[KineJapan] Mini-Conference: New Horizons in World Cinema

W Joo joo at nagoya-u.jp
Wed Oct 24 21:53:01 EDT 2018


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 Kovács 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
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