>>
>> The plan has been to move the list to Yale, where I teach. The Kinema
>> Club website is currently housed at Yale, so moving KineJapan there is only
>> natural. I have talked with the IT people and they assure me that some of
>> the problems we have had with this list?especially when some major servers
>> started rejecting our mail and we had to switch the settings to KineJapan
>> in the ?From? line?should not happen at Yale. The logistics of the move are
>> not simple, however, since we have about 20 years of list archives that
>> need to be transferred as well.
>>
>> It took a while, but the IT people at Yale have finally succeeded in
>> transferring or duplicating the list archives to the Yale server. The
>> archives are unfortunately not complete, since one of the problems we had
>> with OSU is that they erased nearly all of the first 10 years of our
>> archives when they moved the list to a new mail server within OSU. Luckily,
>> Yale?s IT people have been able to resurrect most of that based on mails
>> that I and others have saved, and also transfer what came after that to the
>> Yale server. There are some portions missing, but it is now much more
>> complete than the archives currently on the OSU site.
>>
>> So now it?s time for the big announcement:
>>
>> WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018
>>
>> Since there are currently a lot of dead addresses on our list (the result
>> again of about 20 years of running KineJapan), it will be best to clean
>> everything out by manually switching subscriptions. In other words:
>>
>> EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE
>> YALE SERVER
>>
>> The server is active now, but in order to make a clean cut on the list
>> and with the archives, the switchover will take place on June 1. You can
>> subscribe on the Yale server now, but no posts will be allowed until June
>> 1. Continue to use this list until May 31. (I will then ask Yale IT to
>> transfer the May archive, which will complete the move.)
>>
>> HOW TO RE-SUBSCRIBE:
>>
>> First, go to:
>>
>> http://mailman.yale.edu/mailman/listinfo/kinejapan
>>
>> In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and
>> your name. Also pick a password which will allow you to change your
>> settings later.
>>
>> Then just click ?Subscribe?! It?s easy!
>>
>> Forgive me in advance, but I will be sending versions of this
>> announcement multiple times over the next few weeks to make sure people see
>> it.
>>
>> Hope this goes well!
>>
>> Aaron Gerow
>> Yale University
>> KineJapan owner
>>
>>
>> _______________________________________________
>> 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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https://lists.osu.edu/mailman/listinfo/kinejapan

From kinejapan at lists.osu.edu  Fri May 11 21:20:08 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 12 May 2018 10:20:08 +0900
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
Message-ID: <mailman.5257.1526088014.45175.kinejapan@lists.osu.edu>

This was a lot of work over a long period of time. Three cheers for Aaron!
 ?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, May 11, 2018 at 11:47 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Hello KineJapan subscribers,
>
> As has been mentioned a number of times on the list, KineJapan is
> currently distributed via a Mailman server at Ohio State University. That
> has been our home for about 20 years, thanks to the generosity of Maureen
> Donovan, who was at OSU and one of the three original owners of the list.
> Maureen, however, recently retired, and without her at OSU, KineJapan is
> now housed at an institution where we don?t have any direct influence.
>
> The plan has been to move the list to Yale, where I teach. The Kinema Club
> website is currently housed at Yale, so moving KineJapan there is only
> natural. I have talked with the IT people and they assure me that some of
> the problems we have had with this list?especially when some major servers
> started rejecting our mail and we had to switch the settings to KineJapan
> in the ?From? line?should not happen at Yale. The logistics of the move are
> not simple, however, since we have about 20 years of list archives that
> need to be transferred as well.
>
> It took a while, but the IT people at Yale have finally succeeded in
> transferring or duplicating the list archives to the Yale server. The
> archives are unfortunately not complete, since one of the problems we had
> with OSU is that they erased nearly all of the first 10 years of our
> archives when they moved the list to a new mail server within OSU. Luckily,
> Yale?s IT people have been able to resurrect most of that based on mails
> that I and others have saved, and also transfer what came after that to the
> Yale server. There are some portions missing, but it is now much more
> complete than the archives currently on the OSU site.
>
> So now it?s time for the big announcement:
>
> WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018
>
> Since there are currently a lot of dead addresses on our list (the result
> again of about 20 years of running KineJapan), it will be best to clean
> everything out by manually switching subscriptions. In other words:
>
> EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE
> YALE SERVER
>
> The server is active now, but in order to make a clean cut on the list and
> with the archives, the switchover will take place on June 1. You can
> subscribe on the Yale server now, but no posts will be allowed until June
> 1. Continue to use this list until May 31. (I will then ask Yale IT to
> transfer the May archive, which will complete the move.)
>
> HOW TO RE-SUBSCRIBE:
>
> First, go to:
>
> http://mailman.yale.edu/mailman/listinfo/kinejapan
>
> In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and
> your name. Also pick a password which will allow you to change your
> settings later.
>
> Then just click ?Subscribe?! It?s easy!
>
> Forgive me in advance, but I will be sending versions of this announcement
> multiple times over the next few weeks to make sure people see it.
>
> Hope this goes well!
>
> Aaron Gerow
> Yale University
> KineJapan owner
>
>
> _______________________________________________
> 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

From kinejapan at lists.osu.edu  Fri May 11 21:06:12 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 12 May 2018 10:06:12 +0900
Subject: [KineJapan] Gerow on Madness
Message-ID: <mailman.5000.1526087177.30581.kinejapan@lists.osu.edu>

Aaron sits on a podcast about Page of Madness (but don't forget his
excellent book!).

https://www.cinematary.com/show-episodes/2018/5/10/episode-195-a-page-of-madness-with-guest-aaron-gerow-young-critics-watch-old-movies-v4

https://www.press.umich.edu/9340131/page_of_madness

Markus
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https://lists.osu.edu/mailman/listinfo/kinejapan

From kinejapan at lists.osu.edu  Fri May 11 14:35:55 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 11 May 2018 18:35:55 +0000
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.5033.1526061770.45175.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
	<mailman.5033.1526061770.45175.kinejapan@lists.osu.edu>
Message-ID: <mailman.4780.1526063762.30581.kinejapan@lists.osu.edu>

Great job, Aaron, as usual. Thanks!

[https://ci4.googleusercontent.com/proxy/Bb5L9Kyy3D9eaWRfNBJGWHmK1wTLslAty2ZWfPyY1FJA7FpUj31kdyREqZvL5VDjjGBC8-nrZ2j9HXyiWNRFCTU65pOmilblIcA=s0-d-e1-ft#https://www.urjc.es/images/rcc_harvard_urjc/logo.png]

Lorenzo J. Torres Hortelano
Vicedecano de Extensi?n Universitaria y Relaciones Internacionales
Vice-Dean of University Extension and International Relations
Profesor Titular/Associate Professor
Facultad de Ciencias de la Comunicaci?n
Departamento de Ciencias de la Comunicaci?n y Sociolog?a
Universidad Rey Juan Carlos
Edificio Departamental - Despacho 22
Camino del Molino s/n, 28943 Fuenlabrada
34-657565507
lorenzojavier.torres.hortelano at urjc.es<mailto:lorenzojavier.torres.hortelano at urjc.es> | www.urjc.es<http://www.urjc.es/> |
Lorenzo Torres Academia.edu <https://urjc.academia.edu/ljtorres>

De: KineJapan [mailto:kinejapan-bounces at lists.osu.edu] En nombre de Japanese Cinema Discussion Forum via KineJapan
Enviado el: viernes, 11 de mayo de 2018 20:03
Para: Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu>
Asunto: Re: [KineJapan] IMPORTANT: Moving KineJapan to new server

Cheers!
SAT

Sybil Thornton, MA, PhD (Cantab)

"Suffering and Deification:  The Goddess in Night Drum," in Goddesses: Dialectics of the Feminine in Japanese Audiovisual Culture, ed. Lorenzo J. Torres Hortelano (Lanham: Lexington Books, 2017).

"The Return Song and the Myth of the Founding of the Nation in Vreme na nasilie," Athens Journal of History 2 no. 3 (October 2016), 149-167.


?Meitokuki:  Earthquakes and Literary Fabrication in the gunki monogatari.?Japan Review 28 (October 2015): 225-234.<http://publications.nichibun.ac.jp/en/item/jare/2015-12-15/pub>



?Shint? Art,? in The Oxford Handbook of Religion and the Arts,ed. by Frank Burch Brown(Oxford:  Oxford University Press, 2014).






On ?Friday?, ?May? ?11?, ?2018? ?07?:?47?:?46? ?AM? ?MST, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu<mailto:kinejapan at lists.osu.edu>> wrote:


Hello KineJapan subscribers,

As has been mentioned a number of times on the list, KineJapan is currently distributed via a Mailman server at Ohio State University. That has been our home for about 20 years, thanks to the generosity of Maureen Donovan, who was at OSU and one of the three original owners of the list. Maureen, however, recently retired, and without her at OSU, KineJapan is now housed at an institution where we don?t have any direct influence.

The plan has been to move the list to Yale, where I teach. The Kinema Club website is currently housed at Yale, so moving KineJapan there is only natural. I have talked with the IT people and they assure me that some of the problems we have had with this list?especially when some major servers started rejecting our mail and we had to switch the settings to KineJapan in the ?From? line?should not happen at Yale. The logistics of the move are not simple, however, since we have about 20 years of list archives that need to be transferred as well.

It took a while, but the IT people at Yale have finally succeeded in transferring or duplicating the list archives to the Yale server. The archives are unfortunately not complete, since one of the problems we had with OSU is that they erased nearly all of the first 10 years of our archives when they moved the list to a new mail server within OSU. Luckily, Yale?s IT people have been able to resurrect most of that based on mails that I and others have saved, and also transfer what came after that to the Yale server. There are some portions missing, but it is now much more complete than the archives currently on the OSU site.

So now it?s time for the big announcement:

WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018

Since there are currently a lot of dead addresses on our list (the result again of about 20 years of running KineJapan), it will be best to clean everything out by manually switching subscriptions. In other words:

EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE YALE SERVER

The server is active now, but in order to make a clean cut on the list and with the archives, the switchover will take place on June 1. You can subscribe on the Yale server now, but no posts will be allowed until June 1. Continue to use this list until May 31. (I will then ask Yale IT to transfer the May archive, which will complete the move.)

HOW TO RE-SUBSCRIBE:

First, go to:

http://mailman.yale.edu/mailman/listinfo/kinejapan

In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and your name. Also pick a password which will allow you to change your settings later.

Then just click ?Subscribe?! It?s easy!

Forgive me in advance, but I will be sending versions of this announcement multiple times over the next few weeks to make sure people see it.

Hope this goes well!

Aaron Gerow
Yale University
KineJapan owner


_______________________________________________
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  Fri May 11 14:02:41 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 11 May 2018 18:02:41 +0000 (UTC)
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
In-Reply-To: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
References: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>
Message-ID: <mailman.5033.1526061770.45175.kinejapan@lists.osu.edu>

Cheers!SAT

Sybil Thornton, MA, PhD (Cantab)?
"Suffering and Deification: ?The Goddess in Night Drum," in?Goddesses: Dialectics of the Feminine in Japanese Audiovisual Culture,?ed. Lorenzo J. Torres Hortelano (Lanham: Lexington Books, 2017).
"The Return Song and the Myth of the Founding of the Nation in Vreme na nasilie," Athens Journal of History 2 no. 3 (October 2016), 149-167.

?Meitokuki:? Earthquakes and Literary Fabrication in the gunki monogatari.?Japan?Review 28 (October 2015): 225-234.




?Shint? Art,? in The Oxford Handbook of Religion and the Arts,ed. by Frank Burch?Brown(Oxford:? Oxford University Press, 2014).






 

    On ?Friday?, ?May? ?11?, ?2018? ?07?:?47?:?46? ?AM? ?MST, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:  
 
 Hello KineJapan subscribers,

As has been mentioned a number of times on the list, KineJapan is currently distributed via a Mailman server at Ohio State University. That has been our home for about 20 years, thanks to the generosity of Maureen Donovan, who was at OSU and one of the three original owners of the list. Maureen, however, recently retired, and without her at OSU, KineJapan is now housed at an institution where we don?t have any direct influence.

The plan has been to move the list to Yale, where I teach. The Kinema Club website is currently housed at Yale, so moving KineJapan there is only natural. I have talked with the IT people and they assure me that some of the problems we have had with this list?especially when some major servers started rejecting our mail and we had to switch the settings to KineJapan in the ?From? line?should not happen at Yale. The logistics of the move are not simple, however, since we have about 20 years of list archives that need to be transferred as well.

It took a while, but the IT people at Yale have finally succeeded in transferring or duplicating the list archives to the Yale server. The archives are unfortunately not complete, since one of the problems we had with OSU is that they erased nearly all of the first 10 years of our archives when they moved the list to a new mail server within OSU. Luckily, Yale?s IT people have been able to resurrect most of that based on mails that I and others have saved, and also transfer what came after that to the Yale server. There are some portions missing, but it is now much more complete than the archives currently on the OSU site. 

So now it?s time for the big announcement:

WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018

Since there are currently a lot of dead addresses on our list (the result again of about 20 years of running KineJapan), it will be best to clean everything out by manually switching subscriptions. In other words:

EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE YALE SERVER

The server is active now, but in order to make a clean cut on the list and with the archives, the switchover will take place on June 1. You can subscribe on the Yale server now, but no posts will be allowed until June 1. Continue to use this list until May 31. (I will then ask Yale IT to transfer the May archive, which will complete the move.)

HOW TO RE-SUBSCRIBE:

First, go to:

http://mailman.yale.edu/mailman/listinfo/kinejapan

In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and your name. Also pick a password which will allow you to change your settings later.

Then just click ?Subscribe?! It?s easy!

Forgive me in advance, but I will be sending versions of this announcement multiple times over the next few weeks to make sure people see it. 

Hope this goes well!

Aaron Gerow
Yale University
KineJapan owner


_______________________________________________
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KineJapan at lists.osu.edu
https://lists.osu.edu/mailman/listinfo/kinejapan
  
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From kinejapan at lists.osu.edu  Fri May 11 11:05:26 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 11 May 2018 15:05:26 +0000
Subject: [KineJapan] JAPAN CUTS 2018 Announces First Selections (July 19-29,
 2018)
Message-ID: <mailman.4874.1526051131.45175.kinejapan@lists.osu.edu>

Dear KineJapan subscribers,

We?re excited to share the first announcements for the twelfth edition of JAPAN CUTS: Festival of New Japanese Film, to be held July 19-29, 2018 at Japan Society in New York City: www.japansociety.org/japancuts<http://www.japansociety.org/japancuts>

The festival?s Centerpiece Presentation is the North American Premiere of Shuichi Okita?s Mori, The Artist?s Habitat. Star Kirin Kiki will join the screening to receive the CUT ABOVE Award for Outstanding Performance in Film. Other early announcements for JAPAN CUTS 2018 include the North American Premiere of Kazuo Hara?s Sennan Asbestos Disaster with Hara and producer Sachiko Kobayashi in attendance, the International Premiere of Mo?t Hayami?s KUSHINA, what will you be, recipient of the 2018 JAPAN CUTS Award at the 2018 Osaka Asian Film Festival, the U.S. Premiere of Kiyoshi Kurosawa's Yocho (Foreboding), as well as the East Coast Premiere of Masaaki Yuasa?s Night is Short, Walk on Girl.

Please share the news with your networks, and stay tuned for the complete program of features, shorts, guests, and parties to be announced in early June. An encore screening of last year?s winner of the JAPAN CUTS Audience Award, Teiichi: Battle of Supreme High, will be held June 15. Receive special announcements by subscribing to our newsletter<https://urldefense.proofpoint.com/v2/url?u=http-3A__www.japansociety.org_content.cfm_ecalendar&d=CwMFAg&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=l3JcZp1MBePCWIDmIrqG8UfhVFDaSez5k8sBowW5WBij7SJ458EK8fyDIjX8aUo5&m=Xr1AyYxKRhWpHyDS7IdJNB-JoO91SxnEYu79TFG3blA&s=drA8NZXHCTk6RIcC7mDEuFV58kgktiWFhZKCejadofA&e=>, or following via Facebook<https://urldefense.proofpoint.com/v2/url?u=https-3A__www.facebook.com_japansocietyfilm&d=CwMFAg&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=l3JcZp1MBePCWIDmIrqG8UfhVFDaSez5k8sBowW5WBij7SJ458EK8fyDIjX8aUo5&m=Xr1AyYxKRhWpHyDS7IdJNB-JoO91SxnEYu79TFG3blA&s=BlirEn099iaI6EJp5tubzfWgb-4MTEpjLHGjqRBo7g0&e=> and Twitter<https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_JS-5FFILM-5FNYC_&d=CwMFAg&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=l3JcZp1MBePCWIDmIrqG8UfhVFDaSez5k8sBowW5WBij7SJ458EK8fyDIjX8aUo5&m=Xr1AyYxKRhWpHyDS7IdJNB-JoO91SxnEYu79TFG3blA&s=7Fm32rC7Ug_22Gd1_vkHf9JsCnusMvdQdnP665BRuAM&e=> with the hashtag #JAPANCUTS<https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_hashtag_JAPANCUTS&d=DwMGaQ&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=l3JcZp1MBePCWIDmIrqG8UfhVFDaSez5k8sBowW5WBij7SJ458EK8fyDIjX8aUo5&m=HXTDoT4wAmMBYVXI54IpVCkeYW8-xsh0VidGcaj3iYE&s=sC2kbNnzI1TbkPtxQX5M05dC8LosyPkMTAHq1aAnl68&e=>.

Hope to see you here this summer?please don?t hesitate to get in touch!


-The JAPAN CUTS Team

Joel Neville Anderson JAnderson at japansociety.org
Aiko Masubuchi AMasubuchi at japansociety.org
Kazu Watanabe KWatanabe at japansociety.org
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From kinejapan at lists.osu.edu  Fri May 11 10:47:31 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 11 May 2018 23:47:31 +0900
Subject: [KineJapan] IMPORTANT: Moving KineJapan to new server
Message-ID: <mailman.4545.1526050059.30581.kinejapan@lists.osu.edu>

Hello KineJapan subscribers,

As has been mentioned a number of times on the list, KineJapan is currently distributed via a Mailman server at Ohio State University. That has been our home for about 20 years, thanks to the generosity of Maureen Donovan, who was at OSU and one of the three original owners of the list. Maureen, however, recently retired, and without her at OSU, KineJapan is now housed at an institution where we don?t have any direct influence.

The plan has been to move the list to Yale, where I teach. The Kinema Club website is currently housed at Yale, so moving KineJapan there is only natural. I have talked with the IT people and they assure me that some of the problems we have had with this list?especially when some major servers started rejecting our mail and we had to switch the settings to KineJapan in the ?From? line?should not happen at Yale. The logistics of the move are not simple, however, since we have about 20 years of list archives that need to be transferred as well.

It took a while, but the IT people at Yale have finally succeeded in transferring or duplicating the list archives to the Yale server. The archives are unfortunately not complete, since one of the problems we had with OSU is that they erased nearly all of the first 10 years of our archives when they moved the list to a new mail server within OSU. Luckily, Yale?s IT people have been able to resurrect most of that based on mails that I and others have saved, and also transfer what came after that to the Yale server. There are some portions missing, but it is now much more complete than the archives currently on the OSU site. 

So now it?s time for the big announcement:

WE WILL BE MOVING THE KINEJAPAN LIST TO THE YALE SERVER ON JUNE 1, 2018

Since there are currently a lot of dead addresses on our list (the result again of about 20 years of running KineJapan), it will be best to clean everything out by manually switching subscriptions. In other words:

EVERYONE WHO WANTS TO CONTINUE ON KINEJAPAN NEEDS TO RE-SUBSCRIBE ON THE YALE SERVER

The server is active now, but in order to make a clean cut on the list and with the archives, the switchover will take place on June 1. You can subscribe on the Yale server now, but no posts will be allowed until June 1. Continue to use this list until May 31. (I will then ask Yale IT to transfer the May archive, which will complete the move.)

HOW TO RE-SUBSCRIBE:

First, go to:

http://mailman.yale.edu/mailman/listinfo/kinejapan

In the section SUBSCRIBING TO KINEJAPAN, enter your e-mail address and your name. Also pick a password which will allow you to change your settings later.

Then just click ?Subscribe?! It?s easy!

Forgive me in advance, but I will be sending versions of this announcement multiple times over the next few weeks to make sure people see it. 

Hope this goes well!

Aaron Gerow
Yale University
KineJapan owner


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

From kinejapan at lists.osu.edu  Fri May 11 09:22:49 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 11 May 2018 13:22:49 +0000 (UTC)
Subject: [KineJapan] The Meiji Era through the Dark Valley at NFAJ
In-Reply-To: <mailman.4699.1526043352.45175.kinejapan@lists.osu.edu>
References: <760634465.5687112.1525328158283.ref@mail.yahoo.com>
	<mailman.3386.1525328404.53166.kinejapan@lists.osu.edu>
	<mailman.4699.1526043352.45175.kinejapan@lists.osu.edu>
Message-ID: <mailman.4445.1526045064.30581.kinejapan@lists.osu.edu>


Thank you, all, for yourcomments, and Fred for your correction, especially as that placing was a lateaddition to my notes, as I tried to indicate. And I have another correction. Inoticed that it is the It? film that has a commercially available DVD. It?s justbeen delivered by Amazon, so I haven?t looked at it yet. But the front of thepackaging has a reproduction of the contemporary poster with furigana, whichshows that the reading of???? should be ?gen jigoku. It?s likely that the printwould also have the furigana, but I can?t remember. For no obvious reason theDVD has the copyright date of 1953, despite having a similar credit list ofactors and technicians.

Roger

macyroger at yahoo.co.uk
 

    On Friday, 11 May 2018, 21:55:57 GMT+9, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:  
 
 Hi Roger,
I enjoyed reading your notes here, and revisited them after watching the Ito Daisuke Kurama Tengu film yesterday. I want to offer a small correction, as I think you've misattributed scenes from one film in your account of another. The street scenes of a circus coming to town which you mention in connection with?Hiwa Norumanton G?-jiken: Kamen no but? sound very much like the opening scenes of the Ito Kurama Tengu film, including all the characters you describe. Perhaps both films have similar scenes and characters, but given that they screened consecutively earlier in the series, it seems like perhaps you've transposed these scenes onto the other film.
The Ito film is striking, if decidedly uneven, but as you say, the anti-semitic caricature should not pass unacknowledged. Though far less central to the film's construction, there is some regrettable brownface as well. It mars what might otherwise have been a fairly entertaining (and visually quite remarkable) chanbara film.
Fred.
On Thu, May 3, 2018 at 3:15 PM, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:


The Meiji Era through the Dark Valley at NFAJ

Dear KineJapaners,

As reported before, the National Film Center has now become the National Film Archive of Japan -NFAJ. The signage inside and out at Takarach? has been changed, including thedirections in the metro station, The websitenow has its own domain, which links to the librarycatalogue, which is, for now, still under the wing of Momat.

Some things don?t change so fast though.There are still worryingly few staff to administer research, conservation andcuration for a major national film archive; there are still continuingprogrammes of films at wonderfully low prices; and there are still no more thantwo screenings each day in the cinema. Refreshing for those increasinglyblasted by trailers at the likes of the BFI, all films still start on the dotafter precisely fifteen seconds of silent darkness.

After a shorter opening programme, thefirst major retrospective inaugurating the NFAJ is ?Meiji Periodin Films?. 2018 is the 150th anniversary of the deposition ofthe Shogunate but, since the Emperor Meiji came to the throne the previousyear, one can justify the squeezing in of some civil war dramas. As the introductorytext states, it?s partly an opportunity to show some films rarely shown.All the films I saw were NFAJ prints, with their original ?NFC? logos.

Of particular interest to me this lastweek has been a strand of films made in the late 30s and earlier 40s, which Ihave never had the opportunity to see. As they are all to get their secondscreening in the next week or so, I?m flagging them up, should someone care toread on, with the proviso that anyone who caught the tonnage of dialogue thatpassed through this non-linguist?s ears might have heard quite different films.

Actually, only one of the six films was mostlyset after the Meiji restoration, and three were set during the events leadingup to it. But what interested me was how history was being redeployed andre-narrated during this modern era.

The one that was set almost completely inthe Meiji era was Hiwa Norumanton G?-jiken: Kamen no but?, - perhaps?Normanton Incident Special: Masked Dance - made in 1943 by SASAKI Keisuke. Onemight reasonably think that the story of criminally racist arrogance by theBritish in the actual events of 1881 was bad enough not to need embellishment,but embellished it was. The surviving Indian cabin boy becomes Chinese, all thebetter to show the Japanese supporting him against the racism of the British. Ina long opening section, which introduces life in a western-embracing Meiji era,a young lawyer leads the push-back.? Forthe 1943 filmmakers, this allows the copious display of long-vanished elaboratedresses and ball-gowns, whilst also showing disapproval of them. The Britishwhite-wash at the end is emphasized, and becomes here a vehicle to show thatthe lawyer, and his firebrand friend, are on the right side of history. Theirexpressions of resentment dissolve into a hate-the-enemy coda which depicts the1940s military destruction of British-occupied urban areas.

As one might expect in a 1943 Japanesefilm, the casting of the westerners? roles was decidedly mixed. Some of theseactors, by the evidence of these films, had something of a living depictingwicked foreigners. But earlier in the film, I seem to recall, there were streetscenes of a western circus coming into town. The point here was that theforeign vagrants were unfairly disrupting the living of honest, hard-workingfamilies, particularly a widow and her two performing children. The brashcircus was very convincing, fronted by a blonde with bare limbs and shoulders,straight out of Hollywood casting. I?d love to know more about where they gotthese players from. Come to think of it, the people of all classes in thestreet scenes of 1881 were unrealistically well-clad - presumably all thebetter to depict the ?nakedness? of the westerner.

Seiki no gassh?-ai kuni k?shinkyoku - Century Chorus - Patriotic March, 1938, wasa biopic of the musician SETOGUCHI T?kichi. Since he lived on to1941, his life, by definition, covered far more than the Meiji period, althoughthere is a substantial section set in that era. As a naval bandsman withcomposing ambitions, we eventually see him get his sea-legs. To the sound andback-drop of active gunnery in rough seas, he composes his Battleship Marchwith full notation. To those wary of over-exposure to Gunkan-k?shinkyoku,I?d say there are many films of the period that employ the tune far moreblatantly. In the sound-track, we first get it in fragments and, indeed, muchof the sound-track uses a backdrop of silence to illustrate the sounds thatSetoguchi hears and imagines. After his naval retirement send-off, to theunavoidable accompaniment, we see Setoguchi entering civilian life, and hearhis new world - that of Taish? modernism. Setoguchi?s reception during hisWestern tour in this era is off the menu in this film. He seems, if I got itright, to be living above a record store. This long episode, of afish-out-of-water, I found highly imaginative. But the authors had their ownreason. Taish? becomes Sh?wa and a new generation enters military service. ?They are finally able to report to his bedsidethat his music is back in fashion, and he?s big - in Italy and Germany. We hear Gunkan-k?shinkyokuagain, which the visuals cut to be an accompaniment of a march-past ofHitler. Taish? modernism gets to be shown here as a historical mistake that hasbeen corrected.

More exposure of Gunkan-k?shinkyokucould be heard in another ?naval? film in the same programme, Sugino Heis?-ch?no tsuma - perhaps The Widow of the Honoured Heiso Sugino, 1940.Only three of five reels survive. We follow a widow of a casualty of the Russo-Japanesewar as she struggles to bring up three sons. The arithmetic of that makes thisfilm also a Taish? drama, but set rurally. I didn?t ascertain exactly whichreels survive, but we seemed to get the end, even though I didn?t spot the?end? character. Perhaps at the beginning of that reel, there is anextraordinarily beautiful and evocative scene. An elegiac, long-phraseaccompanied song, different from any giday? I have heard, accompanies a slowsweep over landscape of considerable beauty. The camera eventually pans down ona memorial visit to the father?s grave. After the rituals are completed, thefamily walk back down the road. The three sons are in naval uniform, the motherin formal attire. The mood lightens, the pace quickens and the four of them aremarching proudly ahead - to Gunkan-k?shinkyoku. This, Ithought I was being told, was how honourable people had spent their Taish? era- preparing for the next joyful march to war.

There was a fine restoration drama, Ishinno kyoku - Melody of Restoration, made by USHIHARA Kiyohiko in 1942.It was the prestige commencing drama of the new conglomerate Daiei company withan all-star cast and staff. To me, it had something of the feel of 1950s epics.That might be partly due to the different feel of the grand scenes of marching armiesthat punctuated long interior dramatic scenes, seemingly made by differentunits. The excellent acting was well photographed. There had clearly been amove away from the placing of characters in ensemble scenes of many 1930s filmsto a style more familiar to modern eyes, of easily readable characters in theforeground. The print was also in very good condition (it does not appear tohave been preserved via the ?captured films?), apart from a few minutes ofcyclical lightening, probably at the beginning of the penultimate reel, whichwas starting to give me a headache before it abated.? Made in Kyoto, it seemed to me that several scenes were shot in Nij? Castle?s interior. The music was mostly, if not alldiegetic.

The two other tales of restoration were filledby the derring-do of the then familiar character of Kurama Tengu, the legendaryman of the people, who had been appearing in films since 1928. His July 1941outing, directed by SUGANUMA Kanji, Satsuma no misshi - Envoy of Satsuma- is a hate-the-French vehicle, elaborating an attempt at that time by French agentsto arm the Shogunate. Redeploying Kurama Tengu, along with his popular star, ARASHIKanjur? (?Arakan?), who had played this role since its film debut, was awell-trodden propaganda move. It recalled for me the deployment of long-playingheroic character, Maxim, in the first 1941 U.S.S.R. ?Fighting Film?, Meetingwith Maxim, Vstrecha s Maksimon. Who better to gain quick approval of a patriotic hating of the enemythan an already well-established popular hero? This is shown most obviously in Satsumano misshi in a sequence where the resentful face of Arakan gets stepclosing-ups, montaged with step close-ups of the tricolor on the French shipthat was bringing the armaments.

There are overwhelming reasons why neither could havebeen a direct influence on the other, and there is also a very importantdifference in their contexts. The U.S.S.R. had then been invaded, whilst Japan was not at war with France, and would not be so for most of the war. It?s alsoworth noting that this anti-Gallican piece appeared just as those, I think, ofmore liberal complexion, were extolling all things French in journals like EigaHy?ron. I?ll go further: I?d say the scriptwriter of Satsuma no misshi,MARUNE Santar?, here under the pseudonym, ?????, had the same idea as me that interest in ?the French was a proxy for a wished-foropposition. And it?s not just the French who are selling the country, but theirJapanese collaborators, shown in extended scenes of wine-drinking, rather thancheese-eating. Despite photography by MIYAGAWA Kazuo, it looked cheaply madewith unconvincing sound. The print, a bit flecked, appears on the L.o.C. listsof captured films.

Kurama Tengu?snext outing the following year, still with Arakan, was under the script anddirection of IT? Daisuke. This was easily the best-preserved print of the setand looked as if it had never been through a projector before (althoughja.wikipedia refers to a 2010 NFC screening). In fact, it was the bestpreserved print I?ve ever seen, with sparklingly clear images and sharp soundthroughout. As you might expect for a film by It?, there?s a spectacularsword-fight, this one being set in a multi-floored, brick-built warehouse andfilmed by a camera that roamed vertically and horizontally. As in Suganuma?sfilm, there are nice flashes of light on Kurama?s sword-blade, but in this filmwe see it on the revolver, and even, flamboyantly, on the point of a pin. Thatpin, belonging to a blinded woman, has strong connotations in the plot.

Everysuspense-and-rescue trope, and then some, is thrown at the final denouement.The British, and probably others, are linked orally to the nefarious armsdealers, but the over-whelming direction of hate in this film is something sodeplorable that it should require far more contextualisation than that given.The arms-dealers are called ?Jacob? and have grotesque false noses and habits.Such gratuitous promotion of anti-semitism, during the very maelstrom of theHolocaust, surely needs to be overtly acknowledged and commented on at anyscreening. The film was projected and billed with its original title, KuramaTengu: Kogane Tengu - Kurama Tengu - Golden Hell. I seem not to be the onlyone who sees that trope of avarice as part-and-parcel of the anti-semitism,since, at some point, the film?s title in It? filmographies got changed to KuramaTengu: Yokohama ni arawaru - Kurama TenguAppears in Yokohama. The film does not appear inany list of captured films and, at this point, I know nothing of its history ofpreservation.

Roger

macyroger at yahoo.co.uk


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From kinejapan at lists.osu.edu  Fri May 11 08:55:24 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 11 May 2018 21:55:24 +0900
Subject: [KineJapan] The Meiji Era through the Dark Valley at NFAJ
In-Reply-To: <mailman.3386.1525328404.53166.kinejapan@lists.osu.edu>
References: <760634465.5687112.1525328158283.ref@mail.yahoo.com>
	<mailman.3386.1525328404.53166.kinejapan@lists.osu.edu>
Message-ID: <mailman.4699.1526043352.45175.kinejapan@lists.osu.edu>

Hi Roger,

I enjoyed reading your notes here, and revisited them after watching the
Ito Daisuke Kurama Tengu film yesterday. I want to offer a small
correction, as I think you've misattributed scenes from one film in your
account of another. The street scenes of a circus coming to town which you
mention in connection with Hiwa Norumanton G?-jiken: Kamen no but? sound
very much like the opening scenes of the Ito Kurama Tengu film, including
all the characters you describe. Perhaps both films have similar scenes and
characters, but given that they screened consecutively earlier in the
series, it seems like perhaps you've transposed these scenes onto the other
film.

The Ito film is striking, if decidedly uneven, but as you say, the
anti-semitic caricature should not pass unacknowledged. Though far less
central to the film's construction, there is some regrettable brownface as
well. It mars what might otherwise have been a fairly entertaining (and
visually quite remarkable) chanbara film.

Fred.

On Thu, May 3, 2018 at 3:15 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> The Meiji Era through the Dark Valley at NFAJ
>
> Dear KineJapaners,
>
> As reported before, the National Film Center has now become the National
> Film Archive of Japan - NFAJ. The signage inside and out at Takarach? has
> been changed, including the directions in the metro station, The website
> <http://www.nfaj.go.jp/> now has its own domain, which links to the library
> catalogue
> <http://kinbiopac.momat.go.jp/mylimedio/search/search-input.do?mode=comp&nqid=2>,
> which is, for now, still under the wing of Momat.
>
> Some things don?t change so fast though. There are still worryingly few
> staff to administer research, conservation and curation for a major
> national film archive; there are still continuing programmes of films at
> wonderfully low prices; and there are still no more than two screenings
> each day in the cinema. Refreshing for those increasingly blasted by
> trailers at the likes of the BFI, all films still start on the dot after
> precisely fifteen seconds of silent darkness.
>
> After a shorter opening programme, the first major retrospective
> inaugurating the NFAJ is ?Meiji Period in Films
> <http://www.nfaj.go.jp/exhibition/meiji-201804/#section1-2>?. 2018 is the
> 150th anniversary of the deposition of the Shogunate but, since the
> Emperor Meiji came to the throne the previous year, one can justify the
> squeezing in of some civil war dramas. As the introductory text
> <http://www.nfaj.go.jp/exhibition/meiji-201804/#section1-1> states, it?s
> partly an opportunity to show some films rarely shown. All the films I saw
> were NFAJ prints, with their original ?NFC? logos.
>
> Of particular interest to me this last week has been a strand of films
> made in the late 30s and earlier 40s, which I have never had the
> opportunity to see. As they are all to get their second screening in the
> next week or so, I?m flagging them up, should someone care to read on, with
> the proviso that anyone who caught the tonnage of dialogue that passed
> through this non-linguist?s ears might have heard quite different films.
>
> Actually, only one of the six films was mostly set after the Meiji
> restoration, and three were set during the events leading up to it. But
> what interested me was how history was being redeployed and re-narrated
> during this modern era.
>
> The one that was set almost completely in the Meiji era was *Hiwa
> Norumanton G?-jiken: Kamen no but?*, - perhaps ?Normanton Incident
> Special: Masked Dance - made in 1943 by SASAKI Keisuke. One might
> reasonably think that the story of criminally racist arrogance by the
> British in the actual events of 1881 was bad enough not to need
> embellishment, but embellished it was. The surviving Indian cabin boy
> becomes Chinese, all the better to show the Japanese supporting him against
> the racism of the British. In a long opening section, which introduces life
> in a western-embracing Meiji era, a young lawyer leads the push-back.  For
> the 1943 filmmakers, this allows the copious display of long-vanished
> elaborate dresses and ball-gowns, whilst also showing disapproval of them.
> The British white-wash at the end is emphasized, and becomes here a vehicle
> to show that the lawyer, and his firebrand friend, are on the right side of
> history. Their expressions of resentment dissolve into a hate-the-enemy
> coda which depicts the 1940s military destruction of British-occupied urban
> areas.
>
> As one might expect in a 1943 Japanese film, the casting of the
> westerners? roles was decidedly mixed. Some of these actors, by the
> evidence of these films, had something of a living depicting wicked
> foreigners. But earlier in the film, I seem to recall, there were street
> scenes of a western circus coming into town. The point here was that the
> foreign vagrants were unfairly disrupting the living of honest,
> hard-working families, particularly a widow and her two performing
> children. The brash circus was very convincing, fronted by a blonde with
> bare limbs and shoulders, straight out of Hollywood casting. I?d love to
> know more about where they got these players from. Come to think of it, the
> people of all classes in the street scenes of 1881 were unrealistically
> well-clad - presumably all the better to depict the ?nakedness? of the
> westerner.
>
> *Seiki no gassh?-ai kuni k?shinkyoku* - *Century Chorus - Patriotic March*,
> 1938, was a biopic of the musician SETOGUCHI T?kichi. Since he lived on
> to 1941, his life, by definition, covered far more than the Meiji period,
> although there is a substantial section set in that era. As a naval bandsman
> with composing ambitions, we eventually see him get his sea-legs. To the
> sound and back-drop of active gunnery in rough seas, he composes his *Battleship
> March* with full notation. To those wary of over-exposure to
> *Gunkan-k?shinkyoku*, I?d say there are many films of the period that
> employ the tune far more blatantly. In the sound-track, we first get it in
> fragments and, indeed, much of the sound-track uses a backdrop of silence
> to illustrate the sounds that Setoguchi hears and imagines. After his naval
> retirement send-off, to the unavoidable accompaniment, we see Setoguchi
> entering civilian life, and hear his new world - that of Taish? modernism.
> Setoguchi?s reception during his Western tour in this era is off the menu
> in this film. He seems, if I got it right, to be living above a record
> store. This long episode, of a fish-out-of-water, I found highly
> imaginative. But the authors had their own reason. Taish? becomes Sh?wa and
> a new generation enters military service.  They are finally able to
> report to his bedside that his music is back in fashion, and he?s big - in
> Italy and Germany. We hear *Gunkan-k?shinkyoku* again, which the visuals
> cut to be an accompaniment of a march-past of Hitler. Taish? modernism gets
> to be shown here as a historical mistake that has been corrected.
>
> More exposure of *Gunkan-k?shinkyoku* could be heard in another ?naval?
> film in the same programme, *Sugino Heis?-ch? no tsuma* - perhaps *The
> Widow of the Honoured Heiso Sugino*, 1940. Only three of five reels
> survive. We follow a widow of a casualty of the Russo-Japanese war as she
> struggles to bring up three sons. The arithmetic of that makes this film
> also a Taish? drama, but set rurally. I didn?t ascertain exactly which
> reels survive, but we seemed to get the end, even though I didn?t spot the
> ?end? character. Perhaps at the beginning of that reel, there is an
> extraordinarily beautiful and evocative scene. An elegiac, long-phrase
> accompanied song, different from any giday? I have heard, accompanies a
> slow sweep over landscape of considerable beauty. The camera eventually
> pans down on a memorial visit to the father?s grave. After the rituals are
> completed, the family walk back down the road. The three sons are in naval
> uniform, the mother in formal attire. The mood lightens, the pace quickens
> and the four of them are marching proudly ahead - to *Gunkan-k?shinkyoku*.
> This, I thought I was being told, was how honourable people had spent their
> Taish? era - preparing for the next joyful march to war.
>
> There was a fine restoration drama, *Ishin no kyoku *- *Melody of
> Restoration*, made by USHIHARA Kiyohiko in 1942. It was the prestige
> commencing drama of the new conglomerate Daiei company with an all-star
> cast and staff. To me, it had something of the feel of 1950s epics. That
> might be partly due to the different feel of the grand scenes of marching
> armies that punctuated long interior dramatic scenes, seemingly made by
> different units. The excellent acting was well photographed. There had
> clearly been a move away from the placing of characters in ensemble scenes
> of many 1930s films to a style more familiar to modern eyes, of easily
> readable characters in the foreground. The print was also in very good
> condition (it does not appear to have been preserved via the ?captured
> films?), apart from a few minutes of cyclical lightening, probably at the
> beginning of the penultimate reel, which was starting to give me a headache
> before it abated.  Made in Kyoto, it seemed to me that several scenes
> were shot in Nij? Castle?s interior. The music was mostly, if not all
> diegetic.
>
> The two other tales of restoration were filled by the derring-do of the
> then familiar character of Kurama Tengu, the legendary man of the people,
> who had been appearing in films since 1928. His July 1941 outing, directed
> by SUGANUMA Kanji, *Satsuma no misshi* - Envoy of Satsuma - is a
> hate-the-French vehicle, elaborating an attempt at that time by French
> agents to arm the Shogunate. Redeploying Kurama Tengu, along with his
> popular star, ARASHI Kanjur? (?Arakan?), who had played this role since its
> film debut, was a well-trodden propaganda move. It recalled for me the
> deployment of long-playing heroic character, Maxim, in the first 1941
> U.S.S.R. ?Fighting Film?, *Meeting with Maxim*, *Vstrecha s Maksimon*.
> Who better to gain quick approval of a patriotic hating of the enemy than
> an already well-established popular hero? This is shown most obviously in *Satsuma
> no misshi* in a sequence where the resentful face of Arakan gets step
> closing-ups, montaged with step close-ups of the tricolor on the French
> ship that was bringing the armaments.
>
> There are overwhelming reasons why neither could have been a direct
> influence on the other, and there is also a very important difference in
> their contexts. The U.S.S.R. had then been invaded, whilst Japan was not
> at war with France, and would not be so for most of the war. It?s also
> worth noting that this anti-Gallican piece appeared just as those, I think,
> of more liberal complexion, were extolling all things French in journals
> like *Eiga Hy?ron*. I?ll go further: I?d say the scriptwriter of *Satsuma
> no misshi*, MARUNE Santar?, here under the pseudonym, ?????, had the same
> idea as me that interest in  the French was a proxy for a wished-for
> opposition. And it?s not just the French who are selling the country, but
> their Japanese collaborators, shown in extended scenes of wine-drinking,
> rather than cheese-eating. Despite photography by MIYAGAWA Kazuo, it looked
> cheaply made with unconvincing sound. The print, a bit flecked, appears on
> the L.o.C. lists of captured films.
>
> Kurama Tengu?s next outing the following year, still with Arakan, was
> under the script and direction of IT? Daisuke. This was easily the
> best-preserved print of the set and looked as if it had never been through
> a projector before (although ja.wikipedia refers to a 2010 NFC screening).
> In fact, it was the best preserved print I?ve ever seen, with sparklingly
> clear images and sharp sound throughout. As you might expect for a film by
> It?, there?s a spectacular sword-fight, this one being set in a
> multi-floored, brick-built warehouse and filmed by a camera that roamed
> vertically and horizontally. As in Suganuma?s film, there are nice flashes
> of light on Kurama?s sword-blade, but in this film we see it on the
> revolver, and even, flamboyantly, on the point of a pin. That pin,
> belonging to a blinded woman, has strong connotations in the plot.
>
> Every suspense-and-rescue trope, and then some, is thrown at the final
> denouement. The British, and probably others, are linked orally to the
> nefarious arms dealers, but the over-whelming direction of hate in this
> film is something so deplorable that it should require far more
> contextualisation than that given. The arms-dealers are called ?Jacob? and
> have grotesque false noses and habits. Such gratuitous promotion of
> anti-semitism, during the very maelstrom of the Holocaust, surely needs to
> be overtly acknowledged and commented on at any screening. The film was
> projected and billed with its original title, *Kurama Tengu: Kogane Tengu
> - Kurama Tengu - Golden Hell*. I seem not to be the only one who sees
> that trope of avarice as part-and-parcel of the anti-semitism, since, at
> some point, the film?s title in It? filmographies got changed to *Kurama
> Tengu: **Yokohama** ni arawaru - Kurama Tengu Appears in **Yokohama**.*
> The film does not appear in any list of captured films and, at this point,
> I know nothing of its history of preservation.
>
> Roger
>
> macyroger at yahoo.co.uk
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Thu May 10 01:25:14 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 10 May 2018 05:25:14 +0000
Subject: [KineJapan] The future of Filmex
In-Reply-To: <mailman.2743.1525872338.45175.kinejapan@lists.osu.edu>
References: <CANoSnpA09rvzYCHMWcUFf23zLpB2McDVNFa=BirFi2ba1M5Wow@mail.gmail.com>
	<mailman.2743.1525872338.45175.kinejapan@lists.osu.edu>
Message-ID: <mailman.3475.1525929962.45175.kinejapan@lists.osu.edu>

And the press release from Filmex.

M


NEWS RELEASE/ ??????
2018?5?10?
???????????????????

?????????????????5?9???????????????????????????????????????????????????
????????????????????????????????????????????????????????????
???????????????PD?????????
????????????????????????????????????????????????????????????
????????PD????????????????????????????????????????????11????
????19?????????????????????????????????????????????

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

*?19????????????2018?11?17??????25????????????????????????????

**??????????????
????????????????????????????????????????????????????2000????
??????????????????????????????????

???????????????????????????
https://goo.gl/RcDbyJ

??????PDF?????Dropbox??????????????
https://goo.gl/VAWws6


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

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

????????????????????????????? press at filmex.net

------
2018?5????????????
???????????????????????/ TOKYO FILMeX Organizing Committee
?106-0032 ????????7-8-6
<https://maps.google.com/?q=106-0032%E3%80%80%E6%9D%B1%E4%BA%AC%E9%83%BD%E6%B8%AF%E5%8C%BA%E5%85%AD%E6%9C%AC%E6%9C%A87-8-6&entry=gmail&source=g>
AXALL???3F E-mail: canalla at filmex.net / www.filmex.net / 3 rd Floor, 7-8-7
Roppongi, Minato-ku, Tokyo 106-0032 Japan
<https://maps.google.com/?q=8-7+Roppongi,+Minato-ku,+Tokyo+106-0032+Japan&entry=gmail&source=g>

*??????????????????????????????????NPO????
???????????????????????????
????NPO???????????????????????????
http://filmex.net/2017/support/contribution

*??19??????????? 2018?11/17-11/25 ???
 http://www.filmex.net/





On Wed, May 9, 2018 at 10:25 PM Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> Here is the Variety article:
>
> http://variety.com/2018/film/asia/kinoshita-to-rescue-tokyo-filmex-festival-1202804129/
>
> Markus
>
>
>
>
> On Wed, May 9, 2018 at 10:24 PM Markus Nornes <nornes at umich.edu> wrote:
>
>> When Kitano left his own company, Office Kitano, the floor fell out from
>> under the great Filmex Film Festival. I had a sense that Ichiyama would
>> land well, and finally did?bringing Filmex with him.
>>
>> Here?s some good news out of Cannes.  Ichiyama will now be working for
>> Kinoshita, a curious art film distributor/producer that moved into
>> entertainment from real estate and nursing homes and other kinds of
>> investment. It looks like Filmex has a new home and the show is on for
>> Fall.
>>
>> 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*
>>
>> --
> ---
>
> *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
>
-- 
---

*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 May  9 09:25:22 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 09 May 2018 13:25:22 +0000
Subject: [KineJapan] The future of Filmex
In-Reply-To: <CANoSnpA09rvzYCHMWcUFf23zLpB2McDVNFa=BirFi2ba1M5Wow@mail.gmail.com>
References: <CANoSnpA09rvzYCHMWcUFf23zLpB2McDVNFa=BirFi2ba1M5Wow@mail.gmail.com>
Message-ID: <mailman.2743.1525872338.45175.kinejapan@lists.osu.edu>

Here is the Variety article:
http://variety.com/2018/film/asia/kinoshita-to-rescue-tokyo-filmex-festival-1202804129/

Markus





On Wed, May 9, 2018 at 10:24 PM Markus Nornes <nornes at umich.edu> wrote:

> When Kitano left his own company, Office Kitano, the floor fell out from
> under the great Filmex Film Festival. I had a sense that Ichiyama would
> land well, and finally did?bringing Filmex with him.
>
> Here?s some good news out of Cannes.  Ichiyama will now be working for
> Kinoshita, a curious art film distributor/producer that moved into
> entertainment from real estate and nursing homes and other kinds of
> investment. It looks like Filmex has a new home and the show is on for
> Fall.
>
> 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*
>
> --
---

*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 May  9 09:24:19 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 09 May 2018 13:24:19 +0000
Subject: [KineJapan] The future of Filmex
Message-ID: <mailman.2741.1525872307.45175.kinejapan@lists.osu.edu>

When Kitano left his own company, Office Kitano, the floor fell out from
under the great Filmex Film Festival. I had a sense that Ichiyama would
land well, and finally did?bringing Filmex with him.

Here?s some good news out of Cannes.  Ichiyama will now be working for
Kinoshita, a curious art film distributor/producer that moved into
entertainment from real estate and nursing homes and other kinds of
investment. It looks like Filmex has a new home and the show is on for
Fall.

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 May  8 21:08:38 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Wed, 9 May 2018 10:08:38 +0900
Subject: [KineJapan] Soda Book Event at Aoyama Book Center
Message-ID: <mailman.1972.1525828123.30581.kinejapan@lists.osu.edu>

I'm appearing with Soda Kazuhiro at the release of his new book. It's about
his experience making The Big House in Ann Arbor. The book is quite
interesting; it's very much his first major statement about his adoptive
country. I contributed an afterword, and am happy to send it to anyone
directly if you are interested (contact me off-list).

Markus

http://www.aoyamabc.jp/event/thebighouse/




<http://www.aoyamabc.jp/event/thebighouse/>??????????????????????????????????????????????????????????????????????????????????????????????THE
BIG HOUSE
????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????


---

*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 May  5 20:01:07 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 6 May 2018 09:01:07 +0900
Subject: [KineJapan] Ogawa in Paris
In-Reply-To: <mailman.1894.1525555316.2113.kinejapan@lists.osu.edu>
References: <mailman.279.1525053728.26090.kinejapan@lists.osu.edu>
	<mailman.23.1525058802.53166.kinejapan@lists.osu.edu>
	<mailman.300.1525060214.26090.kinejapan@lists.osu.edu>
	<mailman.412.1525085278.26090.kinejapan@lists.osu.edu>
	<mailman.2219.1525439680.2086.kinejapan@lists.osu.edu>
	<mailman.1894.1525555316.2113.kinejapan@lists.osu.edu>
Message-ID: <mailman.1915.1525564872.2113.kinejapan@lists.osu.edu>

Oh, that's interesting. But this is certainly a matter of coincidence and
not influence. Or synchronicity?

M

---

*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 Sun, May 6, 2018 at 6:21 AM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

>
> The similarities between Ogawa Pro?s shift towards the use of long takes
> (1972-73) and Rouch experimenting with ?shot sequence/plan sequence?
> (usually 10 minutes) in Horendi, Yenendi de Gangel and Tourou et Bitti
> (1970-72), although there are big differences like Rouch using the camera
> as a catalyst for instance, is also fascinating.
>
> Julia, I can send you the scans of the book (please contact me off list if
> you?re interested: matteo.boscarol at gmail)
>
> Matteo Boscarol
> ????? ????
> ???????????
> - Documentary in Japan and Asia
> http://storiadocgiappone.wordpress.com
> - Film writer for Il Manifesto
> http://ilmanifesto.it
>
>
>
> On May 4, 2018, at 22:14, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
> I am not sure if Paul Henley?s massive book on Rouch touches on this Japan
> connection (The adventure of the real: Jean Rouch and the craft of
> ethnographic film), but next time I see him I will ask. Just a quick search
> on google books throws up some Japanese collaborations, but I don?t have
> the book itself to check.
> Yours, Lola
>
> On Monday, 30 April 2018, Japanese Cinema Discussion Forum via KineJapan <
> kinejapan at lists.osu.edu> wrote:
>
>> Really strange - almost eerie - to think that there were things that
>> happened, comfortably in living memory... and that already they're almost
>> impossible to research. Happily, we can still watch the films!
>>
>> Thanks, Markus, for your report on the show!
>>
>> Best wishes,
>>
>>
>>
>> ALEX
>> ?
>>
>
>
> --
> Sent from Gmail Mobile
>
> _______________________________________________
> 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  Sat May  5 17:21:17 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sun, 6 May 2018 06:21:17 +0900
Subject: [KineJapan] Ogawa in Paris
In-Reply-To: <mailman.2219.1525439680.2086.kinejapan@lists.osu.edu>
References: <mailman.279.1525053728.26090.kinejapan@lists.osu.edu>
	<mailman.23.1525058802.53166.kinejapan@lists.osu.edu>
	<mailman.300.1525060214.26090.kinejapan@lists.osu.edu>
	<mailman.412.1525085278.26090.kinejapan@lists.osu.edu>
	<mailman.2219.1525439680.2086.kinejapan@lists.osu.edu>
Message-ID: <mailman.1894.1525555316.2113.kinejapan@lists.osu.edu>


The similarities between Ogawa Pro?s shift towards the use of long takes (1972-73) and Rouch experimenting with ?shot sequence/plan sequence? (usually 10 minutes) in Horendi, Yenendi de Gangel and Tourou et Bitti (1970-72), although there are big differences like Rouch using the camera as a catalyst for instance, is also fascinating.

Julia, I can send you the scans of the book (please contact me off list if you?re interested: matteo.boscarol at gmail)

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



> On May 4, 2018, at 22:14, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
> 
> I am not sure if Paul Henley?s massive book on Rouch touches on this Japan connection (The adventure of the real: Jean Rouch and the craft of ethnographic film), but next time I see him I will ask. Just a quick search on google books throws up some Japanese collaborations, but I don?t have the book itself to check.
> Yours, Lola 
> 
>> On Monday, 30 April 2018, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:
>> Really strange - almost eerie - to think that there were things that happened, comfortably in living memory... and that already they're almost impossible to research. Happily, we can still watch the films!
>> 
>> Thanks, Markus, for your report on the show!
>> 
>> Best wishes,
>> 
>> 
>> 
>> ALEX
>> ?
> 
> 
> -- 
> Sent from Gmail Mobile
> _______________________________________________
> 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 May  4 23:48:38 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Sat, 5 May 2018 03:48:38 +0000 (UTC)
Subject: [KineJapan] The Meiji Era through the Dark Valley at NFAJ
References: <1562543695.7053459.1525492118641.ref@mail.yahoo.com>
Message-ID: <mailman.3006.1525492125.2086.kinejapan@lists.osu.edu>

Very interesting commentary there Roger. Thank you!

As far as anti-French propaganda is concerned, I think it's worth noting that Japanese forces and Vichy French troops had fought a brief (and undeclared) military conflict in French Indochina in September 1940. Overwhelming Japanese force resulted in the Empire gaining the right to 'station' troops throughout Indochina. Like many of the incidents in the Sino-Japanese War, this action was taken by troops on the ground acting without the authority of their superiors, whom they perceived as being not aggressive enough. The timing of the release in mid-1941 suggests that (like those previous incidents) the government's propaganda machine may have gone into action to retroactively support the aggressive actions of their military, and possibly to support the subsequent full invasion of southern Indochina.

Jim Harper.

On Thu, 3/5/18, Japanese Cinema Discussion Forum via KineJapan <kinejapan at lists.osu.edu> wrote:

 Subject: [KineJapan] The Meiji Era through the Dark Valley at NFAJ
 To: "Japanese Cinema Discussion Forum" <kinejapan at lists.osu.edu>
 Date: Thursday, 3 May, 2018, 7:15
 
 
 
 The Meiji Era through the
 Dark Valley at NFAJ
 
 Dear KineJapaners,
 
 As reported before, the
 National Film Center has now become the National Film
 Archive of Japan -
 NFAJ. The signage inside and out at Takarach? has been
 changed, including the
 directions in the metro station, The website
 now has its own domain, which links to the library
 catalogue, which is, for now, still under the wing of
 Momat.
 
 Some things don?t change so
 fast though.
 There are still worryingly few staff to administer research,
 conservation and
 curation for a major national film archive; there are still
 continuing
 programmes of films at wonderfully low prices; and there are
 still no more than
 two screenings each day in the cinema. Refreshing for those
 increasingly
 blasted by trailers at the likes of the BFI, all films still
 start on the dot
 after precisely fifteen seconds of silent
 darkness.
 
 After a shorter opening
 programme, the
 first major retrospective inaugurating the NFAJ is ?Meiji
 Period
 in Films?. 2018 is the 150th anniversary of
 the deposition of
 the Shogunate but, since the Emperor Meiji came to the
 throne the previous
 year, one can justify the squeezing in of some civil war
 dramas. As the introductory
 text states, it?s partly an opportunity to show some
 films rarely shown.
 All the films I saw were NFAJ prints, with their original
 ?NFC? logos.
 
 Of particular interest to me this
 last
 week has been a strand of films made in the late 30s and
 earlier 40s, which I
 have never had the opportunity to see. As they are all to
 get their second
 screening in the next week or so, I?m flagging them up,
 should someone care to
 read on, with the proviso that anyone who caught the tonnage
 of dialogue that
 passed through this non-linguist?s ears might have heard
 quite different films.
 
 Actually, only one of the six
 films was mostly
 set after the Meiji restoration, and three were set during
 the events leading
 up to it. But what interested me was how history was being
 redeployed and
 re-narrated during this modern era.
 
 The one that was set almost
 completely in
 the Meiji era was Hiwa Norumanton G?-jiken: Kamen no
 but?, - perhaps
 ?Normanton Incident Special: Masked Dance - made in 1943
 by SASAKI Keisuke. One
 might reasonably think that the story of criminally racist
 arrogance by the
 British in the actual events of 1881 was bad enough not to
 need embellishment,
 but embellished it was. The surviving Indian cabin boy
 becomes Chinese, all the
 better to show the Japanese supporting him against the
 racism of the British. In
 a long opening section, which introduces life in a
 western-embracing Meiji era,
 a young lawyer leads the push-back.? For
 the 1943 filmmakers, this allows the copious display of
 long-vanished elaborate
 dresses and ball-gowns, whilst also showing disapproval of
 them. The British
 white-wash at the end is emphasized, and becomes here a
 vehicle to show that
 the lawyer, and his firebrand friend, are on the right side
 of history. Their
 expressions of resentment dissolve into a hate-the-enemy
 coda which depicts the
 1940s military destruction of British-occupied urban
 areas.
 
 As one might expect in a 1943
 Japanese
 film, the casting of the westerners? roles was decidedly
 mixed. Some of these
 actors, by the evidence of these films, had something of a
 living depicting
 wicked foreigners. But earlier in the film, I seem to
 recall, there were street
 scenes of a western circus coming into town. The point here
 was that the
 foreign vagrants were unfairly disrupting the living of
 honest, hard-working
 families, particularly a widow and her two performing
 children. The brash
 circus was very convincing, fronted by a blonde with bare
 limbs and shoulders,
 straight out of Hollywood casting. I?d love to know more
 about where they got
 these players from. Come to think of it, the people of all
 classes in the
 street scenes of 1881 were unrealistically well-clad -
 presumably all the
 better to depict the ?nakedness? of the
 westerner.
 
 Seiki no gassh?-ai kuni
 k?shinkyoku -
 Century Chorus - Patriotic March, 1938, was
 a biopic of the musician SETOGUCHI T?kichi. Since
 he lived on to
 1941, his life, by definition, covered far more than the
 Meiji period, although
 there is a substantial section set in that era. As a naval
 bandsman with
 composing ambitions, we eventually see him get his sea-legs.
 To the sound and
 back-drop of active gunnery in rough seas, he composes his
 Battleship March
 with full notation. To those wary of over-exposure to Gunkan-k?shinkyoku,
 I?d say there are many films of the period that employ the
 tune far more
 blatantly. In the sound-track, we first get it in fragments
 and, indeed, much
 of the sound-track uses a backdrop of silence to illustrate
 the sounds that
 Setoguchi hears and imagines. After his naval retirement
 send-off, to the
 unavoidable accompaniment, we see Setoguchi entering
 civilian life, and hear
 his new world - that of Taish? modernism. Setoguchi?s
 reception during his
 Western tour in this era is off the menu in this film. He
 seems, if I got it
 right, to be living above a record store. This long episode,
 of a
 fish-out-of-water, I found highly imaginative. But the
 authors had their own
 reason. Taish? becomes Sh?wa and a new generation enters
 military service. ?They are finally able
 to report to his bedside
 that his music is back in fashion, and he?s big - in
 Italy and Germany. We hear Gunkan-k?shinkyoku
 again, which the visuals cut to be an accompaniment of a
 march-past of
 Hitler. Taish? modernism gets to be shown here as a
 historical mistake that has
 been corrected.
 
 More exposure of Gunkan-k?shinkyoku
 could be heard in another ?naval? film in the same
 programme, Sugino Heis?-ch?
 no tsuma - perhaps The Widow of the Honoured Heiso
 Sugino, 1940.
 Only three of five reels survive. We follow a widow of a
 casualty of the Russo-Japanese
 war as she struggles to bring up three sons. The arithmetic
 of that makes this
 film also a Taish? drama, but set rurally. I didn?t
 ascertain exactly which
 reels survive, but we seemed to get the end, even though I
 didn?t spot the
 ?end? character. Perhaps at the beginning of that reel,
 there is an
 extraordinarily beautiful and evocative scene. An elegiac,
 long-phrase
 accompanied song, different from any giday? I have heard,
 accompanies a slow
 sweep over landscape of considerable beauty. The camera
 eventually pans down on
 a memorial visit to the father?s grave. After the rituals
 are completed, the
 family walk back down the road. The three sons are in naval
 uniform, the mother
 in formal attire. The mood lightens, the pace quickens and
 the four of them are
 marching proudly ahead - to Gunkan-k?shinkyoku.
 This, I
 thought I was being told, was how honourable people had
 spent their Taish? era
 - preparing for the next joyful march to
 war.
 
 There was a fine restoration
 drama, Ishin
 no kyoku - Melody of Restoration, made by
 USHIHARA Kiyohiko in 1942.
 It was the prestige commencing drama of the new conglomerate
 Daiei company with
 an all-star cast and staff. To me, it had something of the
 feel of 1950s epics.
 That might be partly due to the different feel of the grand
 scenes of marching armies
 that punctuated long interior dramatic scenes, seemingly
 made by different
 units. The excellent acting was well photographed. There had
 clearly been a
 move away from the placing of characters in ensemble scenes
 of many 1930s films
 to a style more familiar to modern eyes, of easily readable
 characters in the
 foreground. The print was also in very good condition (it
 does not appear to
 have been preserved via the ?captured films?), apart
 from a few minutes of
 cyclical lightening, probably at the beginning of the
 penultimate reel, which
 was starting to give me a headache before it
 abated.? Made in Kyoto, it seemed to me that several
 scenes were shot in Nij? Castle?s interior. The music was
 mostly, if not all
 diegetic.
 
 The two other tales of
 restoration were filled
 by the derring-do of the then familiar character of Kurama
 Tengu, the legendary
 man of the people, who had been appearing in films since
 1928. His July 1941
 outing, directed by SUGANUMA Kanji, Satsuma no misshi
 - Envoy of Satsuma
 - is a hate-the-French vehicle, elaborating an attempt at
 that time by French agents
 to arm the Shogunate. Redeploying Kurama Tengu, along with
 his popular star, ARASHI
 Kanjur? (?Arakan?), who had played this role since its
 film debut, was a
 well-trodden propaganda move. It recalled for me the
 deployment of long-playing
 heroic character, Maxim, in the first 1941 U.S.S.R.
 ?Fighting Film?, Meeting
 with Maxim, Vstrecha s
 Maksimon. Who
 better to gain quick approval of a patriotic hating of the
 enemy
 than an already well-established popular hero? This is shown
 most obviously in Satsuma
 no misshi in a sequence where the resentful face of
 Arakan gets step
 closing-ups, montaged with step close-ups of the tricolor on
 the French ship
 that was bringing the armaments.
 
 There are overwhelming reasons
 why neither could have
 been a direct influence on the other, and there is also a
 very important
 difference in their contexts. The U.S.S.R. had then been
 invaded, whilst Japan was not at war with France, and would not be so for most of
 the war. It?s also
 worth noting that this anti-Gallican piece appeared just as
 those, I think, of
 more liberal complexion, were extolling all things French in
 journals like Eiga
 Hy?ron. I?ll go further: I?d say the scriptwriter
 of Satsuma no misshi,
 MARUNE Santar?, here under the pseudonym, ?????, had the same idea as me that
 interest in ?the French was a proxy for a
 wished-for
 opposition. And it?s not just the French who are selling
 the country, but their
 Japanese collaborators, shown in extended scenes of
 wine-drinking, rather than
 cheese-eating. Despite photography by MIYAGAWA Kazuo, it
 looked cheaply made
 with unconvincing sound. The print, a bit flecked, appears
 on the L.o.C. lists
 of captured films.
 
 Kurama Tengu?s
 next outing the following year, still with Arakan, was under
 the script and
 direction of IT? Daisuke. This was easily the
 best-preserved print of the set
 and looked as if it had never been through a projector
 before (although
 ja.wikipedia refers to a 2010 NFC screening). In fact, it
 was the best
 preserved print I?ve ever seen, with sparklingly clear
 images and sharp sound
 throughout. As you might expect for a film by It?,
 there?s a spectacular
 sword-fight, this one being set in a multi-floored,
 brick-built warehouse and
 filmed by a camera that roamed vertically and horizontally.
 As in Suganuma?s
 film, there are nice flashes of light on Kurama?s
 sword-blade, but in this film
 we see it on the revolver, and even, flamboyantly, on the
 point of a pin. That
 pin, belonging to a blinded woman, has strong connotations
 in the plot.
 
 Every
 suspense-and-rescue trope, and then some, is thrown at the
 final denouement.
 The British, and probably others, are linked orally to the
 nefarious arms
 dealers, but the over-whelming direction of hate in this
 film is something so
 deplorable that it should require far more contextualisation
 than that given.
 The arms-dealers are called ?Jacob? and have grotesque
 false noses and habits.
 Such gratuitous promotion of anti-semitism, during the very
 maelstrom of the
 Holocaust, surely needs to be overtly acknowledged and
 commented on at any
 screening. The film was projected and billed with its
 original title, Kurama
 Tengu: Kogane Tengu - Kurama Tengu - Golden Hell. I seem
 not to be the only
 one who sees that trope of avarice as part-and-parcel of the
 anti-semitism,
 since, at some point, the film?s title in It?
 filmographies got changed to Kurama
 Tengu: Yokohama ni arawaru - Kurama Tengu
 Appears in Yokohama. The film does not appear in
 any list of captured films and, at this point, I know
 nothing of its history of
 preservation.
 
 Roger
 
 macyroger at yahoo.co.uk
 
 
 _______________________________________________
 KineJapan mailing list
 KineJapan at lists.osu.edu
 https://lists.osu.edu/mailman/listinfo/kinejapan
 
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From kinejapan at lists.osu.edu  Fri May  4 13:17:24 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 04 May 2018 19:17:24 +0200
Subject: [KineJapan] filming snow scenes
In-Reply-To: <mailman.946.1525120240.53166.kinejapan@lists.osu.edu>
References: <2115601138.2591487.1525120235667.ref@mail.yahoo.com>
	<mailman.946.1525120240.53166.kinejapan@lists.osu.edu>
Message-ID: <mailman.1220.1525454254.2113.kinejapan@lists.osu.edu>

dear all,

In the wonderful ?The Invisible[1]? asia? theory? visuality conference  
at Princeton in 2015, one of the speakers[2] noted that there is a  
Japanese filmmaker who was an expert in filming (white) snow scenes -  
analogue cinema. Those 'blank images' are supposedly the most  
difficult to bring into view, literally.

As one of the speakers there I has the privilege to listen to those  
interesting 'prospects', but unfortunately didn't take a proper note  
of all that myself. And I would be most grateful if someone can recall  
details.
Perhaps whoever introduced those thoughts will read this email? which  
would be ideal.

If anyone can help further it would be fabulous.

Thank you,
verina

dr verina gfader
artist and researcher
Animate Assembly[3]
Cloud Chamber[4]

Links:
------
[1] http://atv.princeton.edu
[2] https://atv.princeton.edu/home-2/abstracts-participants/
[3] http://art.gold.ac.uk/animate/
[4] http://www.antipyrine.dk/product/verina-gfader-cloud-chamber
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From kinejapan at lists.osu.edu  Fri May  4 09:14:35 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Fri, 4 May 2018 14:14:35 +0100
Subject: [KineJapan] Ogawa in Paris
In-Reply-To: <mailman.412.1525085278.26090.kinejapan@lists.osu.edu>
References: <mailman.279.1525053728.26090.kinejapan@lists.osu.edu>
	<mailman.23.1525058802.53166.kinejapan@lists.osu.edu>
	<mailman.300.1525060214.26090.kinejapan@lists.osu.edu>
	<mailman.412.1525085278.26090.kinejapan@lists.osu.edu>
Message-ID: <mailman.2219.1525439680.2086.kinejapan@lists.osu.edu>

I am not sure if Paul Henley?s massive book on Rouch touches on this Japan
connection (The adventure of the real: Jean Rouch and the craft of
ethnographic film), but next time I see him I will ask. Just a quick search
on google books throws up some Japanese collaborations, but I don?t have
the book itself to check.
Yours, Lola

On Monday, 30 April 2018, Japanese Cinema Discussion Forum via KineJapan <
kinejapan at lists.osu.edu> wrote:

> Really strange - almost eerie - to think that there were things that
> happened, comfortably in living memory... and that already they're almost
> impossible to research. Happily, we can still watch the films!
>
> Thanks, Markus, for your report on the show!
>
> Best wishes,
>
>
>
> ALEX
> ?
>


-- 
Sent from Gmail Mobile
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From kinejapan at lists.osu.edu  Thu May  3 09:56:31 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 3 May 2018 06:56:31 -0700
Subject: [KineJapan] The Meiji Era through the Dark Valley at NFAJ
In-Reply-To: <mailman.3386.1525328404.53166.kinejapan@lists.osu.edu>
References: <760634465.5687112.1525328158283.ref@mail.yahoo.com>
	<mailman.3386.1525328404.53166.kinejapan@lists.osu.edu>
Message-ID: <mailman.1292.1525355796.2086.kinejapan@lists.osu.edu>

Thank you so much for that detailed report, Roger!

Frako Loden

On Wed, May 2, 2018 at 11:15 PM, Japanese Cinema Discussion Forum via
KineJapan <kinejapan at lists.osu.edu> wrote:

> The Meiji Era through the Dark Valley at NFAJ
>
> Dear KineJapaners,
>
> As reported before, the National Film Center has now become the National
> Film Archive of Japan - NFAJ. The signage inside and out at Takarach? has
> been changed, including the directions in the metro station, The website
> <http://www.nfaj.go.jp/> now has its own domain, which links to the library
> catalogue
> <http://kinbiopac.momat.go.jp/mylimedio/search/search-input.do?mode=comp&nqid=2>,
> which is, for now, still under the wing of Momat.
>
> Some things don?t change so fast though. There are still worryingly few
> staff to administer research, conservation and curation for a major
> national film archive; there are still continuing programmes of films at
> wonderfully low prices; and there are still no more than two screenings
> each day in the cinema. Refreshing for those increasingly blasted by
> trailers at the likes of the BFI, all films still start on the dot after
> precisely fifteen seconds of silent darkness.
>
> After a shorter opening programme, the first major retrospective
> inaugurating the NFAJ is ?Meiji Period in Films
> <http://www.nfaj.go.jp/exhibition/meiji-201804/#section1-2>?. 2018 is the
> 150th anniversary of the deposition of the Shogunate but, since the
> Emperor Meiji came to the throne the previous year, one can justify the
> squeezing in of some civil war dramas. As the introductory text
> <http://www.nfaj.go.jp/exhibition/meiji-201804/#section1-1> states, it?s
> partly an opportunity to show some films rarely shown. All the films I saw
> were NFAJ prints, with their original ?NFC? logos.
>
> Of particular interest to me this last week has been a strand of films
> made in the late 30s and earlier 40s, which I have never had the
> opportunity to see. As they are all to get their second screening in the
> next week or so, I?m flagging them up, should someone care to read on, with
> the proviso that anyone who caught the tonnage of dialogue that passed
> through this non-linguist?s ears might have heard quite different films.
>
> Actually, only one of the six films was mostly set after the Meiji
> restoration, and three were set during the events leading up to it. But
> what interested me was how history was being redeployed and re-narrated
> during this modern era.
>
> The one that was set almost completely in the Meiji era was *Hiwa
> Norumanton G?-jiken: Kamen no but?*, - perhaps ?Normanton Incident
> Special: Masked Dance - made in 1943 by SASAKI Keisuke. One might
> reasonably think that the story of criminally racist arrogance by the
> British in the actual events of 1881 was bad enough not to need
> embellishment, but embellished it was. The surviving Indian cabin boy
> becomes Chinese, all the better to show the Japanese supporting him against
> the racism of the British. In a long opening section, which introduces life
> in a western-embracing Meiji era, a young lawyer leads the push-back.  For
> the 1943 filmmakers, this allows the copious display of long-vanished
> elaborate dresses and ball-gowns, whilst also showing disapproval of them.
> The British white-wash at the end is emphasized, and becomes here a vehicle
> to show that the lawyer, and his firebrand friend, are on the right side of
> history. Their expressions of resentment dissolve into a hate-the-enemy
> coda which depicts the 1940s military destruction of British-occupied urban
> areas.
>
> As one might expect in a 1943 Japanese film, the casting of the
> westerners? roles was decidedly mixed. Some of these actors, by the
> evidence of these films, had something of a living depicting wicked
> foreigners. But earlier in the film, I seem to recall, there were street
> scenes of a western circus coming into town. The point here was that the
> foreign vagrants were unfairly disrupting the living of honest,
> hard-working families, particularly a widow and her two performing
> children. The brash circus was very convincing, fronted by a blonde with
> bare limbs and shoulders, straight out of Hollywood casting. I?d love to
> know more about where they got these players from. Come to think of it, the
> people of all classes in the street scenes of 1881 were unrealistically
> well-clad - presumably all the better to depict the ?nakedness? of the
> westerner.
>
> *Seiki no gassh?-ai kuni k?shinkyoku* - *Century Chorus - Patriotic March*,
> 1938, was a biopic of the musician SETOGUCHI T?kichi. Since he lived on
> to 1941, his life, by definition, covered far more than the Meiji period,
> although there is a substantial section set in that era. As a naval bandsman
> with composing ambitions, we eventually see him get his sea-legs. To the
> sound and back-drop of active gunnery in rough seas, he composes his *Battleship
> March* with full notation. To those wary of over-exposure to
> *Gunkan-k?shinkyoku*, I?d say there are many films of the period that
> employ the tune far more blatantly. In the sound-track, we first get it in
> fragments and, indeed, much of the sound-track uses a backdrop of silence
> to illustrate the sounds that Setoguchi hears and imagines. After his naval
> retirement send-off, to the unavoidable accompaniment, we see Setoguchi
> entering civilian life, and hear his new world - that of Taish? modernism.
> Setoguchi?s reception during his Western tour in this era is off the menu
> in this film. He seems, if I got it right, to be living above a record
> store. This long episode, of a fish-out-of-water, I found highly
> imaginative. But the authors had their own reason. Taish? becomes Sh?wa and
> a new generation enters military service.  They are finally able to
> report to his bedside that his music is back in fashion, and he?s big - in
> Italy and Germany. We hear *Gunkan-k?shinkyoku* again, which the visuals
> cut to be an accompaniment of a march-past of Hitler. Taish? modernism gets
> to be shown here as a historical mistake that has been corrected.
>
> More exposure of *Gunkan-k?shinkyoku* could be heard in another ?naval?
> film in the same programme, *Sugino Heis?-ch? no tsuma* - perhaps *The
> Widow of the Honoured Heiso Sugino*, 1940. Only three of five reels
> survive. We follow a widow of a casualty of the Russo-Japanese war as she
> struggles to bring up three sons. The arithmetic of that makes this film
> also a Taish? drama, but set rurally. I didn?t ascertain exactly which
> reels survive, but we seemed to get the end, even though I didn?t spot the
> ?end? character. Perhaps at the beginning of that reel, there is an
> extraordinarily beautiful and evocative scene. An elegiac, long-phrase
> accompanied song, different from any giday? I have heard, accompanies a
> slow sweep over landscape of considerable beauty. The camera eventually
> pans down on a memorial visit to the father?s grave. After the rituals are
> completed, the family walk back down the road. The three sons are in naval
> uniform, the mother in formal attire. The mood lightens, the pace quickens
> and the four of them are marching proudly ahead - to *Gunkan-k?shinkyoku*.
> This, I thought I was being told, was how honourable people had spent their
> Taish? era - preparing for the next joyful march to war.
>
> There was a fine restoration drama, *Ishin no kyoku *- *Melody of
> Restoration*, made by USHIHARA Kiyohiko in 1942. It was the prestige
> commencing drama of the new conglomerate Daiei company with an all-star
> cast and staff. To me, it had something of the feel of 1950s epics. That
> might be partly due to the different feel of the grand scenes of marching
> armies that punctuated long interior dramatic scenes, seemingly made by
> different units. The excellent acting was well photographed. There had
> clearly been a move away from the placing of characters in ensemble scenes
> of many 1930s films to a style more familiar to modern eyes, of easily
> readable characters in the foreground. The print was also in very good
> condition (it does not appear to have been preserved via the ?captured
> films?), apart from a few minutes of cyclical lightening, probably at the
> beginning of the penultimate reel, which was starting to give me a headache
> before it abated.  Made in Kyoto, it seemed to me that several scenes
> were shot in Nij? Castle?s interior. The music was mostly, if not all
> diegetic.
>
> The two other tales of restoration were filled by the derring-do of the
> then familiar character of Kurama Tengu, the legendary man of the people,
> who had been appearing in films since 1928. His July 1941 outing, directed
> by SUGANUMA Kanji, *Satsuma no misshi* - Envoy of Satsuma - is a
> hate-the-French vehicle, elaborating an attempt at that time by French
> agents to arm the Shogunate. Redeploying Kurama Tengu, along with his
> popular star, ARASHI Kanjur? (?Arakan?), who had played this role since its
> film debut, was a well-trodden propaganda move. It recalled for me the
> deployment of long-playing heroic character, Maxim, in the first 1941
> U.S.S.R. ?Fighting Film?, *Meeting with Maxim*, *Vstrecha s Maksimon*.
> Who better to gain quick approval of a patriotic hating of the enemy than
> an already well-established popular hero? This is shown most obviously in *Satsuma
> no misshi* in a sequence where the resentful face of Arakan gets step
> closing-ups, montaged with step close-ups of the tricolor on the French
> ship that was bringing the armaments.
>
> There are overwhelming reasons why neither could have been a direct
> influence on the other, and there is also a very important difference in
> their contexts. The U.S.S.R. had then been invaded, whilst Japan was not
> at war with France, and would not be so for most of the war. It?s also
> worth noting that this anti-Gallican piece appeared just as those, I think,
> of more liberal complexion, were extolling all things French in journals
> like *Eiga Hy?ron*. I?ll go further: I?d say the scriptwriter of *Satsuma
> no misshi*, MARUNE Santar?, here under the pseudonym, ?????, had the same
> idea as me that interest in  the French was a proxy for a wished-for
> opposition. And it?s not just the French who are selling the country, but
> their Japanese collaborators, shown in extended scenes of wine-drinking,
> rather than cheese-eating. Despite photography by MIYAGAWA Kazuo, it looked
> cheaply made with unconvincing sound. The print, a bit flecked, appears on
> the L.o.C. lists of captured films.
>
> Kurama Tengu?s next outing the following year, still with Arakan, was
> under the script and direction of IT? Daisuke. This was easily the
> best-preserved print of the set and looked as if it had never been through
> a projector before (although ja.wikipedia refers to a 2010 NFC screening).
> In fact, it was the best preserved print I?ve ever seen, with sparklingly
> clear images and sharp sound throughout. As you might expect for a film by
> It?, there?s a spectacular sword-fight, this one being set in a
> multi-floored, brick-built warehouse and filmed by a camera that roamed
> vertically and horizontally. As in Suganuma?s film, there are nice flashes
> of light on Kurama?s sword-blade, but in this film we see it on the
> revolver, and even, flamboyantly, on the point of a pin. That pin,
> belonging to a blinded woman, has strong connotations in the plot.
>
> Every suspense-and-rescue trope, and then some, is thrown at the final
> denouement. The British, and probably others, are linked orally to the
> nefarious arms dealers, but the over-whelming direction of hate in this
> film is something so deplorable that it should require far more
> contextualisation than that given. The arms-dealers are called ?Jacob? and
> have grotesque false noses and habits. Such gratuitous promotion of
> anti-semitism, during the very maelstrom of the Holocaust, surely needs to
> be overtly acknowledged and commented on at any screening. The film was
> projected and billed with its original title, *Kurama Tengu: Kogane Tengu
> - Kurama Tengu - Golden Hell*. I seem not to be the only one who sees
> that trope of avarice as part-and-parcel of the anti-semitism, since, at
> some point, the film?s title in It? filmographies got changed to *Kurama
> Tengu: **Yokohama** ni arawaru - Kurama Tengu Appears in **Yokohama**.*
> The film does not appear in any list of captured films and, at this point,
> I know nothing of its history of preservation.
>
> Roger
>
> macyroger at yahoo.co.uk
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at lists.osu.edu
> https://lists.osu.edu/mailman/listinfo/kinejapan
>
>
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From kinejapan at lists.osu.edu  Thu May  3 04:06:59 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 3 May 2018 17:06:59 +0900
Subject: [KineJapan] Mark Schilling with a rundown of the latest talent
	agency news
Message-ID: <mailman.1013.1525334824.2086.kinejapan@lists.osu.edu>

https://www.japantimes.co.jp/culture/2018/05/02/films/feudal-era-japans-talent-agencies/#.WurBVi-mM1J

If the system implodes, it will be all the better for Japanese film and tv.

Markus
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From kinejapan at lists.osu.edu  Thu May  3 02:15:58 2018
From: kinejapan at lists.osu.edu (Japanese Cinema Discussion Forum via KineJapan)
Date: Thu, 3 May 2018 06:15:58 +0000 (UTC)
Subject: [KineJapan] The Meiji Era through the Dark Valley at NFAJ
References: <760634465.5687112.1525328158283.ref@mail.yahoo.com>
Message-ID: <mailman.3386.1525328404.53166.kinejapan@lists.osu.edu>


The Meiji Era through the Dark Valley at NFAJ

Dear KineJapaners,

As reported before, the National Film Center has now become the National Film Archive of Japan -NFAJ. The signage inside and out at Takarach? has been changed, including thedirections in the metro station, The websitenow has its own domain, which links to the librarycatalogue, which is, for now, still under the wing of Momat.

Some things don?t change so fast though.There are still worryingly few staff to administer research, conservation andcuration for a major national film archive; there are still continuingprogrammes of films at wonderfully low prices; and there are still no more thantwo screenings each day in the cinema. Refreshing for those increasinglyblasted by trailers at the likes of the BFI, all films still start on the dotafter precisely fifteen seconds of silent darkness.

After a shorter opening programme, thefirst major retrospective inaugurating the NFAJ is ?Meiji Periodin Films?. 2018 is the 150th anniversary of the deposition ofthe Shogunate but, since the Emperor Meiji came to the throne the previousyear, one can justify the squeezing in of some civil war dramas. As the introductorytext states, it?s partly an opportunity to show some films rarely shown.All the films I saw were NFAJ prints, with their original ?NFC? logos.

Of particular interest to me this lastweek has been a strand of films made in the late 30s and earlier 40s, which Ihave never had the opportunity to see. As they are all to get their secondscreening in the next week or so, I?m flagging them up, should someone care toread on, with the proviso that anyone who caught the tonnage of dialogue thatpassed through this non-linguist?s ears might have heard quite different films.

Actually, only one of the six films was mostlyset after the Meiji restoration, and three were set during the events leadingup to it. But what interested me was how history was being redeployed andre-narrated during this modern era.

The one that was set almost completely inthe Meiji era was Hiwa Norumanton G?-jiken: Kamen no but?, - perhaps?Normanton Incident Special: Masked Dance - made in 1943 by SASAKI Keisuke. Onemight reasonably think that the story of criminally racist arrogance by theBritish in the actual events of 1881 was bad enough not to need embellishment,but embellished it was. The surviving Indian cabin boy becomes Chinese, all thebetter to show the Japanese supporting him against the racism of the British. Ina long opening section, which introduces life in a western-embracing Meiji era,a young lawyer leads the push-back.? Forthe 1943 filmmakers, this allows the copious display of long-vanished elaboratedresses and ball-gowns, whilst also showing disapproval of them. The Britishwhite-wash at the end is emphasized, and becomes here a vehicle to show thatthe lawyer, and his firebrand friend, are on the right side of history. Theirexpressions of resentment dissolve into a hate-the-enemy coda which depicts the1940s military destruction of British-occupied urban areas.

As one might expect in a 1943 Japanesefilm, the casting of the westerners? roles was decidedly mixed. Some of theseactors, by the evidence of these films, had something of a living depictingwicked foreigners. But earlier in the film, I seem to recall, there were streetscenes of a western circus coming into town. The point here was that theforeign vagrants were unfairly disrupting the living of honest, hard-workingfamilies, particularly a widow and her two performing children. The brashcircus was very convincing, fronted by a blonde with bare limbs and shoulders,straight out of Hollywood casting. I?d love to know more about where they gotthese players from. Come to think of it, the people of all classes in thestreet scenes of 1881 were unrealistically well-clad - presumably all thebetter to depict the ?nakedness? of the westerner.

Seiki no gassh?-ai kuni k?shinkyoku - Century Chorus - Patriotic March, 1938, wasa biopic of the musician SETOGUCHI T?kichi. Since he lived on to1941, his life, by definition, covered far more than the Meiji period, althoughthere is a substantial section set in that era. As a naval bandsman withcomposing ambitions, we eventually see him get his sea-legs. To the sound andback-drop of active gunnery in rough seas, he composes his Battleship Marchwith full notation. To those wary of over-exposure to Gunkan-k?shinkyoku,I?d say there are many films of the period that employ the tune far moreblatantly. In the sound-track, we first get it in fragments and, indeed, muchof the sound-track uses a backdrop of silence to illustrate the sounds thatSetoguchi hears and imagines. After his naval retirement send-off, to theunavoidable accompaniment, we see Setoguchi entering civilian life, and hearhis new world - that of Taish? modernism. Setoguchi?s reception during hisWestern tour in this era is off the menu in this film. He seems, if I got itright, to be living above a record store. This long episode, of afish-out-of-water, I found highly imaginative. But the authors had their ownreason. Taish? becomes Sh?wa and a new generation enters military service. ?They are finally able to report to his bedsidethat his music is back in fashion, and he?s big - in Italy and Germany. We hear Gunkan-k?shinkyokuagain, which the visuals cut to be an accompaniment of a march-past ofHitler. Taish? modernism gets to be shown here as a historical mistake that hasbeen corrected.

More exposure of Gunkan-k?shinkyokucould be heard in another ?naval? film in the same programme, Sugino Heis?-ch?no tsuma - perhaps The Widow of the Honoured Heiso Sugino, 1940.Only three of five reels survive. We follow a widow of a casualty of the Russo-Japanesewar as she struggles to bring up three sons. The arithmetic of that makes thisfilm also a Taish? drama, but set rurally. I didn?t ascertain exactly whichreels survive, but we seemed to get the end, even though I didn?t spot the?end? character. Perhaps at the beginning of that reel, there is anextraordinarily beautiful and evocative scene. An elegiac, long-phraseaccompanied song, different from any giday? I have heard, accompanies a slowsweep over landscape of considerable beauty. The camera eventually pans down ona memorial visit to the father?s grave. After the rituals are completed, thefamily walk back down the road. The three sons are in naval uniform, the motherin formal attire. The mood lightens, the pace quickens and the four of them aremarching proudly ahead - to Gunkan-k?shinkyoku. This, Ithought I was being told, was how honourable people had spent their Taish? era- preparing for the next joyful march to war.

There was a fine restoration drama, Ishinno kyoku - Melody of Restoration, made by USHIHARA Kiyohiko in 1942.It was the prestige commencing drama of the new conglomerate Daiei company withan all-star cast and staff. To me, it had something of the feel of 1950s epics.That might be partly due to the different feel of the grand scenes of marching armiesthat punctuated long interior dramatic scenes, seemingly made by differentunits. The excellent acting was well photographed. There had clearly been amove away from the placing of characters in ensemble scenes of many 1930s filmsto a style more familiar to modern eyes, of easily readable characters in theforeground. The print was also in very good condition (it does not appear tohave been preserved via the ?captured films?), apart from a few minutes ofcyclical lightening, probably at the beginning of the penultimate reel, whichwas starting to give me a headache before it abated.? Made in Kyoto, it seemed to me that several scenes were shot in Nij? Castle?s interior. The music was mostly, if not alldiegetic.

The two other tales of restoration were filledby the derring-do of the then familiar character of Kurama Tengu, the legendaryman of the people, who had been appearing in films since 1928. His July 1941outing, directed by SUGANUMA Kanji, Satsuma no misshi - Envoy of Satsuma- is a hate-the-French vehicle, elaborating an attempt at that time by French agentsto arm the Shogunate. Redeploying Kurama Tengu, along with his popular star, ARASHIKanjur? (?Arakan?), who had played this role since its film debut, was awell-trodden propaganda move. It recalled for me the deployment of long-playingheroic character, Maxim, in the first 1941 U.S.S.R. ?Fighting Film?, Meetingwith Maxim, Vstrecha s Maksimon. Who better to gain quick approval of a patriotic hating of the enemythan an already well-established popular hero? This is shown most obviously in Satsumano misshi in a sequence where the resentful face of Arakan gets stepclosing-ups, montaged with step close-ups of the tricolor on the French shipthat was bringing the armaments.

There are overwhelming reasons why neither could havebeen a direct influence on the other, and there is also a very importantdifference in their contexts. The U.S.S.R. had then been invaded, whilst Japan was not at war with France, and would not be so for most of the war. It?s alsoworth noting that this anti-Gallican piece appeared just as those, I think, ofmore liberal complexion, were extolling all things French in journals like EigaHy?ron. I?ll go further: I?d say the scriptwriter of Satsuma no misshi,MARUNE Santar?, here under the pseudonym, ?????, had the same idea as me that interest in ?the French was a proxy for a wished-foropposition. And it?s not just the French who are selling the country, but theirJapanese collaborators, shown in extended scenes of wine-drinking, rather thancheese-eating. Despite photography by MIYAGAWA Kazuo, it looked cheaply madewith unconvincing sound. The print, a bit flecked, appears on the L.o.C. listsof captured films.

Kurama Tengu?snext outing the following year, still with Arakan, was under the script anddirection of IT? Daisuke. This was easily the best-preserved print of the setand looked as if it had never been through a projector before (althoughja.wikipedia refers to a 2010 NFC screening). In fact, it was the bestpreserved print I?ve ever seen, with sparklingly clear images and sharp soundthroughout. As you might expect for a film by It?, there?s a spectacularsword-fight, this one being set in a multi-floored, brick-built warehouse andfilmed by a camera that roamed vertically and horizontally. As in Suganuma?sfilm, there are nice flashes of light on Kurama?s sword-blade, but in this filmwe see it on the revolver, and even, flamboyantly, on the point of a pin. Thatpin, belonging to a blinded woman, has strong connotations in the plot.

Everysuspense-and-rescue trope, and then some, is thrown at the final denouement.The British, and probably others, are linked orally to the nefarious armsdealers, but the over-whelming direction of hate in this film is something sodeplorable that it should require far more contextualisation than that given.The arms-dealers are called ?Jacob? and have grotesque false noses and habits.Such gratuitous promotion of anti-semitism, during the very maelstrom of theHolocaust, surely needs to be overtly acknowledged and commented on at anyscreening. The film was projected and billed with its original title, KuramaTengu: Kogane Tengu - Kurama Tengu - Golden Hell. I seem not to be the onlyone who sees that trope of avarice as part-and-parcel of the anti-semitism,since, at some point, the film?s title in It? filmographies got changed to KuramaTengu: Yokohama ni arawaru - Kurama TenguAppears in Yokohama. The film does not appear inany list of captured films and, at this point, I know nothing of its history ofpreservation.

Roger

macyroger at yahoo.co.uk

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