From aaron.gerow at yale.edu Tue Oct 2 14:11:08 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 2 Oct 2018 14:11:08 -0400 Subject: [KineJapan] Kinema Club XVIII: Gender and Sexuality in Japanese Cinema: A Unique CFP Message-ID: The deadline for proposals was the 30th, but if there is anyone out there who forgot about it or gave up submitting because the deadline passed, we can still accept submissions in the next day or two. We already have some great proposals, but it would be a shame to miss a proposal or two because of forgetfulness or something like that. Kinema Club XVIII: Gender and Sexuality in Japanese Cinema A Unique CFP Conference dates: February 22-24, 2019 Location: Yale University, New Haven, CT USA Submission deadline: September 30, 2018 Kinema Club XXIII, with the support of the Council on East Asian Studies, will take place at Yale University at the end of February 2019 (tentative dates February 22-24). The Kinema Club conferences on Japanese film and media have distinguished themselves over the years for their variety and inventiveness, ranging from workshops to full-fledged conferences, from themed symposia to sidebars of film festivals. This edition will be a new step even for Kinema Club, in that it will center on screening and discussing rare films, not on delivering papers. The format, inspired by the conferences held by the European Studies Council at Yale, centers on the screening of 35mm prints of rarely seen films over a three-day period. After each film or set of films, a panel of 3-4 members will begin discussion not by reading prepared papers, but by each member offering comments strictly limited to 5-10 minutes. This leaves the majority of the time open for discussion among all the participants. That means that we are not issuing a call for papers. Rather, we are asking for nominations on what films to show and who can serve on the panels. Kinema Club XVIII will be held with the cooperation of the National Film Archive of Japan (NFAJ), so all film prints will come from the NFAJ. To help focus the discussion, the Yale organizing committee has decided the theme of KC XVIII will be ?Gender and Sexuality in Japanese Cinema.? Japanese cinema has long been explored through its treatment of gender and sexuality, from the modern women of Mizoguchi to the masculine fantasies of yakuza films, from the obscured eroticism of roman porno to the beautiful fighting girls of anime. In selecting this theme, the organizing committee wishes to invite new perspectives on the visual construction of gender and sexuality in Japanese media by screening films rarely seen which scholars can position to intervene in ongoing conversations about gender and sexuality. The organizing committee has also proposed two films to begin with: Fukujuso ??? (director: Kawate Jir? ????; Shink? Kinema, 1935) Hana chirinu ???? (director: Ishida Tamiz? ????; T?h?, 1938) We are thus looking for nominations of 4-5 other films (or more, if some are shorts) that can work within the theme and are contained in the NFAJ collection. We are also asking for self-nominations to serve on the panels either of the above 2 films, or of a film that has been nominated (one can of course nominate a film and oneself to talk about it). Group nominations of 2-3 people are welcome, but the organizing committee reserves the right to add a panel member to further the discussion. The organizing committee will invite some scholars to add to the discussion and fill in slots. In the spirit of the conference, we are looking for films that connect with the theme and which are rarely shown outside Japan. As one measure of the latter, we are looking for films that are not available on DVD or legal streaming services with English subtitles outside of Japan. All films shown must come from the collection of the NFAJ (you can check their catalog of feature length fiction films here: http://202.236.109.20/index.php ). Preferably they should have English subtitles (if you are unsure whether an NFAJ print has subtitles, the organizing committee can help confirm that), though we could try to create subtitles for a wanted film if there is the time and personnel. Note that not all prints in the NFAJ are in a state that allows for projection; some film nominations may be rejected for that reason. KC XVIII is being supported by the Council on East Asian Studies. Within the budget, we can reimburse up to $500 for the travel and up to $300 for the hotel costs of up to 14 out-of-town participants. (If we go underbudget, or get additional funding, we can increase this amount, especially for participants from Asia and Europe.) Given the negotiations necessary with the NFAJ and possible copyright holders of the films to be shown, the organizers hope to decide the films and panels by mid-October. That means that the DEADLINE FOR SUBMISSIONS is September 30, 2018. Film nominations should state the title of the film (and basic filmographic information for identification purposes), and a no more than 200-word reason for its inclusion. Panel member nominations should include the name, affiliation, contact information, and a no more than 200-word summary of the points you wish to make about the film. In the case of group panel nominations, add a short reason for the group?s constitution in addition to the nominations for each individual. Please submit nominations by e-mail to: kinemaclubxviii at gmail.com Yes, this is a unique ?call for papers? but it is for a unique conference. We hope you can participate. If you just want to attend the conference, stay tuned for further information. Aaron Gerow Yale University aaron.gerow at yale.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Oct 4 22:18:42 2018 From: nornes at umich.edu (Markus Nornes) Date: Thu, 4 Oct 2018 22:18:42 -0400 Subject: [KineJapan] Wakamatsu Bio Message-ID: Mark Schilling just published his review of the new bio pic on Wakamatsu: https://www.japantimes.co.jp/culture/2018/10/03/films/dare-stop-us-japanese-cinemas-bad-boy-seen-one-women-worked/#.W7bE0S2ZM1J I saw this last summer and really enjoyed it. The film is directed by Shiraishi Kazuya, who was Wakamatsu's AD. I agree with Mark that the characters feel a bit overblown and caricature-like at first, but grow on you. The imitations of Wakamatsu, Adachi Masao, Oshima Nagisa and Arai Haruhiko are pretty good, and do get better as the film moves through the years. It's also a great Shinjuku film, with some scenes shot at original locations that have survived. There aren't all that many years covered, actually. Only 69 to 72. But the choice is actually really interesting. First of all, it's because the film actually centers of Wakamatsu's female AD Yoshizumi Megumi. It's the story of her growth within the production company and her untimely death (the cause of which was debated, and Shiraishi leaves it a mystery). But the time period is also a canny historiographic choice because it shows Wakamatsu reaching the peak of his pink years, and ends at a fascinating juncture: Wakamatsu entertains the possibility of working for ATG and make a move towards the mainstream while Adachi hops on the famous red bus and takes their Aka-P documentary to instigate the revolution. It's a smart film. Not as polished or powerful as Shirashi's other film this year (!), Blood of Wolves. But I hope it gets picked up on the festival circuit. I'm curious what other people think. (I talked to Adachi about it briefly. He said his friends from those days all grouse and complain about Shiraishi not getting it, but Adachi himself was more expansive?critical of the film, while wanting the younger director to present his take on Wakamatsu and the era. I wish Wakamatsu was here to comment!) 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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From margherita.long at gmail.com Fri Oct 5 14:58:52 2018 From: margherita.long at gmail.com (margherita long) Date: Fri, 5 Oct 2018 11:58:52 -0700 Subject: [KineJapan] Open Rank Position in Japanese Environmental Humanities, UC Irvine Message-ID: Dear Colleagues, UCI's Department of East Asian Studies is pleased to announce an open-rank search in Japanese Environmental Humanities, including Japanese cinema. Irvine is a great place to live and work, and our EAS Department is vibrant and friendly. Please feel free to contact me directly with any questions. https://chroniclevitae.com/jobs/0000447462-01 Sincerely, Mimi Long Margherita Long Associate Professor Department of East Studies 470 Humanities Instructional Building University of California, Irvine 92697-6000 *** UNIVERSITY OF CALIFORNIA, IRVINE, Irvine, CA 92697-6000. The Department of East Asian Studies invites applications for an open rank position in Japanese Environmental Humanities, appointment to begin 1 July 2019. Discipline is open to Japanese cinema, literature, philosophy, history, theater, anthropology, visual studies, political thought, or any field that uses Japanese texts to study the relation between nature and society, science and politics, the material and the ideal. Teaching responsibilities include lectures and seminars at the undergraduate and graduate level, plus graduate advising. This hire is supported by a Japan Foundation Institutional Project Support (IPS) grant and part of a campus initiative to 1) establish UC Irvine as a major center for Environment and Sustainability Studies within the field of Japanese Studies and 2) launch a 4+1 MA program in Japanese within the Department of EAS. The successful candidate will have a compelling research profile and strong leadership skills. A Ph.D. is required. The department will begin reviewing applications November 13, 2018. Applications should be submitted electronically at https://recruit.ap.uci.edu/apply/JPF04894. Candidates should submit 1) a cover letter, 2) a statement of research and teaching interests, 3) a statement on teaching philosophy, 4) a statement addressing past and/or potential contributions to diversity, equity and inclusion in line with UC Irvine's commitment to inclusive excellence https://inclusion.uci.edu/, 5) a current CV, and 6) 3 letters of recommendation. The University of California, Irvine is an Equal Opportunity/Affirmative Action Employer committed to excellence through diversity. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, age, protected veteran status, or other protected categories covered by the UC nondiscrimination policy. Please direct questions about the electronic submission procedure to EAS Department Manager Michelle Hu (mahu at uci.edu) and any other questions about the search to Committee Chair Margherita Long (margherita.long at uci.edu). To learn more about the Department, visit www.humanities.uci.edu/eastasian/. -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Oct 6 15:32:51 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 6 Oct 2018 15:32:51 -0400 Subject: [KineJapan] Agency for Cultural Affairs Film Awards: Makino Mamoru Message-ID: The Agency for Cultural Affairs has announced its film awards for documentary and for meritorious service to cinema. Our longtime friend and mentor, Makino Mamoru received an award in the latter category! ?????????????????????? http://www.bunka.go.jp/koho_hodo_oshirase/hodohappyo/1409780.html As some of you may recall, the first book that Kinema Club put out was a collection of essays in honor of Makino-san. https://kinemaclub.org/praise-film-studies-essays-honor-makino-mamoru A well-deserved award! Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, Film and Media Studies Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Sat Oct 6 17:07:00 2018 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sat, 6 Oct 2018 21:07:00 +0000 Subject: [KineJapan] Wakamatsu Bio In-Reply-To: References: Message-ID: Dear All, Apologies for the late reply- I just wanted to add my thoughts on ?Dare to Stop Us?, though they won?t be very well organized. I found it interesting, but I can?t say I found it as enjoyable as Markus did; or maybe I did enjoy it in certain ways, but my take at least is that it isn?t really an enjoyable film. Generally I agree with Mark and Markus about the film?s trajectory- it gets more engaging as it goes on. But much of the film also felt like checking the boxes for me, introducing characters, moments and films that will be interesting for those pre-disposed to being interested in the Wakamatsu Pro crew. Kadowaki seems the only one (including Shiraishi) interested in making the character / film interesting for someone not ?in the know?, and it shows. Maybe because she was one of the few in the crew that aren?t in some take ownership in Wakamatsu / belong to the wider Wakamatsu orbit. That said, I kind of enjoyed Yamamoto Hiroshi as Adachi (he of course acted in Adachi?s The Artist of Fasting (2016)), giving him a stoic atmosphere that is a curious contrast to the Adachi I?ve met but still is strangely recognizable. At first I found Arata?s performance as Wakamatsu a bit caricaturish and just not that well acted (regardless of the style or school of acting). But as the film goes on it seemed to fashion Wakamatsu into an offbeat eccentric more than a iconic figure, which was an interesting take- though I don?t think that was Arata?s intention. That the people that more or less experienced that time would complain about this or that in the film seems par for the course to me- if you watch it for veracity you won?t get what you want (more on that in a moment). Adachi?s take of seeing it as telling us something about Shiraishi / Arata?s generation?s take on Wakamatsu (Productions) seems to me to be the better way to watch it. That take might also be something irking the old guard, who have seriously complicated feelings about Wakamatsu; there was a lot of grumbling directly after Wakamatsu?s death about the Arata-gumi both claiming Wakamatsu and indulging in hero-worship, when even those close to him felt hero worship was a) much too simple and b) didn?t do Wakamatsu?s straight-talking mode of discourse justice. He himself would have called bullshit on that kind of hagiography (I?m not talking about the film here, but things that happened just after his death). But it felt as if there were several tensions at work in the film that cancelled each other out and made it much less interesting than it might have been. Trying to stick to veracity while trying to mildly fictionalize seemed one of them. I do like scriptwriter Inoue Junichi and his work, but he also - like many involved - is so much part of the orbit of Wakamatsu / former Wakamatsu Productions people that it must have been a difficult script to write. There just isn?t that much leeway if you have to consider what your senpai (that you?re writing about) will think; and then you know the background stories that you aren?t allowed to tell? Also I?m not sure what Shiraishi wanted to say- in a way it seemed to me that he identified with Megumi?s aimlessness; she wants to shoot a film but doesn?t know what kind of film she wants to shoot. That seemed to be exactly this film?s problem. And, of course, while nominally there is a female protagonist at the center, the male scriptwriter and director quite honestly called the film ?Tomerareru ka, Ore-tachi o?; it?s clearly an ?Ore-tachi? perspective. Of course I wasn?t at Wakamatsu Productions at the time, but having met quite a few of the people that are protagonists in the film I would be surprised if this film comes even close to showing how the gender relations ?actually? played out (even without taking Hamano Sachi?s well-known critique based on her own Wakamatsu Productions experience into account, or acknowledging that even back then there are complex dynamics at play). It?s a complete blind spot- and at times very deliberately work to keep it that way. This too probably tells us more about the Shiraishi / Arata generation than Wakamatsu Productions of that era. Apologies for this monstrously long post. It seems the film did stay with me more that I want to admit. Best! Alex ???????? Alexander Zahlten Associate Professor Dept. of East Asian Languages and Civilizations Harvard University Director of Graduate Studies, Regional Studies East Asia From: KineJapan on behalf of Markus Nornes Reply-To: Japanese Cinema Discussion Forum Date: Thursday, October 4, 2018 at 22:19 To: Japanese Cinema Discussion Forum Subject: [KineJapan] Wakamatsu Bio Mark Schilling just published his review of the new bio pic on Wakamatsu: https://www.japantimes.co.jp/culture/2018/10/03/films/dare-stop-us-japanese-cinemas-bad-boy-seen-one-women-worked/#.W7bE0S2ZM1J I saw this last summer and really enjoyed it. The film is directed by Shiraishi Kazuya, who was Wakamatsu's AD. I agree with Mark that the characters feel a bit overblown and caricature-like at first, but grow on you. The imitations of Wakamatsu, Adachi Masao, Oshima Nagisa and Arai Haruhiko are pretty good, and do get better as the film moves through the years. It's also a great Shinjuku film, with some scenes shot at original locations that have survived. There aren't all that many years covered, actually. Only 69 to 72. But the choice is actually really interesting. First of all, it's because the film actually centers of Wakamatsu's female AD Yoshizumi Megumi. It's the story of her growth within the production company and her untimely death (the cause of which was debated, and Shiraishi leaves it a mystery). But the time period is also a canny historiographic choice because it shows Wakamatsu reaching the peak of his pink years, and ends at a fascinating juncture: Wakamatsu entertains the possibility of working for ATG and make a move towards the mainstream while Adachi hops on the famous red bus and takes their Aka-P documentary to instigate the revolution. It's a smart film. Not as polished or powerful as Shirashi's other film this year (!), Blood of Wolves. But I hope it gets picked up on the festival circuit. I'm curious what other people think. (I talked to Adachi about it briefly. He said his friends from those days all grouse and complain about Shiraishi not getting it, but Adachi himself was more expansive?critical of the film, while wanting the younger director to present his take on Wakamatsu and the era. I wish Wakamatsu was here to comment!) Markus --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Screen Arts and Cultures 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Oct 6 19:44:14 2018 From: nornes at umich.edu (Markus Nornes) Date: Sat, 6 Oct 2018 19:44:14 -0400 Subject: [KineJapan] Wakamatsu Bio In-Reply-To: References: Message-ID: > > > And, of course, while nominally there is a female protagonist at the > center, the male scriptwriter and director quite honestly called the film > ?Tomerareru ka, Ore-tachi o?; it?s clearly an ?Ore-tachi? perspective. Of > course I wasn?t at Wakamatsu Productions at the time, but having met quite > a few of the people that are protagonists in the film I would be surprised > if this film comes even close to showing how the gender relations > ?actually? played out > I knew almost nothing about the film going in, so when I recognized who the main character was going to be the irony of the title haunted the film. I wonder how many Japanese spectators will feel this? Of course, from another perspective, Yoshizumi virtually had to masquerade as one of the boys to survive, so the title is perfect. That the real working conditions for women weren't represented is hardly surprising. To do so, Toei would have to confront that issue in their own offices and sets. Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Oct 6 23:16:50 2018 From: nornes at umich.edu (Markus Nornes) Date: Sat, 6 Oct 2018 23:16:50 -0400 Subject: [KineJapan] Agency for Cultural Affairs Film Awards: Makino Mamoru In-Reply-To: References: Message-ID: I visited Makino in August. The first room behind his living room is already filled with new books! By the way, our Makino book can still be purchased on paper, but it's also available for free online: https://books.google.com/books?id=HO9kAAAAMAAJ&dq=nornes%20Gerow%20makino&pg=PA21#v=onepage&q=nornes%20Gerow%20makino&f=false Markus [image: 2018_8_25 Makino-3.jpg] On Sat, Oct 6, 2018 at 3:33 PM Gerow Aaron wrote: > The Agency for Cultural Affairs has announced its film awards for > documentary and for meritorious service to cinema. Our longtime friend and > mentor, Makino Mamoru received an award in the latter category! > > ?????????????????????? > > http://www.bunka.go.jp/koho_hodo_oshirase/hodohappyo/1409780.html > > As some of you may recall, the first book that Kinema Club put out was a > collection of essays in honor of Makino-san. > > https://kinemaclub.org/praise-film-studies-essays-honor-makino-mamoru > > A well-deserved award! > > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Director of Graduate Studies, Film and Media Studies > Yale University > 143 Elm Street, Room 210 > PO Box 208324 > New Haven, CT 06520-8324 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 2018_8_25 Makino-3.jpg Type: image/jpeg Size: 8119401 bytes Desc: not available URL: From jjesty at protonmail.com Sun Oct 7 05:34:10 2018 From: jjesty at protonmail.com (jjesty) Date: Sun, 07 Oct 2018 09:34:10 +0000 Subject: [KineJapan] Publication announcement: Art and Engagement in Early Postwar Japan Message-ID: Dear All, I'm writing to announce that, happily, my book "Art and Engagement in Early Postwar Japan" was published a couple of weeks ago. I hope you'll have a look. Two of the chapters focus on Hani Susumu's early films and film theory. I'm happy to come do a book talk if anyone's interested! If you are planning to purchase a copy, you can get a 30% discount by ordering directly from Cornell University Press and using the offer code: 09FLYER. http://www.cornellpress.cornell.edu/book/?GCOI=80140102481120&fa=author&person_id=5927 If you are ordering from outside the U.S. please order through Combined Academic Publishers and use the offer code: CS09FLYER https://www.combinedacademic.co.uk/ Feel free to forward this information to anyone or to any mailing lists you think might be interested. I've attached a flyer with more information. Thank you all for your support! All best, Justin Sent with [ProtonMail](https://protonmail.com) Secure Email. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Jesty Art and Engagement flyer.pdf Type: application/pdf Size: 743145 bytes Desc: not available URL: From macyroger at yahoo.co.uk Wed Oct 10 05:16:43 2018 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 10 Oct 2018 09:16:43 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?Paris=2C_Renga_jok=C5=8D=2C_and_translatio?= =?utf-8?q?ns?= In-Reply-To: References: Message-ID: <1470744404.10451577.1539163003874@mail.yahoo.com> A belated thank you for this information, Mathieu. On the subject of advice on publications, I noticed that the currentedition of Positions has a couple of Japanese film articles, but surelytheir authors will announce them ? You also ask about the current programme in Paris by the Cin?math?quefran?aise. I have caught a few of them. Let me just contrast the screening of Shinano yoru, 1940, with Renga jok?, which was made in 1940 by ChibaYasuki in 1940 but not released until 1946. I?m pretty sure that was its firstscreening outside Japan. Shina no yoru was made for audiences in two languages (althoughone shunned it). Its line delivery rate is somewhat measured and those linesare delivered by professional actors through a studio recording system. Perhapssomeone has already looked into the significance of which of Li/Yamaguchi?sMandarin lines are subtitles in Japanese. Anyway, somewhere between theJapanese and the French subtitles I could glean enough to appreciate it. However, Renga jok? was another matter for this weak linguist.It?s in non-standard Japanese with a rapid delivery rate, particularly at thestart, by less experienced actors. What?s more, on the rare occasions when Icould get both the Japanese and the French, it struck me that the French wasexcessively polite and long-winded compared to the Japanese, Of course, forreadability in western languages, the opposite needs to be the case. It wasn?tjust me who couldn?t cope - the French subtitles were way out of synch. for thefirst five minutes. Incidentally, the only screening I have caught to give a translationcredit was ?Chocolat etSoldats?. So the definitive western screening of Renga jok? has still totake place. Although I didn?t notice anything about sexuality, it certainlydeals with the subjugation of class, of women and of immigrants; so I could, intheory nominate it for Kine Club XXIII, but I?ve made my nominations and,selfishly, I?d rather see films I haven?t seen that others nominate. There is asecond screening of Renga jok? at the Cin?math?que on the 17th.It had something of a ?tendency? film for me. Curiously, the unenthusiasticreview in Kinema Junp? in 1946 by Hayata Hidetoshi spoke of it as depictingtroubles from way back ? our present hardships are more complicated and havebecome more serious?. Roger On Sunday, 30 September 2018, 02:46:10 GMT+1, Mathieu Capel wrote: Dear Kinejapaners, Following Michael Raine's wish for more announcements for newly-published works on KineJapan, may I draw your attention to the latest issue of cinema review "Trafic", where French readers (alas, I wish it could be available for everyone on the list) can find a short set of three articles related to Suzuki Seijun ?Two are transations of texts taken from Yamane Sadao et al. "Cinema'69" review (Suzuki's own "Rain Snow Wind", and a early piece by Hasumi dealing mostly with Youth of the beast and Branded to kill), the third one being my own take on Suzuki's so-called Taish? Trilogy (including Hishu monogatari, as a matter of fact).http://www.pol-editeur.com/index.php?spec=livre&ISBN=978-2-8180-46159 By the way, lots of Japanese films are now playing in Paris Cinematheque fran?aise, I'd be curious to hear from this retrospective if anyone's in Paris by now :http://www.cinematheque.fr/cycle/100-ans-de-cinema-japonais-1ere-partie-466.html All the best, Mathieu CapelTokyo / French Research Institute on Japan_______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From unkleque at yahoo.com.au Wed Oct 10 17:38:17 2018 From: unkleque at yahoo.com.au (quentin turnour) Date: Thu, 11 Oct 2018 08:38:17 +1100 Subject: [KineJapan] Kadokawa International Distribution contact? Message-ID: <00E84F03-37D1-4932-B71C-52312D775046@yahoo.com.au> Has anyone on list had any recent dealings with Kadokawa Pictures?s international distribution arm (or Daiei-Kadokawa as I think its called now)? My past contact links seem to have now rotted or bounced. As does the contacts suggested on the UniJapan database (but that always seems to lag few years behind). Emails sent to various corporate sites have not been answered, although these have been written in English. And Kadokawa is, of course, a sprawling corporate entity. Apologies for posting, as this is not really a film programmers knowledge exchange listserv. Happy to take replies off-list. Happy for any replies. Quentin Turnour, National Archives of Australia / Cinema Reborn Film Festival, Sydney, Australia. From raine.michael.j at gmail.com Wed Oct 10 20:33:21 2018 From: raine.michael.j at gmail.com (Michael Raine) Date: Thu, 11 Oct 2018 02:33:21 +0200 Subject: [KineJapan] Publication announcement: Art and Engagement in Early Postwar Japan In-Reply-To: References: Message-ID: Congratulations Justin! It's wonderful to see the project reach fruition. It's a really exciting combination of art history and reflection on the social production of art. I think people will learn a lot from your approach to the period, to film movements, and to avant-garde art. I've ordered it for our library! Michael Michael Raine, Western University co-editor, Journal of Japanese and Korean Cinema On Sun, Oct 7, 2018 at 11:34 AM jjesty wrote: > Dear All, > > I'm writing to announce that, happily, my book "Art and Engagement in > Early Postwar Japan" was published a couple of weeks ago. I hope you'll > have a look. Two of the chapters focus on Hani Susumu's early films and > film theory. I'm happy to come do a book talk if anyone's interested! > > If you are planning to purchase a copy, you can get a 30% discount by > ordering directly from Cornell University Press and using the offer code: > 09FLYER. > > http://www.cornellpress.cornell.edu/book/?GCOI=80140102481120&fa=author&person_id=5927 > > If you are ordering from outside the U.S. please order through Combined > Academic Publishers and use the offer code: CS09FLYER > https://www.combinedacademic.co.uk/ > > Feel free to forward this information to anyone or to any mailing lists > you think might be interested. I've attached a flyer with more information. > > Thank you all for your support! > All best, > Justin > > Sent with ProtonMail Secure Email. > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Oct 11 22:35:20 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 11 Oct 2018 22:35:20 -0400 Subject: [KineJapan] Furukawa Takumi Message-ID: News reports say that the film director Furukawa Takumi passed away on October 4th at age 101. He is most known for directing Taiyo no kisetsu / Season of the Sun (1956), the first "sun tribe" film. He also worked a lot on television. https://www.sankei.com/life/news/181011/lif1810110048-n1.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, Film and Media Studies Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Fri Oct 12 12:32:40 2018 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Fri, 12 Oct 2018 16:32:40 +0000 Subject: [KineJapan] Furukawa Takumi In-Reply-To: References: Message-ID: That certainly is a ripe old age. I remember when writing something for the Arrow releases of Suzuki Seijun films looking at his date of birth and thinking he must have passed away with no one noticing (as happened with the British director Cyril Frankel last year). It is a shame so little of his work is known beyond Taiyo no kisetsu, and that is a film too which is better known than it is widely seen. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Gerow Aaron Sent: 12 October 2018 02:35:20 To: Japanese Cinema Discussion Forum Subject: [KineJapan] Furukawa Takumi News reports say that the film director Furukawa Takumi passed away on October 4th at age 101. He is most known for directing Taiyo no kisetsu / Season of the Sun (1956), the first "sun tribe" film. He also worked a lot on television. https://www.sankei.com/life/news/181011/lif1810110048-n1.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, Film and Media Studies Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Mon Oct 15 19:07:20 2018 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Tue, 16 Oct 2018 02:07:20 +0300 Subject: [KineJapan] FCCJ screening today 10/15 Message-ID: *Tuesday, Oct. 16 at 6:45 pm* *TEN YEARS JAPAN (Juu Nen) with English subtitles* followed by a Q&A with directors Akiyo Fujimura, Chie Hayakawa, Kei Ishikawa, Yusuke Kinoshita and Megumi Tsuno https://goo.gl/roa4rA Since FCCJ is a private club, you must reserve your seats through Screenings Curator Karen Severns: karenseverns at gmail.com ---- Sorry for the late posting. I have been unable to subscribe to the new Kinejapan list, but finally, thanks to Aaron's help, I am on it. Eija Niskanen -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Fri Oct 19 01:21:56 2018 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Fri, 19 Oct 2018 14:21:56 +0900 Subject: [KineJapan] To the Japs: South Korean A-Bomb Survivors Speak Out Message-ID: Dear KineJapan, I just wanted to share a short report of the screenings I?ve attended last Sunday at the Kobe Planet Film Archive. The program, From ?NDU to NDS?, included the screening of To the Japs: South Korean A-Bomb Survivors Speak Out (NDU, 1971) followed by a short documentary-like work by Kim Imman shot in 2008 (but I?m not really sure about the date) when Nunokawa Tetsur? and himself went to Korea and met the women portrayed more than 30 years before in the movie. The day continued with a short talk between Inoue san (the only surviving member of the collective), Imman and a young Japanese scholar who specializes on NDU and 1960s/1970s Japanese cinema. The small theater was, with my surprise, packed, and extra chairs had to be added to fit everybody in. Unfortunately the talk was too short and mainly focussed on the absence of Japanese subtitles in some scenes in Imman?s short work and on other language related problems in To the Japs (why the women were called by their Japanese name, etc.). Nothing was said on the formal elements of the film, and I think it was a missed opportunity, the movie looked and felt a bit different to me from the other NDU?s movies I?ve seen (Onikko, Motoshinkakarannu and Asia is One), both in style and approach, yet still perfectly embodying that aesthetics of chaos so powerful in all the collective?s works. Maybe because it was screened in 16mm, but the colors looked really popping and the black and white (almost bluish in some scenes) absolutely stunning.... The last work screened was Kim Imman?s Give Back Kama?s Rights! (2011), produced by NDS (Nakazaki-cho Documentary Space) and shot with the help of Nunokawa himself. Matteo Boscarol ????? ???? ??????????? - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue Oct 23 09:04:42 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 23 Oct 2018 09:04:42 -0400 Subject: [KineJapan] Kawase to direct Olympics doc Message-ID: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> The papers report that Kawase Naomi has been appointed to direct the official documentary of the 2020 Tokyo Olympics. As you all know, Ichikawa Kon directed the documentary for the 1964 Olympics, and Shinoda Masahiro did that for the 1972 Sapporo Olympics. https://www.asahi.com/articles/ASLBR3DWCLBRUTQP00L.html?fbclid=IwAR0gQArzMTEDIdl6vQCB8CHslLc-sFjpYR_PiZtUIOdE-1XuviW8-6Xb5vs Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, Film and Media Studies Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From jmthfrsa at gmail.com Tue Oct 23 10:39:20 2018 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Tue, 23 Oct 2018 16:39:20 +0200 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> Message-ID: Thank you Aaron for that very interesting information jacline moriceau Le mar. 23 oct. 2018 ? 15:05, Gerow Aaron a ?crit : > The papers report that Kawase Naomi has been appointed to direct the > official documentary of the 2020 Tokyo Olympics. As you all know, Ichikawa > Kon directed the documentary for the 1964 Olympics, and Shinoda Masahiro > did that for the 1972 Sapporo Olympics. > > > https://www.asahi.com/articles/ASLBR3DWCLBRUTQP00L.html?fbclid=IwAR0gQArzMTEDIdl6vQCB8CHslLc-sFjpYR_PiZtUIOdE-1XuviW8-6Xb5vs > > > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Director of Graduate Studies, Film and Media Studies > Yale University > 143 Elm Street, Room 210 > PO Box 208324 > New Haven, CT 06520-8324 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed Oct 24 10:15:08 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 24 Oct 2018 10:15:08 -0400 Subject: [KineJapan] Johnny Depp and Minamata Message-ID: <6327D686-5182-4A98-A6B0-7D78E6F68E85@yale.edu> I was surprised to see reports in the US entertainment press that Johnny Depp will be playing W. Eugene Smith in an adaptation of the book Minamata written by Smith and his wife Aileen Miyoko Smith. https://www.hollywoodreporter.com/news/johnny-depp-play-war-photographer-w-eugene-smith-minamata-1154396 It is being developed by Depp?s production company. Filming is supposed to start in January, and will take place in Japan and Serbia (?!). There?s a lot to worry about with this. Depp has had some good roles in the past but seems to have mostly fallen into self-parody. But more than that, I worry this will be another of Hollywood?s ?white man comes to non-white nation to save the day? films. And I worry about how the victims will be presented. Remember for instance that we are not supposed to use Smith?s most famous photograph of Minamata because the family of Tomoko don?t want us to anymore. I hope they at least reference Tsuchimoto Noriaki?s films on Minamata, which thought a lot about how to depict the ?kanja-san.? https://www.zakkafilms.com/product/minamata-the-victims-and-their-world/ https://www.zakkafilms.com/product/the-shiranui-sea-minamata-series-part-2/ Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, Film and Media Studies Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From baird at umass.edu Wed Oct 24 13:22:05 2018 From: baird at umass.edu (Bruce Baird) Date: Wed, 24 Oct 2018 13:22:05 -0400 Subject: [KineJapan] Johnny Depp and Minamata In-Reply-To: <6327D686-5182-4A98-A6B0-7D78E6F68E85@yale.edu> References: <6327D686-5182-4A98-A6B0-7D78E6F68E85@yale.edu> Message-ID: <32EE8C79-AAF8-4DCF-B18D-A0E482D16006@umass.edu> Hi Aaron, I would be interested in using your post as a way to kickstart this group into a discussion about the politics and ethics of the use of such images. In the world of butoh, in 1972, Hijikata Tatsumi created a dance with a movement which was conceived as doubling the Pieta and Smith?s "Tomoko Uemura in Her Bath? 1971. So I do show Smith?s photograph to my students. I was aware that I wouldn?t be able to get the photo for my upcoming book, but wondering how we all think about using such a photo in class and in presentations in terms of the ethics of what the subject wants, illustrating environmental damage, caucasian males capitalizing on the suffering of non-caucasians who are geopolitically less powerful, etc. Best, Bruce > On Oct 24, 2018, at 10:15 AM, Gerow Aaron wrote: > > I was surprised to see reports in the US entertainment press that Johnny Depp will be playing W. Eugene Smith in an adaptation of the book Minamata written by Smith and his wife Aileen Miyoko Smith. > > https://www.hollywoodreporter.com/news/johnny-depp-play-war-photographer-w-eugene-smith-minamata-1154396 > > It is being developed by Depp?s production company. Filming is supposed to start in January, and will take place in Japan and Serbia (?!). > > There?s a lot to worry about with this. Depp has had some good roles in the past but seems to have mostly fallen into self-parody. But more than that, I worry this will be another of Hollywood?s ?white man comes to non-white nation to save the day? films. And I worry about how the victims will be presented. Remember for instance that we are not supposed to use Smith?s most famous photograph of Minamata because the family of Tomoko don?t want us to anymore. > > I hope they at least reference Tsuchimoto Noriaki?s films on Minamata, which thought a lot about how to depict the ?kanja-san.? > > https://www.zakkafilms.com/product/minamata-the-victims-and-their-world/ > https://www.zakkafilms.com/product/the-shiranui-sea-minamata-series-part-2/ > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Director of Graduate Studies, Film and Media Studies > Yale University > 143 Elm Street, Room 210 > PO Box 208324 > New Haven, CT 06520-8324 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan Bruce Baird Associate Professor East Asian Languages and Cultures University of Massachusetts Amherst But?, Japanese Theater, Intellectual History 439 Herter Hall 161 Presidents Drive University of Massachusetts Amherst Amherst, MA 01003-9312 Phone: 413-577-2117 Fax: 413-545-3178 baird at umass.edu Recently Released: The Routledge Companion to Butoh Performance https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 Now out in paperback and e-book: Hijikata Tatsumi and Butoh: http://www.palgrave.com/us/book/9780230120402 -------------- next part -------------- An HTML attachment was scrubbed... URL: From joo at nagoya-u.jp Wed Oct 24 21:53:01 2018 From: joo at nagoya-u.jp (W Joo) Date: Thu, 25 Oct 2018 10:53:01 +0900 Subject: [KineJapan] Mini-Conference: New Horizons in World Cinema Message-ID: Dear KineJapan members, We are pleased to announce a mini-conference "New Horizons in World Cinema" on 10-11 Nov, jointly organized by Nagoya University, University of Warwick and Chubu Branch of the JASIAS. (Venue is at Higashiyama campus, Nagoya University in Nagoya.) Prof. Thomas Elsaesser will provide the keynote speech on "Transnational Cinema or World Cinema". For more detailed information, please refer to the attachment below. Admission is free, and no preregistration required. All Kinejapaners are very welcome to join! All the best, Wujung joo at nagoya-u.jp Nagoya-Warwick International Mini-Conference *New Horizons in World Cinema* *10-11 November 2018* Simultaneous interpretation?English-Japanese? Admission free, no preregistration required *Venue:* Conference Hall, Integrated Research Bldg. for Humanities & Social Sciences, Nagoya University Campus Map (B4-4) http://en.nagoya-u.ac.jp/map/index.html *URL: *https://eizogaku.wordpress.com/events/ http://jasias-chubu.org/wp/ *Organized by* Cinema Studies Unit, Graduate School of Humanities, Nagoya University Department of Film and Television Studies, University of Warwick Chubu Branch of the Japan Society of Image and Sciences ?New Horizons in World Cinema? is a two-day international mini-conference (November 10-11, 2018) hosted by the Graduate Programme in Cinema Studies at Nagoya University, Japan, in collaboration with the Department of Film and Television Studies at the University of Warwick, UK, and the Chubu Branch of the Japan Society of Image Arts and Sciences (JASIAS-Chubu). The conference is also part of the pre-inaugural events for the Cotutelle PhD Degree Programme in Global Screen Cultures between Nagoya University and the University of Warwick, U.K, which will be launched in October 2019. The term ?world cinema" is commonly seen as an umbrella term that causally unifies the theoretical and discursive formulations surrounding the increasingly global, transnational, and diasporic film cultures of today. Instead, we propose a more dynamic understanding of the term as an antidote to the fragmentary ways in which researchers tend to work within a particular linguistic, geographic, and historical context. We invite our participants to leverage the concept of ?world cinema? against their existing work, and to open up new lines of inquiry which, through robust inter-regional dialogue, can extend the critical horizons of key issues in cinema studies and screen cultures. Prof. Thomas Elsaesser will provide the keynote speech, entitled ?Transnational Cinema or World Cinema: Why Filmmakers Find Themselves Serving Two Masters." The conference will also feature three types of sessions: a talk session by scholars from the University of Warwick and Nagoya University, a graduate workshop, and a session organized by JASIAS-Chubu. Moreover, an essay film directed by Prof. Elsaesser, *The Sun Island* (2017, 72min, English subtitles), will be screened, followed by a Q&A session with the filmmaker on November 11th. *Nov. 10 (Sat.)* 10:00-10:15 Opening remarks: Hideaki Fujiki (Nagoya University) Karl Schoonover (University of Warwick) 10:15-12:15 ****************************************** *SESSION I: Nagoya-Warwick Talks* ****************************************** Moderator: Woogeong Joo (Nagoya University) *Karl Schoonover *(University of Warwick) ?The World Cracked: Sinkholes, GIFs, and Cinematic Ecologies? *Shota T. Ogawa *(Nagoya University) ?Affect of Scale: Small-gauge Film and Tourism in Imperial Japan? 13:20-14:50 **************************************** *SESSION II: Graduate Workshop* **************************************** Chair: Brett Hack (Nagoya University) *Jamie Zhao* (University of Warwick) ?Global Queer Media as a Method: Making a Queer Turn in Chinese Film and TV Studies? *Eri Kajikawa* (Nagoya University) ?Imagining In-Betweenness: A Historical View of Japanese Animation? *Yuka Ito *(University of Tsukuba) ?Where Is the Border?: Transformation of Framework on the Screen? *Hui Yan Chew* (Nagoya University) ?Rethinking Sinophone Malaysian Films: A Case Study on Independent Film "Absent Without Leave? 15:10-16:15 **************************************************** *SESSION III: JASIAS-Chubu Presentations* **************************************************** Moderator: Shinjiro Maeda (Institute of Advanced Media Arts and Sciences) Greetings from JASIAS-Chubu: Shinjiro Maeda *Jung-Yeon Ma* (Meiji University) ?Beyond Cinema: Screen Practice in Contemporary Art ? *Masato Dogase* (Chubu University) ?Minamata Documentaries with the Television Media Ecology: An Intricate Arrangement of Local TV Documentaries? Audio-Visual Expression? 16:30-18:00 ************************************ *SESSION IV: Keynote Speech* ************************************ Moderator: Ran Ma (Nagoya University) *Thomas Elsaesser* (University of Amsterdam) ?Transnational Cinema or World Cinema: Why Filmmakers Find Themselves Serving Two Masters? *Nov. 11 (Sun)* 10:30-12:00 *********************************************************************** *Screening of The Sun Island (2017) dir. Thomas Elsaesser* *********************************************************************** Q&A with the director Moderator: Ran Ma (Nagoya University) *PRESENTERS* *Thomas Elsaesser* is Professor Emeritus at the Department of Media and Culture of the University of Amsterdam. He is one of the most distinguished and influential scholars in the history of film studies for these five decades. From 2006 to 2012 he was Visiting Professor at Yale University and since 2013 he is Visiting Professor at Columbia University, New York. Author and editor of some twenty books, Elsaesser has been published in most European and several Asian languages, including Japanese (Studying Contemporary American Film, 2002 , with Warren Buckland, translated by Kazunori Mizushima). Among his recent books are The Persistence of Hollywood (New York: Routledge, 2012), Film Theory ? An Introduction through the Senses (with Malte Hagener, 2nd revised edition, New York: Routledge, 2015), and Film History as Media Archaeology (Amsterdam University Press, 2016). His latest book is European Cinema and Continental Philosophy: Film as Thought Experiment (London: Bloomsbury, 2018). *Karl Schoonover *is Associate Professor of Film and Television Studies at the University of Warwick. He is the author of Brutal Vision: The Neorealist Body in Postwar Italian Cinema (U of Minnesota Press 2012). He is coeditor of Global Art Cinema (Oxford UP 2010) and co-author of Queer Cinema in the World (Duke University Press 2016) which received SCMS?s Katherine Singer Kov?cs Award for best book of the year. He has also published recent essays on labour in art films, cinema?s role in human rights campaigns, and eco-documentaries. He is finishing a book on cinema as a medium of waste management. *Shota T. Ogawa* is Associate Professor in Cinema Studies at Nagoya University. His current book project titled Imperial Landscapes across Geographic Scales contextualizes prewar Japan's small-gauge cine-amateurism in the uneven development of the Japanese empire. He is also co-editing Routledge Handbook of Japanese Cinema (forthcoming, 2019) with Joanne Bernardi. In addition to his recent article, "Rerouting the Modernist Visions of Horino Masao: Territorial Photography, Mass Amateurism, and Imperial Tourism," TAP Review vol. 8. no. 2 (Spring 2018), his articles on diasporic Koreans in Japanese visual culture have appeared in journals including Screen, Japan Focus: The Asia-Pacific Journal, and Journal of Japanese and Korean Cinema. *Jung-Yeon Ma* was born in 1980, Seoul, Republic of Korea. She graduated from Graduate School of Film and New Media, Tokyo University of the Arts with her doctoral dissertation on social implications of art and media technologies, which was later published as A Critical History of Media Art in Japan (In Japanese) (Artes Publishing 2014). Preparing her upcoming co-edited book, Seiko Mikami: A Critical Reader (in Japanese) (NTT Publishing 2019), she is currently working as assistant professor at Meiji University, visiting scholar at Tama Art University, and Tokyo correspondent of Korean monthly art magazine, Wolganmisool. *Masato Dogase* is a lecturer at Chubu University, Aichi Shukutoku University and Waseda University, teaching Japanese cinema and animation culture. He is a contributor to the forthcoming anthology Japanese Cinema Book (Alastair Phillips and Hideaki Fujiki eds., British Film Institute, 2019), contributing his essay ?Dialogic Social Protests: Documentaries on/with Student Movements?. His current research project on Japanese documentaries in the 1960s is subsidized by the JSPS KAKENHI Grant. *Jamie Zhao* received her first PhD in Gender Studies from the Chinese University of Hong Kong in 2016 and an MA in Media Studies from the University of Wisconsin in 2012. In later 2018, she will complete a second doctoral degree in Film and TV Studies at the University of Warwick, and join Xi?an Jiaotong-Liverpool University as Assistant Professor of Communications. She has given talks on global queer media and fandom at over 50 international conferences/events. Her most recent academic writings can be found in the journals of Celebrity Studies, Feminist Media Studies, MCLC, and Transformative Works and Cultures. She coedited Boys? Love, Cosplay and Androgynous Idols: Queer Fan Cultures in Mainland China, Hong Kong, and Taiwan (Hong Kong University Press, 2017). She is currently editing two journal special issues and preparing two monograph manuscripts on Chinese-speaking queer entertainment in a globalist context. *Eri Kajikawa* is a PhD student in the Graduate Program in Cinema Studies at Nagoya University. Her major is cinema and animation history. Her research presentations include ?Audiovisuality of the Utopian Community in Momotaro: Sacred Sailors? (in Japanese) at National Taiwan University (May 2016) and ?Gravity and Fall: Spatial Representations and Movement Techniques in Spider and Tulip? (in Japanese) at Nagoya University of Arts and Sciences (March 2018). *Yuka Ito *is a PhD student in the Graduate School of Humanities and Social Science, University of Tsukuba. Her current research reconsiders cinema as a contact point between nation-states and refugees. She recently presented her paper entitled ?The Resistance of cinema to standardization of refugee? (in Japanese) at the Association for Cultural Studies (2018). *Chew Hui Yan* is a PhD student in the Graduate Program in Cinema Studies at Nagoya University. She has a MA from the Radio & Television Department at the National Chengchi University in Taipei, Taiwan. Her research presentations include ?A Study on the Representation of Ethnic Relationship in Yasmin Ahmad?s films? (2011) and ?A Study on Facebook as a space to release negative emotion? (2012) both at the Taipei Digital Genesis Seminar. Her research interests include Sinophone studies, diasporic filmmaking, and Malaysian cinema. Woojeong Joo, Ph.D. Assistant Professor Graduate School of Humanities Nagoya University joo at nagoya-u.jp -------------- next part -------------- An HTML attachment was scrubbed... URL: From jtj53213 at gmail.com Thu Oct 25 02:16:36 2018 From: jtj53213 at gmail.com (John Junkerman) Date: Thu, 25 Oct 2018 15:16:36 +0900 Subject: [KineJapan] Johnny Depp and Minamata In-Reply-To: <6327D686-5182-4A98-A6B0-7D78E6F68E85@yale.edu> References: <6327D686-5182-4A98-A6B0-7D78E6F68E85@yale.edu> Message-ID: Hi Aaron: I forwarded your note on to Yamagami Tetsujiro at Siglo (who, as you know, got his start working with Tsuchimoto and Eugene Smith in Minamata). I can't tell if his response showed up in the thread, so I'll copy it here. Somewhat reassuring. ????????????????????? ???????????????????????????????????? ?????????????????????? ?????????DVD????????? ????????????????????? ?????????????????????????????? ????????????????????? ?? ??? *********************************************** ???? ??? ?164-0001????????5-24-16-210 TEL?03-5343-3101 FAX?03-5343-3102 ???090-4747-7600 yamagami at cine.co.jp HP?www.cine.co.jp ********************************************** On Wed, Oct 24, 2018 at 11:15 PM Gerow Aaron wrote: > I was surprised to see reports in the US entertainment press that Johnny > Depp will be playing W. Eugene Smith in an adaptation of the book Minamata > written by Smith and his wife Aileen Miyoko Smith. > > > https://www.hollywoodreporter.com/news/johnny-depp-play-war-photographer-w-eugene-smith-minamata-1154396 > > It is being developed by Depp?s production company. Filming is supposed to > start in January, and will take place in Japan and Serbia (?!). > > There?s a lot to worry about with this. Depp has had some good roles in > the past but seems to have mostly fallen into self-parody. But more than > that, I worry this will be another of Hollywood?s ?white man comes to > non-white nation to save the day? films. And I worry about how the victims > will be presented. Remember for instance that we are not supposed to use > Smith?s most famous photograph of Minamata because the family of Tomoko > don?t want us to anymore. > > I hope they at least reference Tsuchimoto Noriaki?s films on Minamata, > which thought a lot about how to depict the ?kanja-san.? > > https://www.zakkafilms.com/product/minamata-the-victims-and-their-world/ > https://www.zakkafilms.com/product/the-shiranui-sea-minamata-series-part-2/ > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Director of Graduate Studies, Film and Media Studies > Yale University > 143 Elm Street, Room 210 > PO Box 208324 > New Haven, CT 06520-8324 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- John Junkerman jtj53213 at gmail.com 2-18-6 Ehara-cho, Nakano Tokyo 165-0023 -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Oct 26 11:19:31 2018 From: nornes at umich.edu (Markus Nornes) Date: Fri, 26 Oct 2018 11:19:31 -0400 Subject: [KineJapan] New Film Museum... Message-ID: ...in Naruto of all places. Tokushima is a little out of the way, but definitely worth visiting during the awaodori. If you are in the neighborhood, check this out. https://www.naruto-mon.jp/corp/kinemamuseum/ 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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Oct 27 00:27:28 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 27 Oct 2018 00:27:28 -0400 Subject: [KineJapan] CFP: Media technologies for work and play in Japan and the two Koreas Message-ID: Type: Call for Papers Date: November 9, 2018 Location: United States Subject Fields: Communication, Cultural History / Studies, Journalism and Media Studies, Popular Culture Studies, Teaching and Learning Call for Papers Media technologies for work and play in Japan and the two Koreas Editors: Micky Lee (Suffolk University, Boston), Peichi Chung (Chinese University of Hong Kong) The edited volume aims to illustrate how a political economic approach informs cultural and technological approaches and vice versa in the study of media technologies in the three Asian countries. It also aims to show how the peculiar geopolitical relations between Japan, South Korea, and North Korea have implications on the studying of politics, economy, and culture of media technologies. With these two aims in mind, we are interested in articles that problematize the line between work and play through the lens of media technologies. For example, the political economy of the industries of ?play? media (such as arcade games, apps), changing attitudes towards education and workplace in relation to media technologies in the context of neoliberal policies. We are also interested in articles that pay attention to the historical relationships between the three countries, as well as the political economic influence of U.S. and China on them since WWII. For example, how post-war reconstruction and foreign aid led to international telecommunications development, how the growing middle-class in China led Korean and Japanese media industries to sinicize their products. We welcome articles from the approaches of political economy, policy and laws, and cultural studies informed by different intellectual and methodological inquiries. We also welcome interdisciplinary work that challenges what ?media? and ?technologies? are. Possible topics are: algorithm, artificial intelligence, automation; alternative political economic models of media technologies; analog and digital media technologies; black market goods, informal economy, grey economy; capital, state, empire; case study of a technology/company/sector; children and education; comparative studies of Japan, Korean, and other Asian countries; consumption; cultural perspective of political economy; digital arts and creative industries; discourse of Japanese and Korean political economy in relation to media technologies; environment, green technology, and sustainability; financing and investment; gender and media technologies; global corporations and/or local contexts; pre-WWII historical contexts of media technologies innovation; ideology, representation, and political economy; information flow to and from Japan and the two Koreas; intellectual property laws and practice; manufacturing and production; materiality; migrants, immigration and cross-border communication; military communication and intelligence; regulations; state policies and strategies; surveillance and security; technologies, labor, and work culture; tourism and tourist imagination; youths and social mobility. Length: 6,000-8,000 words including bibliography Timeline: Abstract submission: 9th November 2018 (Friday) Notification from editors: 30th November 2018 (Friday) Submission of book proposal to publishers by: 28th February 2019 (Thursday) Submission of first draft: 30th April 2019 (Tuesday) Submission of final draft: 31st July 2019 (Wednesday) Please send abstracts and inquiries to: Peichi Chung (peichichung at cuhk.ed.hk ) (for submission from Asia) OR Micky Lee (mlee at suffolk.edu ) (for submission outside Asia) -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Oct 27 17:44:58 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 27 Oct 2018 17:44:58 -0400 Subject: [KineJapan] Fwd: ACSS conference References: <5bc057b2.1c69fb81.11c03.7d4dSMTPIN_ADDED_MISSING@mx.google.com> Message-ID: > > Call For Papers: Asian Cinema Studies Society Conference, June 2019 > by Tessa Mathieson > Call For Papers: Asian Cinema Studies Society Conference, June 2019 > > Papers and panel proposals are invited for the 13th Asian Cinema Studies Society Conference: The Environments of Asian Cinemas. With the support of the Faculty of Fine Arts, Media & Creative Industries at LASALLE College of the Arts, in conjunction with the Asian Cinema Studies Society, the conference is planned for 24?26 June 2019, at LASALLE College of the Arts, Singapore. > > Participants are invited to present papers on any aspect of Asian cinema, though proposals engaging with the conference theme are encouraged. One key aim here is to seek ways in which Asian cinema studies might engage with the current moment of global environmental crisis. At the same time, however, the conference theme of ?environments? is being conceptualized in a broader sense, encompassing not only the material environments of ecocriticism, but also Asian cinema?s represented environments and its various material, cultural and regulatory environments of production, distribution, exhibition and reception. > > Possible topics may include, but are by no means limited to, the following areas: > > Ecocriticism and Asian cinemas > Animal studies and/or plant studies approaches to Asian cinemas > Environment and representation in Asian film and media > Asian cinema and the city > Asian cinema and the rural > Environmental issues in Asian documentary > Apocalyptic themes in Asian film > Ecological implications of Asian film production and/or exhibition > New technological contexts of Asian film and media > Changing regulatory frameworks of Asian film and media > Transnational influences on Asian film production/Asian film business > Globalization and Asian cinemas > Regional dynamics of Asian cinemas > Cultural issues in Asian film > Censorship issues in Asian film > Language: English > > Please send proposals or enquiries to acss2019 at lasalle.edu.sg . > > For individual paper proposals, send a 200?300 word abstract and be certain to include the title, author name(s), institutional affiliation, mailing address and e-mail contacts, as well as a brief (50?100 word) biography of the contributor. For pre-constituted panel proposals (of three to four papers), be certain to provide a brief description (100 words) of the overall panel along with the individual abstracts and contributor information. Sessions will be 90 minutes in duration, and time limits will be strictly enforced. > > The deadline for submission of proposals is 10 December 2018. Notifications of acceptance will be sent out by early February 2019. > > There will be no conference registration fee per se, but all participants must be members of the Asian Cinema Studies Society, which requires an annual fee of ?38. The fee covers one year membership and one volume of two issues of Asian Cinema, and gives access to the society?s executive meeting at the conference. > > Selected papers will be published in the peer-reviewed biannual Asian Cinema. Published by Intellect Books (UK), this seminal journal has long been the flagship publication of the Asian Cinema Studies Society. > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Sat Oct 27 17:59:47 2018 From: earljac at gmail.com (Earl Jackson) Date: Sun, 28 Oct 2018 05:59:47 +0800 Subject: [KineJapan] Fwd: ACSS conference In-Reply-To: References: <5bc057b2.1c69fb81.11c03.7d4dSMTPIN_ADDED_MISSING@mx.google.com> Message-ID: The Asian Cinema Studies Conference is always interesting - but 24-26 June - is this the same time as the ???????? Earl Jackson Professor Chair, Foreign Languages and Literatures National Chiao Tung University Associate Professor, Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute On Sun, Oct 28, 2018 at 5:45 AM Gerow Aaron wrote: > > ------------------------------ > Call For Papers: Asian Cinema Studies Society Conference, June 2019 > > by Tessa Mathieson > > Call For Papers: Asian Cinema Studies Society Conference, June 2019 > > Papers and panel proposals are invited for the 13th Asian Cinema Studies > Society Conference: The Environments of Asian Cinemas. With the support of > the Faculty of Fine Arts, Media & Creative Industries at LASALLE > College of the Arts, in conjunction with the Asian Cinema Studies Society, > the conference is planned for 24?26 June 2019, at LASALLE College of the > Arts, Singapore. > > Participants are invited to present papers on any aspect of Asian cinema, > though proposals engaging with the conference theme are encouraged. One key > aim here is to seek ways in which Asian cinema studies might engage with > the current moment of global environmental crisis. At the same time, > however, the conference theme of ?environments? is being conceptualized in > a broader sense, encompassing not only the material environments of > ecocriticism, but also Asian cinema?s represented environments and its > various material, cultural and regulatory environments of production, > distribution, exhibition and reception. > > Possible topics may include, but are by no means limited to, the following > areas: > > - Ecocriticism and Asian cinemas > - Animal studies and/or plant studies approaches to Asian cinemas > - Environment and representation in Asian film and media > - Asian cinema and the city > - Asian cinema and the rural > - Environmental issues in Asian documentary > - Apocalyptic themes in Asian film > - Ecological implications of Asian film production and/or exhibition > - New technological contexts of Asian film and media > - Changing regulatory frameworks of Asian film and media > - Transnational influences on Asian film production/Asian film business > - Globalization and Asian cinemas > - Regional dynamics of Asian cinemas > - Cultural issues in Asian film > - Censorship issues in Asian film > > Language: English > > Please send proposals or enquiries to acss2019 at lasalle.edu.sg. > > For individual paper proposals, send a 200?300 word abstract and be > certain to include the title, author name(s), institutional affiliation, > mailing address and e-mail contacts, as well as a brief (50?100 word) > biography of the contributor. For pre-constituted panel proposals (of three > to four papers), be certain to provide a brief description (100 words) of > the overall panel along with the individual abstracts and contributor > information. Sessions will be 90 minutes in duration, and time limits will > be strictly enforced. > > The deadline for submission of proposals is 10 December 2018. > Notifications of acceptance will be sent out by early February 2019. > > There will be no conference registration fee per se, but all participants > must be members of the Asian Cinema Studies Society, which requires an > annual fee of ?38. The fee covers one year membership and one volume of two > issues of Asian Cinema, and gives access to the society?s executive meeting > at the conference. > > Selected papers will be published in the peer-reviewed biannual *Asian > Cinema*. Published by Intellect Books (UK), this seminal journal has long > been the flagship publication of the Asian Cinema Studies Society. > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From reavolution at gmail.com Sat Oct 27 18:20:19 2018 From: reavolution at gmail.com (Rea Amit) Date: Sat, 27 Oct 2018 17:20:19 -0500 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> Message-ID: An Asahi editor harshly criticizes Kawase's pick, calling it a mismatch: https://www.asahi.com/articles/ASLBV40ZWLBVULZU002.html?jumpUrl=http%253A%252F%252Fdigital.asahi.com%252Farticles%252FASLBV40ZWLBVULZU002.html%253F_requesturl%253Darticles%252FASLBV40ZWLBVULZU002.html%2526amp%253Brm%253D144 I'm looking forward for the games to be over already, so I could watch it! Rea On Tue, Oct 23, 2018 at 9:39 AM jacline MORICEAU wrote: > > Thank you Aaron for that very interesting information > > jacline moriceau > > Le mar. 23 oct. 2018 ? 15:05, Gerow Aaron a ?crit : >> >> The papers report that Kawase Naomi has been appointed to direct the official documentary of the 2020 Tokyo Olympics. As you all know, Ichikawa Kon directed the documentary for the 1964 Olympics, and Shinoda Masahiro did that for the 1972 Sapporo Olympics. >> >> https://www.asahi.com/articles/ASLBR3DWCLBRUTQP00L.html?fbclid=IwAR0gQArzMTEDIdl6vQCB8CHslLc-sFjpYR_PiZtUIOdE-1XuviW8-6Xb5vs >> >> >> >> Aaron Gerow >> Professor >> Film and Media Studies Program/East Asian Languages and Literatures >> Director of Graduate Studies, Film and Media Studies >> Yale University >> 143 Elm Street, Room 210 >> PO Box 208324 >> New Haven, CT 06520-8324 >> USA >> Phone: 1-203-432-7082 >> Fax: 1-203-432-6729 >> e-mail: aaron.gerow at yale.edu >> website: www.aarongerow.com >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan From aaron.gerow at yale.edu Sat Oct 27 18:23:38 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 27 Oct 2018 18:23:38 -0400 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> Message-ID: <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> It?s Ishitobi-san, with whom I got to work last year at the Tokyo Film Festival. It?s interesting he was allowed to write about his qualms. But I?ve seen a lot more criticism on Facebook and Twitter. Aaron > 2018/10/27 ??6:20?Rea Amit ????? > > An Asahi editor harshly criticizes Kawase's pick, calling it a mismatch: > > https://www.asahi.com/articles/ASLBV40ZWLBVULZU002.html?jumpUrl=http%253A%252F%252Fdigital.asahi.com%252Farticles%252FASLBV40ZWLBVULZU002.html%253F_requesturl%253Darticles%252FASLBV40ZWLBVULZU002.html%2526amp%253Brm%253D144 > > I'm looking forward for the games to be over already, so I could watch it! > > Rea From notreconciled at gmail.com Sat Oct 27 22:06:47 2018 From: notreconciled at gmail.com (Frederick Veith) Date: Sun, 28 Oct 2018 11:06:47 +0900 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> Message-ID: Aaron, I'm curious about the nature of the criticism you're seeing on Facebook and Twitter. What is it that people are objecting to? The Asahi piece is behind a paywall, so I'm not getting much from that beyond a purported tension between the "private" nature of her work, and the "public" nature of the event. Fred. On Sun, Oct 28, 2018 at 7:23 AM Gerow Aaron wrote: > It?s Ishitobi-san, with whom I got to work last year at the Tokyo Film > Festival. It?s interesting he was allowed to write about his qualms. But > I?ve seen a lot more criticism on Facebook and Twitter. > > Aaron > > > > 2018/10/27 ??6:20?Rea Amit ????? > > > > An Asahi editor harshly criticizes Kawase's pick, calling it a mismatch: > > > > > https://www.asahi.com/articles/ASLBV40ZWLBVULZU002.html?jumpUrl=http%253A%252F%252Fdigital.asahi.com%252Farticles%252FASLBV40ZWLBVULZU002.html%253F_requesturl%253Darticles%252FASLBV40ZWLBVULZU002.html%2526amp%253Brm%253D144 > > > > I'm looking forward for the games to be over already, so I could watch > it! > > > > Rea > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Sat Oct 27 22:16:37 2018 From: earljac at gmail.com (Earl Jackson) Date: Sun, 28 Oct 2018 10:16:37 +0800 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> Message-ID: I know we should separate the director as a person from the work, but several years ago Kawase was the guest of honor for about a week in Seoul and she was rude, ungrateful, condescending and historically insensitive in ways that were absolutely jaw-dropping. One event was a two-hour conversation she was to have with Kim Soyoung and the audience - I think from 7-9 one evening. The theater was packed. She was forty minutes late - she just walked on stage announcing, "I've been shopping" - no apology to anyone. Then she looked around and said, "This is a beautiful theater - the Japanese must have built it for you." In the middle of Prof. Kim's opening question to her she said to her, "Wait - who are you?" and didn't seem to listen to the answer. She more than once criticized questions as "boring" before tossing off an answer. One of the boring questions was "what filmmakers have helped shape your work" to which she replied she watches only her own films. And well before the time was up, she suddenly declared, "Oh that's enough" and marched off stage - no thank you, no goodbye, nothing. After being treated like royalty for week and having her films screened and discussed etc. Anyway I realize that my reason for flinching when I heard she got the olympics film isn't quite professional but this glimpse of her has conditioned any subsequent information i have had on her. I still can't tell if my mail to this list is delivered or not. I hope so. best earl jackson Earl Jackson Professor Chair, Foreign Languages and Literatures National Chiao Tung University Associate Professor, Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute On Sun, Oct 28, 2018 at 10:07 AM Frederick Veith wrote: > Aaron, I'm curious about the nature of the criticism you're seeing on > Facebook and Twitter. What is it that people are objecting to? The Asahi > piece is behind a paywall, so I'm not getting much from that beyond a > purported tension between the "private" nature of her work, and the > "public" nature of the event. > > Fred. > > On Sun, Oct 28, 2018 at 7:23 AM Gerow Aaron wrote: > >> It?s Ishitobi-san, with whom I got to work last year at the Tokyo Film >> Festival. It?s interesting he was allowed to write about his qualms. But >> I?ve seen a lot more criticism on Facebook and Twitter. >> >> Aaron >> >> >> > 2018/10/27 ??6:20?Rea Amit ????? >> > >> > An Asahi editor harshly criticizes Kawase's pick, calling it a mismatch: >> > >> > >> https://www.asahi.com/articles/ASLBV40ZWLBVULZU002.html?jumpUrl=http%253A%252F%252Fdigital.asahi.com%252Farticles%252FASLBV40ZWLBVULZU002.html%253F_requesturl%253Darticles%252FASLBV40ZWLBVULZU002.html%2526amp%253Brm%253D144 >> > >> > I'm looking forward for the games to be over already, so I could watch >> it! >> > >> > Rea >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Oct 27 22:25:44 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 27 Oct 2018 22:25:44 -0400 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> Message-ID: <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Fred, First and foremost is that many of the people I am connected to are against the Olympics itself. Kawase, to them, should be filming the neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the officialdom who is neglecting those people. (In some ways, this reminds me of the furor over Expo 70, when some filmmakers objected to Matsumoto Toshio and others deciding to collaborate with the Expo.) One friend on FB said it would be great if Kawase slyly put in messages about how the Olympics are actually hurting the people of Fukushima in her documentary, but that friend very much doubts that will happen: Kawase has been largely a-political in her filmmaking and has often been willing to serve on government committees. Some colleagues suggested the comparison between Kawase and Leni Riefenstahl, perhaps implying that this is a woman filmmaker interested in art who doesn?t have a problem working for a regime with fascist tendencies if it can allow her to make films. Also, some have speculated about why Kawase got the nod. One rumor that was reported?and all I can say is that it is a rumor?is that Abe Akie, the wife of the prime minister, is a big fan of Sweet Bean, and has often cited it in speeches. And frankly, there are a lot of people out there who don?t like Kawase personally. Earl has just mentioned one of many incidents news of which has spread through the grapevine. I should stress that I am here just reporting some of what I have read. I don?t attest to the veracity of all of it, or agree with all of it. But I do think the first one is a major issue: collaborating with a godawful boondoggle that is literally hurting people is problem. If she could turn that around and criticize the Olympics in her own documentary, that would be wonderful. But I very much doubt that will happen. Aaron From earljac at gmail.com Sat Oct 27 22:29:03 2018 From: earljac at gmail.com (Earl Jackson) Date: Sun, 28 Oct 2018 10:29:03 +0800 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Message-ID: I absolutely agree with your objections, Aaron. We really need Ichikawa Kon back to make that kind of political insertion. His opening salvo in the 1964 film has always stayed with me. ej Earl Jackson Professor Chair, Foreign Languages and Literatures National Chiao Tung University Associate Professor, Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute On Sun, Oct 28, 2018 at 10:25 AM Gerow Aaron wrote: > Fred, > > First and foremost is that many of the people I am connected to are > against the Olympics itself. Kawase, to them, should be filming the > neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the > officialdom who is neglecting those people. (In some ways, this reminds me > of the furor over Expo 70, when some filmmakers objected to Matsumoto > Toshio and others deciding to collaborate with the Expo.) One friend on FB > said it would be great if Kawase slyly put in messages about how the > Olympics are actually hurting the people of Fukushima in her documentary, > but that friend very much doubts that will happen: Kawase has been largely > a-political in her filmmaking and has often been willing to serve on > government committees. > > Some colleagues suggested the comparison between Kawase and Leni > Riefenstahl, perhaps implying that this is a woman filmmaker interested in > art who doesn?t have a problem working for a regime with fascist tendencies > if it can allow her to make films. > > Also, some have speculated about why Kawase got the nod. One rumor that > was reported?and all I can say is that it is a rumor?is that Abe Akie, the > wife of the prime minister, is a big fan of Sweet Bean, and has often cited > it in speeches. > > And frankly, there are a lot of people out there who don?t like Kawase > personally. Earl has just mentioned one of many incidents news of which has > spread through the grapevine. > > I should stress that I am here just reporting some of what I have read. I > don?t attest to the veracity of all of it, or agree with all of it. But I > do think the first one is a major issue: collaborating with a godawful > boondoggle that is literally hurting people is problem. If she could turn > that around and criticize the Olympics in her own documentary, that would > be wonderful. But I very much doubt that will happen. > > Aaron > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From notreconciled at gmail.com Sat Oct 27 23:07:17 2018 From: notreconciled at gmail.com (Frederick Veith) Date: Sun, 28 Oct 2018 12:07:17 +0900 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Message-ID: Aaron, Thanks for the detailed reply. Being in complete opposition to the Olympics myself, that makes sense to me, and isn't surprising. I admit to having been morbidly curious about Kawase's reception for a long time now, but even leaving aside responses to Kawase the person, I'm not sure I see the mismatch that Ishitobi-san (from what little I could see) seemed to be concerned about, which is partly why I was curious about other responses. I don't find Kawase's films to be at all apolitical, but even without getting into the fraught territory of the implicit politics of some of her work, there's an approach to spectacle already in a work like Sharasoujyu which seems to me not at all uncongenial to the task of "officially" documenting the Olympics, whatever else I may think of the politics either of the filmmaker, the event itself, or the propriety of that task. Fred. On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron wrote: > Fred, > > First and foremost is that many of the people I am connected to are > against the Olympics itself. Kawase, to them, should be filming the > neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the > officialdom who is neglecting those people. (In some ways, this reminds me > of the furor over Expo 70, when some filmmakers objected to Matsumoto > Toshio and others deciding to collaborate with the Expo.) One friend on FB > said it would be great if Kawase slyly put in messages about how the > Olympics are actually hurting the people of Fukushima in her documentary, > but that friend very much doubts that will happen: Kawase has been largely > a-political in her filmmaking and has often been willing to serve on > government committees. > > Some colleagues suggested the comparison between Kawase and Leni > Riefenstahl, perhaps implying that this is a woman filmmaker interested in > art who doesn?t have a problem working for a regime with fascist tendencies > if it can allow her to make films. > > Also, some have speculated about why Kawase got the nod. One rumor that > was reported?and all I can say is that it is a rumor?is that Abe Akie, the > wife of the prime minister, is a big fan of Sweet Bean, and has often cited > it in speeches. > > And frankly, there are a lot of people out there who don?t like Kawase > personally. Earl has just mentioned one of many incidents news of which has > spread through the grapevine. > > I should stress that I am here just reporting some of what I have read. I > don?t attest to the veracity of all of it, or agree with all of it. But I > do think the first one is a major issue: collaborating with a godawful > boondoggle that is literally hurting people is problem. If she could turn > that around and criticize the Olympics in her own documentary, that would > be wonderful. But I very much doubt that will happen. > > Aaron > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Oct 28 00:02:40 2018 From: nornes at umich.edu (Markus Nornes) Date: Sun, 28 Oct 2018 00:02:40 -0400 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Message-ID: I've never had problems with Kawase, who I've known since she showed some Yamagata staff Ni Tsusumarete in some classroom shortly after it was done. But I've heard plenty of stories of misbehavior over the years. It's disheartening. The comparison to Leni Riefenstahl is really unfair. Aside from the fact that one was an actor and the other is a prominent director, the LDP are not Nazis and Abe is hardly Hitler. The historical contexts are also entirely different. The only real comparison to make has to do with collaboration. But collaboration means something very different in today's Japan than Germany, even in the early 30s. I am writing up something up about the tough position of Chinese filmmakers today. A new film law went into effect recently that is as pernicious as anything the Nazis drew up (I'm teaching the latter right now). It has effectively destroyed any space for independent cinema. Anything made now must be integrated into official culture and structures, starting with censorship. I just got back from Hanzhou's West Lake Film Festival, where "collaboration" was a point of huge concern. The choice is as stark as collaborate, quit or go into exile. I like the way Aaron puts the issue vis a vis the Olympics "boondoggle." How Kawase comports herself vis a vis the nationalistic BS the games are embedded in will be the question. I'm glad she's doing it, and think it's a great choice. Here's an accomplished fiction filmmaker, and a woman director, who has shown a deep commitment to the documentary. I've dipped into the massive Criterion Collection 100 Years of Olympic Documentaries. They really aren't very good, despite a slew of major names (almost all men, and mainly fiction feature filmmakers). I hope she lets loose form-wise and does an Olympics film like no other. If she doesn't the judgement will be far more severe than what's being written now, that's for sure. 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 Sat, Oct 27, 2018 at 11:07 PM Frederick Veith wrote: > Aaron, > > Thanks for the detailed reply. Being in complete opposition to the > Olympics myself, that makes sense to me, and isn't surprising. I admit to > having been morbidly curious about Kawase's reception for a long time now, > but even leaving aside responses to Kawase the person, I'm not sure I see > the mismatch that Ishitobi-san (from what little I could see) seemed to be > concerned about, which is partly why I was curious about other responses. I > don't find Kawase's films to be at all apolitical, but even without getting > into the fraught territory of the implicit politics of some of her work, > there's an approach to spectacle already in a work like Sharasoujyu which > seems to me not at all uncongenial to the task of "officially" documenting > the Olympics, whatever else I may think of the politics either of the > filmmaker, the event itself, or the propriety of that task. > > Fred. > > On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron wrote: > >> Fred, >> >> First and foremost is that many of the people I am connected to are >> against the Olympics itself. Kawase, to them, should be filming the >> neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the >> officialdom who is neglecting those people. (In some ways, this reminds me >> of the furor over Expo 70, when some filmmakers objected to Matsumoto >> Toshio and others deciding to collaborate with the Expo.) One friend on FB >> said it would be great if Kawase slyly put in messages about how the >> Olympics are actually hurting the people of Fukushima in her documentary, >> but that friend very much doubts that will happen: Kawase has been largely >> a-political in her filmmaking and has often been willing to serve on >> government committees. >> >> Some colleagues suggested the comparison between Kawase and Leni >> Riefenstahl, perhaps implying that this is a woman filmmaker interested in >> art who doesn?t have a problem working for a regime with fascist tendencies >> if it can allow her to make films. >> >> Also, some have speculated about why Kawase got the nod. One rumor that >> was reported?and all I can say is that it is a rumor?is that Abe Akie, the >> wife of the prime minister, is a big fan of Sweet Bean, and has often cited >> it in speeches. >> >> And frankly, there are a lot of people out there who don?t like Kawase >> personally. Earl has just mentioned one of many incidents news of which has >> spread through the grapevine. >> >> I should stress that I am here just reporting some of what I have read. I >> don?t attest to the veracity of all of it, or agree with all of it. But I >> do think the first one is a major issue: collaborating with a godawful >> boondoggle that is literally hurting people is problem. If she could turn >> that around and criticize the Olympics in her own documentary, that would >> be wonderful. But I very much doubt that will happen. >> >> Aaron >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From dm6 at soas.ac.uk Sun Oct 28 09:12:41 2018 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Sun, 28 Oct 2018 13:12:41 +0000 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Message-ID: Dear all, although I love much about Ishikawa's Tokyo Olympiad, having researched and written about it, I would argue that some aspects of it are somewhat less politically correct than we might like. Aside from the photos of Ishiskawa and Riefenstahl warmly greeting and chatting on various occasions, a careful analysis of his camera work and editing shows him paying homage to her (I am grudgingly having to admit this) pioneering technical innovations in making her documentary. Igarashi, for example, has an interesting analysis of the Japanese women's volleyball win, while I find Ishikawa's editing of the marathon most indebted to her work. Just saying... Lola Dr Lola Martinez Reviews Editor, JRAI Emeritus Reader, SOAS Research Associate, ISCA, University of Oxford On Sun, 28 Oct 2018 at 04:03, Markus Nornes wrote: > I've never had problems with Kawase, who I've known since she showed some > Yamagata staff Ni Tsusumarete in some classroom shortly after it was done. > But I've heard plenty of stories of misbehavior over the years. It's > disheartening. > > The comparison to Leni Riefenstahl is really unfair. Aside from the fact > that one was an actor and the other is a prominent director, the LDP are > not Nazis and Abe is hardly Hitler. The historical contexts are also > entirely different. > > The only real comparison to make has to do with collaboration. But > collaboration means something very different in today's Japan than Germany, > even in the early 30s. I am writing up something up about the tough > position of Chinese filmmakers today. A new film law went into effect > recently that is as pernicious as anything the Nazis drew up (I'm teaching > the latter right now). It has effectively destroyed any space for > independent cinema. Anything made now must be integrated into official > culture and structures, starting with censorship. I just got back from > Hanzhou's West Lake Film Festival, where "collaboration" was a point of > huge concern. The choice is as stark as collaborate, quit or go into exile. > > I like the way Aaron puts the issue vis a vis the Olympics "boondoggle." > How Kawase comports herself vis a vis the nationalistic BS the games are > embedded in will be the question. I'm glad she's doing it, and think it's a > great choice. Here's an accomplished fiction filmmaker, and a woman > director, who has shown a deep commitment to the documentary. I've dipped > into the massive Criterion Collection 100 Years of Olympic Documentaries. > They really aren't very good, despite a slew of major names (almost all > men, and mainly fiction feature filmmakers). I hope she lets loose > form-wise and does an Olympics film like no other. If she doesn't the > judgement will be far more severe than what's being written now, that's for > sure. > > 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 Sat, Oct 27, 2018 at 11:07 PM Frederick Veith > wrote: > >> Aaron, >> >> Thanks for the detailed reply. Being in complete opposition to the >> Olympics myself, that makes sense to me, and isn't surprising. I admit to >> having been morbidly curious about Kawase's reception for a long time now, >> but even leaving aside responses to Kawase the person, I'm not sure I see >> the mismatch that Ishitobi-san (from what little I could see) seemed to be >> concerned about, which is partly why I was curious about other responses. I >> don't find Kawase's films to be at all apolitical, but even without getting >> into the fraught territory of the implicit politics of some of her work, >> there's an approach to spectacle already in a work like Sharasoujyu which >> seems to me not at all uncongenial to the task of "officially" documenting >> the Olympics, whatever else I may think of the politics either of the >> filmmaker, the event itself, or the propriety of that task. >> >> Fred. >> >> On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron >> wrote: >> >>> Fred, >>> >>> First and foremost is that many of the people I am connected to are >>> against the Olympics itself. Kawase, to them, should be filming the >>> neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the >>> officialdom who is neglecting those people. (In some ways, this reminds me >>> of the furor over Expo 70, when some filmmakers objected to Matsumoto >>> Toshio and others deciding to collaborate with the Expo.) One friend on FB >>> said it would be great if Kawase slyly put in messages about how the >>> Olympics are actually hurting the people of Fukushima in her documentary, >>> but that friend very much doubts that will happen: Kawase has been largely >>> a-political in her filmmaking and has often been willing to serve on >>> government committees. >>> >>> Some colleagues suggested the comparison between Kawase and Leni >>> Riefenstahl, perhaps implying that this is a woman filmmaker interested in >>> art who doesn?t have a problem working for a regime with fascist tendencies >>> if it can allow her to make films. >>> >>> Also, some have speculated about why Kawase got the nod. One rumor that >>> was reported?and all I can say is that it is a rumor?is that Abe Akie, the >>> wife of the prime minister, is a big fan of Sweet Bean, and has often cited >>> it in speeches. >>> >>> And frankly, there are a lot of people out there who don?t like Kawase >>> personally. Earl has just mentioned one of many incidents news of which has >>> spread through the grapevine. >>> >>> I should stress that I am here just reporting some of what I have read. >>> I don?t attest to the veracity of all of it, or agree with all of it. But I >>> do think the first one is a major issue: collaborating with a godawful >>> boondoggle that is literally hurting people is problem. If she could turn >>> that around and criticize the Olympics in her own documentary, that would >>> be wonderful. But I very much doubt that will happen. >>> >>> Aaron >>> >>> >>> _______________________________________________ >>> KineJapan mailing list >>> KineJapan at mailman.yale.edu >>> https://mailman.yale.edu/mailman/listinfo/kinejapan >>> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From t112x at yahoo.com Sun Oct 28 12:08:32 2018 From: t112x at yahoo.com (Thomas Ball) Date: Sun, 28 Oct 2018 16:08:32 +0000 (UTC) Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Message-ID: <871530887.361519.1540742912531@mail.yahoo.com> It's likely that I'm not the only reader having trouble with the ad hominem bias, the attempted links between crypto-fascism and the Olympics as well as the general tenor of this thread. It leaves me wondering what a more helpful direction would be for the discussion to take. Two thoughts suggest themselves: first, it would be interesting to have some objective reportage regarding the decision process that led to Kawase's selection. Second, after Dr Martinez' comment, a critical discussion of what it means to 'collaborate' might also be insightful. The latter would be especially helpful in today's nearly global atmosphere of accusations, division, polarization and criminalization of differing points of view.? Thomas Ball On Sunday, October 28, 2018, 9:13:25 AM EDT, Dolores Martinez wrote: Dear all,although I love much about Ishikawa's Tokyo Olympiad, having researched and written about it, I would argue that some aspects of it are somewhat less politically correct than we might like.? Aside from the photos of Ishiskawa and Riefenstahl warmly greeting and chatting on various occasions,? a careful analysis of his camera work and editing shows him paying homage to her (I am grudgingly having to admit this) pioneering technical innovations in making her documentary.? Igarashi, for example, has an interesting analysis of the Japanese women's volleyball win, while I find Ishikawa's editing of the marathon most indebted to her work.Just saying...Lola Dr Lola Martinez Reviews Editor, JRAI Emeritus Reader, SOAS Research Associate, ISCA, University of Oxford On Sun, 28 Oct 2018 at 04:03, Markus Nornes wrote: I've never had problems with Kawase, who I've known since she showed some Yamagata staff Ni Tsusumarete in some classroom shortly after it was done. But I've heard plenty of stories of misbehavior over the years. It's disheartening.? The comparison to Leni Riefenstahl is really unfair. Aside from the fact that one was an actor and the other is a prominent director, the LDP are not Nazis and Abe is hardly Hitler. The historical contexts are also entirely different.? The only real comparison to make has to do with collaboration. But collaboration means something very different in today's Japan than Germany, even in the early 30s. I am writing up something up about the tough position of Chinese filmmakers today. A new film law went into effect recently that is as pernicious as anything the Nazis drew up (I'm teaching the latter right now). It has effectively destroyed any space for independent cinema. Anything made now must be integrated into official culture and structures, starting with censorship. I just got back from Hanzhou's West Lake Film Festival, where "collaboration" was a point of huge concern. The choice is as stark as collaborate, quit or go into exile. I like the way Aaron puts the issue vis a vis the Olympics "boondoggle." How Kawase comports herself vis a vis the nationalistic BS the games are embedded in will be the question. I'm glad she's doing it, and think it's a great choice. Here's an accomplished fiction filmmaker, and a woman director, who has shown a deep commitment to the documentary. I've dipped into the massive Criterion Collection 100 Years of Olympic Documentaries. They really aren't very good, despite a slew of major names (almost all men, and mainly fiction feature filmmakers). I hope she lets loose form-wise and does an Olympics film like no other. If she doesn't the judgement will be far more severe than what's being written now, that's for sure.? Markus---? Markus NornesProfessor of Asian CinemaDepartment of?Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design Department of Screen Arts and Cultures6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285 On Sat, Oct 27, 2018 at 11:07 PM Frederick Veith wrote: Aaron, Thanks for the detailed reply. Being in complete opposition to the Olympics myself, that makes sense to me, and isn't surprising. I admit to having been morbidly curious about Kawase's reception for a long time now, but even leaving aside responses to Kawase the person, I'm not sure I see the mismatch that Ishitobi-san (from what little I could see) seemed to be concerned about, which is partly why I was curious about other responses. I don't find Kawase's films to be at all apolitical, but even without getting into the fraught territory of the implicit politics of some of her work, there's an approach to spectacle already in a work like Sharasoujyu which seems to me not at all uncongenial to the task of "officially" documenting the Olympics, whatever else I may think of the politics either of the filmmaker, the event itself, or the propriety of that task. Fred. On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron wrote: Fred, First and foremost is that many of the people I am connected to are against the Olympics itself. Kawase, to them, should be filming the neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the officialdom who is neglecting those people. (In some ways, this reminds me of the furor over Expo 70, when some filmmakers objected to Matsumoto Toshio and others deciding to collaborate with the Expo.) One friend on FB said it would be great if Kawase slyly put in messages about how the Olympics are actually hurting the people of Fukushima in her documentary, but that friend very much doubts that will happen: Kawase has been largely a-political in her filmmaking and has often been willing to serve on government committees. Some colleagues suggested the comparison between Kawase and Leni Riefenstahl, perhaps implying that this is a woman filmmaker interested in art who doesn?t have a problem working for a regime with fascist tendencies if it can allow her to make films. Also, some have speculated about why Kawase got the nod. One rumor that was reported?and all I can say is that it is a rumor?is that Abe Akie, the wife of the prime minister, is a big fan of Sweet Bean, and has often cited it in speeches. And frankly, there are a lot of people out there who don?t like Kawase personally. Earl has just mentioned one of many incidents news of which has spread through the grapevine. I should stress that I am here just reporting some of what I have read. I don?t attest to the veracity of all of it, or agree with all of it. But I do think the first one is a major issue: collaborating with a godawful boondoggle that is literally hurting people is problem. If she could turn that around and criticize the Olympics in her own documentary, that would be wonderful. But I very much doubt that will happen. Aaron _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Mon Oct 29 12:12:38 2018 From: macyroger at yahoo.co.uk (Roger Macy) Date: Mon, 29 Oct 2018 16:12:38 +0000 (UTC) Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> Message-ID: <359793855.27962393.1540829558849@mail.yahoo.com> Thanks Lola, I was trying to pin down where you wrote on Ichikawa?s Olympiad. Isthat in your forthcoming ?Media and Politics of Memory in Japan? ? I think what particularly interests me is which Riefenstahl OlympiaIchikawa saw. She made a number of films for different national markets,including Japan, but I?m not sure what would have been archived, or easilyavailable to Ichikawa. For $400 on Criterion, I would have wanted more on that. Anyway, isn?t it worth crediting that, unlike Riefenstahl, Ichikawapresented one global version ? I wonder what will happen in 2020 with our runawayfragmentation of audiences and politics. Roger On Sunday, 28 October 2018, 13:13:25 GMT, Dolores Martinez wrote: Dear all,although I love much about Ishikawa's Tokyo Olympiad, having researched and written about it, I would argue that some aspects of it are somewhat less politically correct than we might like.? Aside from the photos of Ishiskawa and Riefenstahl warmly greeting and chatting on various occasions,? a careful analysis of his camera work and editing shows him paying homage to her (I am grudgingly having to admit this) pioneering technical innovations in making her documentary.? Igarashi, for example, has an interesting analysis of the Japanese women's volleyball win, while I find Ishikawa's editing of the marathon most indebted to her work.Just saying...Lola Dr Lola Martinez Reviews Editor, JRAI Emeritus Reader, SOAS Research Associate, ISCA, University of Oxford On Sun, 28 Oct 2018 at 04:03, Markus Nornes wrote: I've never had problems with Kawase, who I've known since she showed some Yamagata staff Ni Tsusumarete in some classroom shortly after it was done. But I've heard plenty of stories of misbehavior over the years. It's disheartening.? The comparison to Leni Riefenstahl is really unfair. Aside from the fact that one was an actor and the other is a prominent director, the LDP are not Nazis and Abe is hardly Hitler. The historical contexts are also entirely different.? The only real comparison to make has to do with collaboration. But collaboration means something very different in today's Japan than Germany, even in the early 30s. I am writing up something up about the tough position of Chinese filmmakers today. A new film law went into effect recently that is as pernicious as anything the Nazis drew up (I'm teaching the latter right now). It has effectively destroyed any space for independent cinema. Anything made now must be integrated into official culture and structures, starting with censorship. I just got back from Hanzhou's West Lake Film Festival, where "collaboration" was a point of huge concern. The choice is as stark as collaborate, quit or go into exile. I like the way Aaron puts the issue vis a vis the Olympics "boondoggle." How Kawase comports herself vis a vis the nationalistic BS the games are embedded in will be the question. I'm glad she's doing it, and think it's a great choice. Here's an accomplished fiction filmmaker, and a woman director, who has shown a deep commitment to the documentary. I've dipped into the massive Criterion Collection 100 Years of Olympic Documentaries. They really aren't very good, despite a slew of major names (almost all men, and mainly fiction feature filmmakers). I hope she lets loose form-wise and does an Olympics film like no other. If she doesn't the judgement will be far more severe than what's being written now, that's for sure.? Markus---? Markus NornesProfessor of Asian CinemaDepartment of?Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design Department of Screen Arts and Cultures6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285 On Sat, Oct 27, 2018 at 11:07 PM Frederick Veith wrote: Aaron, Thanks for the detailed reply. Being in complete opposition to the Olympics myself, that makes sense to me, and isn't surprising. I admit to having been morbidly curious about Kawase's reception for a long time now, but even leaving aside responses to Kawase the person, I'm not sure I see the mismatch that Ishitobi-san (from what little I could see) seemed to be concerned about, which is partly why I was curious about other responses. I don't find Kawase's films to be at all apolitical, but even without getting into the fraught territory of the implicit politics of some of her work, there's an approach to spectacle already in a work like Sharasoujyu which seems to me not at all uncongenial to the task of "officially" documenting the Olympics, whatever else I may think of the politics either of the filmmaker, the event itself, or the propriety of that task. Fred. On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron wrote: Fred, First and foremost is that many of the people I am connected to are against the Olympics itself. Kawase, to them, should be filming the neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the officialdom who is neglecting those people. (In some ways, this reminds me of the furor over Expo 70, when some filmmakers objected to Matsumoto Toshio and others deciding to collaborate with the Expo.) One friend on FB said it would be great if Kawase slyly put in messages about how the Olympics are actually hurting the people of Fukushima in her documentary, but that friend very much doubts that will happen: Kawase has been largely a-political in her filmmaking and has often been willing to serve on government committees. Some colleagues suggested the comparison between Kawase and Leni Riefenstahl, perhaps implying that this is a woman filmmaker interested in art who doesn?t have a problem working for a regime with fascist tendencies if it can allow her to make films. Also, some have speculated about why Kawase got the nod. One rumor that was reported?and all I can say is that it is a rumor?is that Abe Akie, the wife of the prime minister, is a big fan of Sweet Bean, and has often cited it in speeches. And frankly, there are a lot of people out there who don?t like Kawase personally. Earl has just mentioned one of many incidents news of which has spread through the grapevine. I should stress that I am here just reporting some of what I have read. I don?t attest to the veracity of all of it, or agree with all of it. But I do think the first one is a major issue: collaborating with a godawful boondoggle that is literally hurting people is problem. If she could turn that around and criticize the Olympics in her own documentary, that would be wonderful. But I very much doubt that will happen. Aaron _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From dm6 at soas.ac.uk Mon Oct 29 12:29:35 2018 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Mon, 29 Oct 2018 16:29:35 +0000 Subject: [KineJapan] Kawase to direct Olympics doc In-Reply-To: <359793855.27962393.1540829558849@mail.yahoo.com> References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu> <91709CA4-09CA-4C52-BD9E-7BB47B2A563C@yale.edu> <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu> <359793855.27962393.1540829558849@mail.yahoo.com> Message-ID: Dear Roger, It?s not a comparison of the two films scene by scene, but you will find it in Politics and the Olympic film documentary: The Legacies of Berlin Olympia and Tokyo Olympiad? in Sports & Society vol. 12(6): 811-21. I thi. I think a careful analysis of the two would be interesting. Yours, Lola On Monday, 29 October 2018, Roger Macy wrote: > Thanks Lola, > > I was trying to pin down where you wrote on Ichikawa?s *Olympiad*. Is > that in your forthcoming ?Media and Politics of Memory in Japan? ? > > I think what particularly interests me is *which* Riefenstahl *Olympia* > Ichikawa saw. She made a number of films for different national markets, > including Japan, but I?m not sure what would have been archived, or easily > available to Ichikawa. For $400 on Criterion, I would have wanted more on > that. > > Anyway, isn?t it worth crediting that, unlike Riefenstahl, Ichikawa > presented one global version ? I wonder what will happen in 2020 with our > runaway fragmentation of audiences and politics. > > Roger > > > On Sunday, 28 October 2018, 13:13:25 GMT, Dolores Martinez > wrote: > > > Dear all, > although I love much about Ishikawa's Tokyo Olympiad, having researched > and written about it, I would argue that some aspects of it are somewhat > less politically correct than we might like. Aside from the photos of > Ishiskawa and Riefenstahl warmly greeting and chatting on various > occasions, a careful analysis of his camera work and editing shows him > paying homage to her (I am grudgingly having to admit this) pioneering > technical innovations in making her documentary. Igarashi, for example, > has an interesting analysis of the Japanese women's volleyball win, while I > find Ishikawa's editing of the marathon most indebted to her work. > Just saying... > Lola > > Dr Lola Martinez > Reviews Editor, JRAI > Emeritus Reader, SOAS > Research Associate, ISCA, University of Oxford > > > > On Sun, 28 Oct 2018 at 04:03, Markus Nornes wrote: > > I've never had problems with Kawase, who I've known since she showed some > Yamagata staff Ni Tsusumarete in some classroom shortly after it was done. > But I've heard plenty of stories of misbehavior over the years. It's > disheartening. > > The comparison to Leni Riefenstahl is really unfair. Aside from the fact > that one was an actor and the other is a prominent director, the LDP are > not Nazis and Abe is hardly Hitler. The historical contexts are also > entirely different. > > The only real comparison to make has to do with collaboration. But > collaboration means something very different in today's Japan than Germany, > even in the early 30s. I am writing up something up about the tough > position of Chinese filmmakers today. A new film law went into effect > recently that is as pernicious as anything the Nazis drew up (I'm teaching > the latter right now). It has effectively destroyed any space for > independent cinema. Anything made now must be integrated into official > culture and structures, starting with censorship. I just got back from > Hanzhou's West Lake Film Festival, where "collaboration" was a point of > huge concern. The choice is as stark as collaborate, quit or go into exile. > > I like the way Aaron puts the issue vis a vis the Olympics "boondoggle." > How Kawase comports herself vis a vis the nationalistic BS the games are > embedded in will be the question. I'm glad she's doing it, and think it's a > great choice. Here's an accomplished fiction filmmaker, and a woman > director, who has shown a deep commitment to the documentary. I've dipped > into the massive Criterion Collection 100 Years of Olympic Documentaries. > They really aren't very good, despite a slew of major names (almost all > men, and mainly fiction feature filmmakers). I hope she lets loose > form-wise and does an Olympics film like no other. If she doesn't the > judgement will be far more severe than what's being written now, that's for > sure. > > 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 Sat, Oct 27, 2018 at 11:07 PM Frederick Veith > wrote: > > Aaron, > > Thanks for the detailed reply. Being in complete opposition to the > Olympics myself, that makes sense to me, and isn't surprising. I admit to > having been morbidly curious about Kawase's reception for a long time now, > but even leaving aside responses to Kawase the person, I'm not sure I see > the mismatch that Ishitobi-san (from what little I could see) seemed to be > concerned about, which is partly why I was curious about other responses. I > don't find Kawase's films to be at all apolitical, but even without getting > into the fraught territory of the implicit politics of some of her work, > there's an approach to spectacle already in a work like Sharasoujyu which > seems to me not at all uncongenial to the task of "officially" documenting > the Olympics, whatever else I may think of the politics either of the > filmmaker, the event itself, or the propriety of that task. > > Fred. > > On Sun, Oct 28, 2018 at 11:25 AM Gerow Aaron wrote: > > Fred, > > First and foremost is that many of the people I am connected to are > against the Olympics itself. Kawase, to them, should be filming the > neglected people of Fukushima, Okinawa, or Kumamoto and not latch onto the > officialdom who is neglecting those people. (In some ways, this reminds me > of the furor over Expo 70, when some filmmakers objected to Matsumoto > Toshio and others deciding to collaborate with the Expo.) One friend on FB > said it would be great if Kawase slyly put in messages about how the > Olympics are actually hurting the people of Fukushima in her documentary, > but that friend very much doubts that will happen: Kawase has been largely > a-political in her filmmaking and has often been willing to serve on > government committees. > > Some colleagues suggested the comparison between Kawase and Leni > Riefenstahl, perhaps implying that this is a woman filmmaker interested in > art who doesn?t have a problem working for a regime with fascist tendencies > if it can allow her to make films. > > Also, some have speculated about why Kawase got the nod. One rumor that > was reported?and all I can say is that it is a rumor?is that Abe Akie, the > wife of the prime minister, is a big fan of Sweet Bean, and has often cited > it in speeches. > > And frankly, there are a lot of people out there who don?t like Kawase > personally. Earl has just mentioned one of many incidents news of which has > spread through the grapevine. > > I should stress that I am here just reporting some of what I have read. I > don?t attest to the veracity of all of it, or agree with all of it. But I > do think the first one is a major issue: collaborating with a godawful > boondoggle that is literally hurting people is problem. If she could turn > that around and criticize the Olympics in her own documentary, that would > be wonderful. But I very much doubt that will happen. > > Aaron > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: