From nornes at umich.edu Sun Sep 2 13:27:04 2018 From: nornes at umich.edu (Markus Nornes) Date: Sun, 2 Sep 2018 13:27:04 -0400 Subject: [KineJapan] Fair Use Session with Siglo Message-ID: Siglo has been wrapped up in a fair use fight over some footage they used in John Junkerman's Okinawa: The Afterburn. They recently lost their court case, but I hope they appeal. The useage does meet the criteria of fair use, so the case could have serious implications for filmmakers in Japan. I admire them very much for fighting. I know it's hard emotionally and financially. They are holding an open session to talk about it, with their copyright lawyers present, on the 6th. Go if you can. Markus -------- Forwarded Message -------- Subject: ??? ???????QAB?? ??????????????????? Date: Thu, 30 Aug 2018 16:10:17 +0900 From: t.yamagami To: yamagami at cine.co.jp ??? BBC??????????????? ?????????? ????????????????????????? QAB????????????????????????????????? ???????1??????8?23?????????????????? ????????????????? ???????????QAB??????????????????????? ????????????????????????? ???????????????????????????????????? ?????? ???????????????????????????????????? ???????????????????????????????????? ??????????????????????????????? ?????????????????????????????????? ???????????????????????????????????? ?????????? ???9?6????18?30?? ???????????4??????????????? ??????????????????? ???????????????? ? ??????? ????????) ????????? ?????????????????????? ???????????????? ???????????????? ?? ??? *********************************************** ???? ??? ?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 ********************************************** --- *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 Tue Sep 4 16:36:03 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 4 Sep 2018 16:36:03 -0400 Subject: [KineJapan] Kinema Club XVIII: Gender and Sexuality in Japanese Cinema: A Unique CFP Message-ID: <0E569902-5CD3-4B0E-8BC8-EFD516BF10C8@yale.edu> 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 macyroger at yahoo.co.uk Tue Sep 4 18:00:23 2018 From: macyroger at yahoo.co.uk (Roger Macy) Date: Tue, 4 Sep 2018 22:00:23 +0000 (UTC) Subject: [KineJapan] Kinema Club XVIII: Gender and Sexuality in Japanese Cinema: A Unique CFP In-Reply-To: <0E569902-5CD3-4B0E-8BC8-EFD516BF10C8@yale.edu> References: <0E569902-5CD3-4B0E-8BC8-EFD516BF10C8@yale.edu> Message-ID: <831596323.2411876.1536098423862@mail.yahoo.com> What an interestingly conceived conference!I shall enjoy thinking about it, even if I don't nominate a film.And thanks for the long notice.Roger On Tuesday, 4 September 2018, 21:36:13 GMT+1, Gerow Aaron wrote: KinemaClub XVIII: Gender and Sexuality in Japanese Cinema AUnique CFP Conferencedates: February 22-24, 2019 Location: Yale University, New Haven, CT? USA Submissiondeadline: September 30, 2018? KinemaClub XXIII, with the support of the Council on East Asian Studies, willtake place at Yale University at theend of February 2019 (tentative dates February 22-24). The Kinema Clubconferences on Japanese film and media have distinguished themselves over theyears for their variety and inventiveness, ranging from workshops tofull-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 onscreening and discussing rare films, not on delivering papers. The format, inspired by the conferencesheld by the European Studies Council at Yale, centers on the screening of 35mmprints of rarely seen films over a three-day period. After each film or set offilms, a panel of 3-4 members will begin discussion not by reading preparedpapers, but by each member offering comments strictly limited to 5-10 minutes.This leaves the majority of the time open for discussion among all theparticipants. That means that we are not issuing a callfor papers. Rather, we are asking for nominationson what films to show and who can serve on the panels. Kinema Club XVIIIwill be held with the cooperation of the NationalFilm 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 exploredthrough its treatment of gender and sexuality, from the modern women ofMizoguchi to the masculine fantasies of yakuza films, from the obscurederoticism of roman porno to the beautiful fighting girls of anime. In selectingthis theme, the organizing committee wishes to invite new perspectives on thevisual construction of gender and sexuality in Japanese media by screeningfilms rarely seen which scholars can position to intervene in ongoingconversations about gender and sexuality.? The organizing committee has also proposedtwo 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 4-5other films (or more, if some are shorts) that can work within the theme andare contained in the NFAJ collection. We are also asking for self-nominationsto serve on the panels either of the above 2 films, or of a film that has beennominated (one can of course nominate a film and oneself to talk about it). Groupnominations of 2-3 people are welcome, but the organizing committee reservesthe right to add a panel member to further the discussion. The organizingcommittee will invite some scholars to add to the discussion and fill in slots. In the spirit of the conference, we arelooking for films that connect with the theme and which are rarely shownoutside Japan. As one measure of the latter, we are looking for films that arenot available on DVD or legal streaming services with English subtitles outsideof Japan. All films shown must come from the collection of the NFAJ (you cancheck their catalog of feature length fiction films here: http://202.236.109.20/index.php). Preferablythey should have English subtitles (if you are unsure whether an NFAJ print hassubtitles, the organizing committee can help confirm that), though we could tryto create subtitles for a wanted film if there is the time and personnel. Notethat not all prints in the NFAJ are in a state that allows for projection; somefilm nominations may be rejected for that reason. KC XVIII is being supported by the Council on East Asian Studies. Withinthe budget, we can reimburse up to $500 for the travel and up to $300 for thehotel costs of up to 14 out-of-town participants. (If we go underbudget, or getadditional funding, we can increase this amount, especially for participantsfrom Asia and Europe.) Given the negotiations necessary with theNFAJ and possible copyright holders of the films to be shown, the organizershope 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 basicfilmographic information for identification purposes), and a no more than200-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 wishto make about the film. In the case of group panel nominations, add a shortreason for the group?s constitution in addition to the nominations for eachindividual. 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 canparticipate. If you just want to attend the conference, stay tuned for further information. Aaron Gerow Yale University aaron.gerow at yale.edu ? _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From etsai at gapps.ntnu.edu.tw Mon Sep 3 01:48:35 2018 From: etsai at gapps.ntnu.edu.tw (=?UTF-8?B?5Y+w5bir5aSnRXZh6JSh5aaC6Z+z?=) Date: Mon, 3 Sep 2018 13:48:35 +0800 Subject: [KineJapan] Fair Use Session with Siglo In-Reply-To: References: Message-ID: Hello Markus, Thank you for sharing this news. Sorry I can't be at the discussion. But I am interested in how contemporary Japanese laws and lawsuit interpretation impact filmmaking, as I am interest in the relationship between laws and cultural production and circulation from Taiwan. Could you recommend a good coverage of the process in either English or Japanese, if there is a good link to catch on the web. Thanks again. eva 2018-09-03 1:27 GMT+08:00 Markus Nornes : > Siglo has been wrapped up in a fair use fight over some footage they used > in John Junkerman's Okinawa: The Afterburn. They recently lost their court > case, but I hope they appeal. The useage does meet the criteria of fair > use, so the case could have serious implications for filmmakers in Japan. I > admire them very much for fighting. I know it's hard emotionally and > financially. > > They are holding an open session to talk about it, with their copyright > lawyers present, on the 6th. Go if you can. > > Markus > > > > > -------- Forwarded Message -------- > Subject: ??? ???????QAB?? ??????????????????? > Date: Thu, 30 Aug 2018 16:10:17 +0900 > From: t.yamagami > To: yamagami at cine.co.jp > > > > ??? > > BBC??????????????? > > ?????????? ????????????????????????? > QAB????????????????????????????????? > ???????1??????8?23?????????????????? > ????????????????? > ???????????QAB??????????????????????? > ????????????????????????? > ???????????????????????????????????? > ?????? > ???????????????????????????????????? > ???????????????????????????????????? > ??????????????????????????????? > > ?????????????????????????????????? > ???????????????????????????????????? > ?????????? > > ???9?6????18?30?? > ???????????4??????????????? > ??????????????????? > ???????????????? > ? ??????? > ????????) > ????????? > ?????????????????????? ???????????????? > > ???????????????? > > > > ?? ??? > *********************************************** > ???? ??? > ?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 > ********************************************** > > > > > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Screen Arts and Cultures, Department of Asian Languages and > Cultures, Penny Stamps School of Art & Design > > *Department of Screen Arts and Cultures* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Sep 9 20:15:07 2018 From: nornes at umich.edu (Markus Nornes) Date: Sun, 9 Sep 2018 20:15:07 -0400 Subject: [KineJapan] Fair Use Session with Siglo In-Reply-To: References:

Message-ID: I don?t know about Japan, but here is a great site for the United States: http://cmsimpact.org/program/fair-use/ That?s no exaggeration to say this group and it?s collaborators changed everything for documentary here. Asako Fujioka and I centered a section of our Eyhics Machine program at Yamagata on this outfit. Markus On Sun, Sep 9, 2018 at 5:33 PM ???Eva??? wrote: > Hello Markus, > > Thank you for sharing this news. Sorry I can't be at the discussion. But I > am interested in how contemporary Japanese laws and lawsuit interpretation > impact filmmaking, as I am interest in the relationship between laws and > cultural production and circulation from Taiwan. Could you recommend a good > coverage of the process in either English or Japanese, if there is a good > link to catch on the web. > > Thanks again. > eva > > > 2018-09-03 1:27 GMT+08:00 Markus Nornes : > >> Siglo has been wrapped up in a fair use fight over some footage they used >> in John Junkerman's Okinawa: The Afterburn. They recently lost their court >> case, but I hope they appeal. The useage does meet the criteria of fair >> use, so the case could have serious implications for filmmakers in Japan. I >> admire them very much for fighting. I know it's hard emotionally and >> financially. >> >> They are holding an open session to talk about it, with their copyright >> lawyers present, on the 6th. Go if you can. >> >> Markus >> >> >> >> >> -------- Forwarded Message -------- >> Subject: ??? ???????QAB?? ??????????????????? >> Date: Thu, 30 Aug 2018 16:10:17 +0900 >> From: t.yamagami >> To: yamagami at cine.co.jp >> >> >> >> ??? >> >> BBC??????????????? >> >> ?????????? ????????????????????????? >> QAB????????????????????????????????? >> ???????1??????8?23?????????????????? >> ????????????????? >> ???????????QAB??????????????????????? >> ????????????????????????? >> ???????????????????????????????????? >> ?????? >> ???????????????????????????????????? >> ???????????????????????????????????? >> ??????????????????????????????? >> >> ?????????????????????????????????? >> ???????????????????????????????????? >> ?????????? >> >> ???9?6????18?30?? >> ???????????4??????????????? >> ??????????????????? >> ???????????????? >> ? ??????? >> ????????) >> ????????? >> ?????????????????????? ???????????????? >> >> ???????????????? >> >> >> >> ?? ??? >> *********************************************** >> ???? ??? >> ?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 >> ********************************************** >> >> >> >> >> >> --- >> >> *Markus Nornes* >> *Professor of Asian Cinema* >> Department of Screen Arts and Cultures, Department of Asian Languages >> and Cultures, Penny Stamps School of Art & Design >> >> *Department of Screen Arts and Cultures* >> *6348 North Quad* >> *105 S. State Street* >> *Ann Arbor, MI 48109-1285* >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Screen Arts and Cultures, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Screen Arts and Cultures* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From timiles2003 at yahoo.com Tue Sep 11 14:55:35 2018 From: timiles2003 at yahoo.com (Tim Iles) Date: Tue, 11 Sep 2018 18:55:35 +0000 (UTC) Subject: [KineJapan] New content on the ejcjs References: <269695624.3184523.1536692135530.ref@mail.yahoo.com> Message-ID: <269695624.3184523.1536692135530@mail.yahoo.com> The electronic journal of contemporary japanese studies is pleased to announce the publication of Volume 18, Issue 2, with content from contributors around the world. Peer-reviewed articles Barbara Greene: Moyashimon And Agrarian Nationalism: The Transition From Policy To Pop Culture Discussion papers Peter Wynn Kirby: Mangling and promiscuity: Materialities of waste conversion in East Asia Maia Sharrock Churchill: The Art of Adaptation and Depictions of the Incorporeal: A cross-cultural examination of the representations of death and the supernatural in Ringu and The Ring Book reviews Timothy Iles: Moving Lines, Moving Conclusions As ever, we are grateful for the work of our contributors, our peer referees, and the tireless efforts of the volunteers on our production team--many, many thanks to all. Timothy Iles General Editor, the ejcjs From margherita.long at gmail.com Fri Sep 14 12:48:44 2018 From: margherita.long at gmail.com (margherita long) Date: Fri, 14 Sep 2018 09:48:44 -0700 Subject: [KineJapan] 8 fellowships for grad & recent ph.d. participation: eco-humanities in the desert: 12/2018 Message-ID: Dear Colleagues, Please encourage your students to apply. Students and recent grads, please apply! Questions? email me at margherita.long at uci.edu. With thanks to the Japan Foundation. Mimi Long Margherita Long Associate Professor Department of East Asian Languages and Literatures 470 Humanities Instructional Building University of California, Irvine 92697-6000 ** CALL FOR PROPOSALS JAPANESE STUDIES PH.D. STUDENTS AND RECENT (2 YEARS) PH.D.S. UC Irvine is hosting an Environmental Humanities Graduate Conference and series of Master Classes in December 2018 with full funding for 8 students, national and international, generously supported by a Japan Foundation IPS Grant. Deadline to apply is 19 October. Master Classes by Tom Lamarre, Doug Slaymaker and Toshiya Ueno. We look forward to reading your proposal. https://www.humanities.uci.edu/eastasian/calendar/events.php?recid=7356&dept_code_val=71&css_path=eastasian&file_name=events -------------- next part -------------- An HTML attachment was scrubbed... URL: From marcus.bohr at network.rca.ac.uk Fri Sep 14 14:50:06 2018 From: marcus.bohr at network.rca.ac.uk (Marco Bohr) Date: Fri, 14 Sep 2018 19:50:06 +0100 Subject: [KineJapan] =?utf-8?q?CFP_Reminder=3A_Capture_Japan_=E2=80=93_Vi?= =?utf-8?q?sual_Culture_and_the_Global_Imagination?= Message-ID: Contributions are now being accepted for a new edited book titled ?Capture Japan: Visual Culture and the Global Imagination from 1952 to the Present?. The book aims to analyse, deconstruct and challenge representations of Japan in a variety of different visual media such as cinema, documentary film, photography, visual art, anime, manga, comics, television or advertising. Through a series of case studies by an international group of experts in the field, the book will highlight the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed. The book will point to a vast network of global institutions, each concerned with a different type of image of Japan that fits into an ideological, political, cultural or economic agenda. Internationally, these institutions include film production companies or art museums and galleries, whereas in Japan they include local tourist boards, government agencies or computer game manufacturers. Whilst these institutions have differing interests, this book will identify common threads in the type of image of Japan that is being imagined, produced and promoted by such institutions. The book will make the argument that these images are visual tropes that feed into a type of Japan of the global imagination. The book will identify that the 1952 ?Treaty of Mutual Cooperation and Security between Japan and the United States of America? ? commonly known as Anpo in Japan ? marked the beginning of an era or unprecedented peace and prosperity. Whilst in Japan Anpo created many questions about sovereignty and political agency, particularly during the amendment of 1960, the treaty has underpinned the global economic axis of the post-war era between Japan and the west. The book will argue that the institutional support for certain visual tropes of Japan thus feeds into a larger discourse of maintaining the global economic, political and ideological order of the post-war era. Japan, and how it is represented in images, is therefore inextricably linked to its role in maintaining this status quo since 1952. The proposed book will come out at a crucial time since the re-emergence of China as the largest economy in the world is poised to affect the global economic (dis)equilibrium that has dominated much of the last 70 years. The book will investigate whether the visual discourse of Japan in the global imagination is about to shift into a new era. The word ?capture? in the title of the book recognizes a level of dominance, even aggression with regards to images and how they feed into a larger discourse. It is also a play on words on the photographic term to ?capture?, as well as the notion of a spectacle that is ?captivating?. Contributions to this book by a diverse and interdisciplinary group of scholars will be conscious of the way images feed into, construct or subvert notions about Orientalism (Said) as well as self-exoticising discourses such as Strategic Essentialism (Spivak). Contributors might also consider how images sought to disrupt, subvert or at least challenge visual tropes about Japan thus complicating notions about a global imagination. Contributors might draw from the legacies of Japonisme of the 19th century or the rapid shifts the way Japan was perceived, and perceived itself, through images from the Meiji, Taisho or early Showa era, however the historical timespan for case studies is strictly from 1952 to the present. Please send a 200 to 250 word abstract as well as a 100 short biography to the editor of the book Dr. Marco Bohr m.bohr at lboro.ac.uk by the 1st of October 2018. Accepted contributors will receive notification by the 1st of November 2018. The full chapter of around 6500 words will be due in early 2019 with a view to publish the book in 2020. Marco can be contacted for any inquiries contributors might have. http://visualcultureblog.com/2018/07/call-for-papers-capture-japan-visual-culture-and-the-global-imagination/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From baird at umass.edu Fri Sep 14 15:02:49 2018 From: baird at umass.edu (Bruce Baird) Date: Fri, 14 Sep 2018 15:02:49 -0400 Subject: [KineJapan] Book Announcement: Routledge Companion to Butoh Performance Message-ID: <10486B1D-FEAC-494C-A7CD-61AD8E7601BD@umass.edu> Dear Colleagues, This is slightly afield of this list, but we have had over the course of the years a few threads about the cross-fertilization between butoh and cinema, so for your information, I am including this book launch information here. Rosemary Candelario (Texas Woman's University) and I are proud to announce the publication of The Routledge Companion to Butoh Performance. https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 Intro + 56 chapters = 55 authors, 8 translators, 100 photos, 6 continents, 14 countries, 558 pages! I hope you will all have your respective libraries order a copy. One of the chapters, by Aaron Kerner, treats the nexus between cinema and butoh specifically. And if I may be so bold, for those who feature a chapter about butoh in their Japanese theater surveys, the first half of our intro is your new go-to chapter. Cheers, Bruce 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 raine.michael.j at gmail.com Fri Sep 14 15:12:08 2018 From: raine.michael.j at gmail.com (Michael Raine) Date: Fri, 14 Sep 2018 15:12:08 -0400 Subject: [KineJapan] Book Announcement: Routledge Companion to Butoh Performance In-Reply-To: <10486B1D-FEAC-494C-A7CD-61AD8E7601BD@umass.edu> References: <10486B1D-FEAC-494C-A7CD-61AD8E7601BD@umass.edu> Message-ID: Congratulations Bruce! That seems like an enormous undertaking. I'll ask the library to get a copy. Michael On Fri, Sep 14, 2018 at 3:02 PM, Bruce Baird wrote: > Dear Colleagues, > > This is slightly afield of this list, but we have had over the course of > the years a few threads about the cross-fertilization between butoh and > cinema, so for your information, I am including this book launch > information here. > > Rosemary Candelario (Texas Woman's University) and I are proud to announce > the publication of *The Routledge Companion to Butoh Performance*. > > https://www.routledge.com/The-Routledge-Companion-to-Butoh- > Performance/Baird-Candelario/p/book/9781138691094 > > Intro + 56 chapters = 55 authors, 8 translators, 100 photos, 6 continents, > 14 countries, 558 pages! > > I hope you will all have your respective libraries order a copy. > > One of the chapters, by Aaron Kerner, treats the nexus between cinema and > butoh specifically. > > And if I may be so bold, for those who feature a chapter about butoh in > their Japanese theater surveys, the first half of our intro is your new > go-to chapter. > > > Cheers, > > Bruce > > 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 > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From brianruh at gmail.com Fri Sep 14 18:34:34 2018 From: brianruh at gmail.com (Brian Ruh) Date: Fri, 14 Sep 2018 18:34:34 -0400 Subject: [KineJapan] 8 fellowships for grad & recent ph.d. participation: eco-humanities in the desert: 12/2018 In-Reply-To: References: Message-ID: That sounds like a seminar I'd be really interested in! I'd certainly be applying if my PhD wasn't more than 2 years old. (Not like I've been able to do that much with it since I earned it.) The syllabus does give me some ideas for future readings / writing, though. Thanks for sending it to the group! == Brian On Fri, Sep 14, 2018 at 12:48 PM, margherita long wrote: > Dear Colleagues, > > Please encourage your students to apply. > > Students and recent grads, please apply! > > Questions? email me at margherita.long at uci.edu. > > With thanks to the Japan Foundation. > > Mimi Long > > Margherita Long > Associate Professor > Department of East Asian Languages and Literatures > 470 Humanities Instructional Building > University of California, Irvine 92697-6000 > > > ** > > CALL FOR PROPOSALS > JAPANESE STUDIES PH.D. STUDENTS > AND RECENT (2 YEARS) PH.D.S. > > UC Irvine is hosting an Environmental Humanities Graduate Conference and > series of Master Classes in December 2018 with full funding for 8 students, > national and international, generously supported by a Japan Foundation IPS > Grant. Deadline to apply is 19 October. Master Classes by Tom Lamarre, Doug > Slaymaker and Toshiya Ueno. We look forward to reading your proposal. > > https://www.humanities.uci.edu/eastasian/calendar/events. > php?recid=7356&dept_code_val=71&css_path=eastasian&file_name=events > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From jmthfrsa at gmail.com Sat Sep 15 05:50:59 2018 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Sat, 15 Sep 2018 11:50:59 +0200 Subject: [KineJapan] =?utf-8?q?CFP_Reminder=3A_Capture_Japan_=E2=80=93_Vi?= =?utf-8?q?sual_Culture_and_the_Global_Imagination?= In-Reply-To: References: Message-ID: Very interesting Jacline Moriceau Le ven. 14 sept. 2018 ? 20:50, Marco Bohr a ?crit : > Contributions are now being accepted for a new edited book titled ?Capture > Japan: Visual Culture and the Global Imagination from 1952 to the Present?. > The book aims to analyse, deconstruct and challenge representations of > Japan in a variety of different visual media such as cinema, documentary > film, photography, visual art, anime, manga, comics, television or > advertising. Through a series of case studies by an international group of > experts in the field, the book will highlight the institutional framework > that has allowed certain types of images of Japan to be promoted, while > others have been suppressed. The book will point to a vast network of > global institutions, each concerned with a different type of image of Japan > that fits into an ideological, political, cultural or economic agenda. > Internationally, these institutions include film production companies or > art museums and galleries, whereas in Japan they include local tourist > boards, government agencies or computer game manufacturers. Whilst these > institutions have differing interests, this book will identify common > threads in the type of image of Japan that is being imagined, produced and > promoted by such institutions. The book will make the argument that these > images are visual tropes that feed into a type of Japan of the global > imagination. > > The book will identify that the 1952 ?Treaty of Mutual Cooperation and > Security between Japan and the United States of America? ? commonly known > as Anpo in Japan ? marked the beginning of an era or unprecedented peace > and prosperity. Whilst in Japan Anpo created many questions about > sovereignty and political agency, particularly during the amendment of > 1960, the treaty has underpinned the global economic axis of the post-war > era between Japan and the west. The book will argue that the institutional > support for certain visual tropes of Japan thus feeds into a larger > discourse of maintaining the global economic, political and ideological > order of the post-war era. Japan, and how it is represented in images, is > therefore inextricably linked to its role in maintaining this status quo > since 1952. The proposed book will come out at a crucial time since the > re-emergence of China as the largest economy in the world is poised to > affect the global economic (dis)equilibrium that has dominated much of the > last 70 years. The book will investigate whether the visual discourse of > Japan in the global imagination is about to shift into a new era. > > The word ?capture? in the title of the book recognizes a level of > dominance, even aggression with regards to images and how they feed into a > larger discourse. It is also a play on words on the photographic term to > ?capture?, as well as the notion of a spectacle that is ?captivating?. > Contributions to this book by a diverse and interdisciplinary group of > scholars will be conscious of the way images feed into, construct or > subvert notions about Orientalism (Said) as well as self-exoticising > discourses such as Strategic Essentialism (Spivak). Contributors might also > consider how images sought to disrupt, subvert or at least challenge visual > tropes about Japan thus complicating notions about a global imagination. > Contributors might draw from the legacies of Japonisme of the 19th century > or the rapid shifts the way Japan was perceived, and perceived itself, > through images from the Meiji, Taisho or early Showa era, however the > historical timespan for case studies is strictly from 1952 to the present. > > Please send a 200 to 250 word abstract as well as a 100 short biography to > the editor of the book Dr. Marco Bohr m.bohr at lboro.ac.uk by the 1st of > October 2018. Accepted contributors will receive notification by the 1st of > November 2018. The full chapter of around 6500 words will be due in early > 2019 with a view to publish the book in 2020. Marco can be contacted for > any inquiries contributors might have. > > http://visualcultureblog.com/2018/07/call-for-papers-capture-japan-visual-culture-and-the-global-imagination/ > _______________________________________________ > 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 Sun Sep 16 08:33:35 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 16 Sep 2018 08:33:35 -0400 Subject: [KineJapan] Kiki Kirin Message-ID: While this was not unexpected, it is sad to hear of the passing of Kiki Kirin, one of the more creative and original performers in Japanese media today. Studying at the Bungakuza, she debuted as an actor in 1964 under the name Yuki Chiho (she later, quite famously, auctioned off that name on a TV show). It was with the name Kiki Kirin that she came to national fame in the late 1970s with a series of hit TV dramas like Jikan desu yo and Terauchi Kantaro ikka in which she humorously played women much older than herself. She also appeared in many films, making a mark especially in the last decade or so in films by Koreeda Hirokazu (Still Walking) and Matsuoka Joji (Tokyo Tower). She was of course crucial to Koreeda's Shoplifters, which won the Palme d'Or at Cannes this year. Kiki was also known for her rather eccentric marriage to the rock star Uchida Yuya. Their daughter, Uchida Yayako, who played the younger version of Kiki's character in Tokyo Tower, is an essayist married to actor/singer Motoki Masahiro (Departures, etc.). Since he is a muko yoshi, he is legally Kiki's son. Japanese film will not be the same without her. https://mainichi.jp/articles/20180917/k00/00m/040/015000c 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 dbarros at letras.up.pt Sun Sep 16 08:42:44 2018 From: dbarros at letras.up.pt (David Pinho Barros) Date: Sun, 16 Sep 2018 13:42:44 +0100 Subject: [KineJapan] Kiki Kirin In-Reply-To: References: Message-ID: This is very sad new indeed? I had the honour of spending a day with her last year in Lisbon and to interview her, with Miguel Patr?cio, for the Portuguese film website ? pala de Walsh. You can check it out here: www.apaladewalsh.com/2017/11/kirin-kiki-eu-nao-gosto-mesmo-nada-de-representar . She was a wonderfully charismatic and eccentric person, and she will be heavily missed. David > On 16 Sep 2018, at 13:33, Gerow Aaron wrote: > > While this was not unexpected, it is sad to hear of the passing of Kiki Kirin, one of the more creative and original performers in Japanese media today. Studying at the Bungakuza, she debuted as an actor in 1964 under the name Yuki Chiho (she later, quite famously, auctioned off that name on a TV show). It was with the name Kiki Kirin that she came to national fame in the late 1970s with a series of hit TV dramas like Jikan desu yo and Terauchi Kantaro ikka in which she humorously played women much older than herself. She also appeared in many films, making a mark especially in the last decade or so in films by Koreeda Hirokazu (Still Walking) and Matsuoka Joji (Tokyo Tower). She was of course crucial to Koreeda's Shoplifters, which won the Palme d'Or at Cannes this year. Kiki was also known for her rather eccentric marriage to the rock star Uchida Yuya. Their daughter, Uchida Yayako, who played the younger version of Kiki's character in Tokyo Tower, is an essayist married to actor/singer Motoki Masahiro (Departures, etc.). Since he is a muko yoshi, he is legally Kiki's son. Japanese film will not be the same without her. > > https://mainichi.jp/articles/20180917/k00/00m/040/015000c > > 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: Screen Shot 2018-04-05 at 16.39.03.png Type: image/png Size: 8318 bytes Desc: not available URL: From mekerpan2 at gmail.com Sun Sep 16 08:54:39 2018 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Sun, 16 Sep 2018 21:54:39 +0900 Subject: [KineJapan] Kiki Kirin In-Reply-To: References:

Message-ID: Very sad! She always added such liveliness to anything she appeared in. Michael Kerpan Fukuoka (for one more day) On Sun, Sep 16, 2018, 9:42 PM David Pinho Barros wrote: > This is very sad new indeed? I had the honour of spending a day with her > last year in Lisbon and to interview her, with Miguel Patr?cio, for the > Portuguese film website *? pala de Walsh*. You can check it out here: > www.apaladewalsh.com/2017/11/kirin-kiki-eu-nao-gosto-mesmo-nada-de-representar. > She was a wonderfully charismatic and eccentric person, and she will be > heavily missed. > > David > > > > > > On 16 Sep 2018, at 13:33, Gerow Aaron wrote: > > While this was not unexpected, it is sad to hear of the passing of Kiki > Kirin, one of the more creative and original performers in Japanese media > today. Studying at the Bungakuza, she debuted as an actor in 1964 under the > name Yuki Chiho (she later, quite famously, auctioned off that name on a TV > show). It was with the name Kiki Kirin that she came to national fame in > the late 1970s with a series of hit TV dramas like Jikan desu yo and > Terauchi Kantaro ikka in which she humorously played women much older > than herself. She also appeared in many films, making a mark especially in > the last decade or so in films by Koreeda Hirokazu (Still Walking) and > Matsuoka Joji (Tokyo Tower). She was of course crucial to Koreeda's > Shoplifters, which won the Palme d'Or at Cannes this year. Kiki was also > known for her rather eccentric marriage to the rock star Uchida Yuya. Their > daughter, Uchida Yayako, who played the younger version of Kiki's character > in Tokyo Tower, is an essayist married to actor/singer Motoki Masahiro > (Departures, etc.). Since he is a muko yoshi, he is legally Kiki's son. > Japanese film will not be the same without her. > > https://mainichi.jp/articles/20180917/k00/00m/040/015000c > > > 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2018-04-05 at 16.39.03.png Type: image/png Size: 8318 bytes Desc: not available URL: From aaron.gerow at yale.edu Mon Sep 17 22:14:55 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 17 Sep 2018 22:14:55 -0400 Subject: [KineJapan] Annette Michelson Message-ID: <32986DB0-A526-4B6C-B32B-5902B5BC2955@yale.edu> Art Forum reports that the film critic and scholar Annette Michelson has died at the age of 96. You can read of her many activities here: https://www.artforum.com/news/annette-michelson-1922-2018-75948 What is not mentioned is her work with regard to Japanese film. I should note that she not only translated Oshima Nagisa's writings into English (from a French version), but also revised and edited Noel Burch's To the Distant Observer. 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 steven.elworth at gmail.com Mon Sep 17 22:24:31 2018 From: steven.elworth at gmail.com (Steven Elworth) Date: Mon, 17 Sep 2018 22:24:31 -0400 Subject: [KineJapan] Annette Michelson In-Reply-To: <32986DB0-A526-4B6C-B32B-5902B5BC2955@yale.edu> References: <32986DB0-A526-4B6C-B32B-5902B5BC2955@yale.edu> Message-ID: So sad to hear about the passing of this great thinker, scholar and teacher. She was strongly interested in Japanese film particularly Kurosawa and Oshima. For a long time she was the only faculty in Cinema Studies who taught Japanese film. She edited Burch?s book which he wrote in English for clarity. She will be missed Steve Elworth On Mon, Sep 17, 2018 at 10:15 PM Gerow Aaron wrote: > Art Forum reports that the film critic and scholar Annette Michelson has > died at the age of 96. You can read of her many activities here: > > https://www.artforum.com/news/annette-michelson-1922-2018-75948 > > What is not mentioned is her work with regard to Japanese film. I should > note that she not only translated Oshima Nagisa's writings into English > (from a French version), but also revised and edited Noel Burch's To the > Distant Observer. > > > 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 Sat Sep 22 21:26:47 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 22 Sep 2018 21:26:47 -0400 Subject: [KineJapan] Education and Patriotism Message-ID: <9C427130-BD2D-4F72-B7A2-AB1652DDEFB7@yale.edu> The Asian Pacific Journal Japan Focus has just uploaded an introduction and translation to the MBS documentary "Education and Patriotism? broadcast in July 2017. The translation was done by Collin Rusneac and the introduction by Sven Saalar. A transcript is also included. Not only is the topic quite important, given fears that the educational system is again being used to inculcate particular forms of patriotism in Japan, but frankly there are not many examples of subtitled versions of Japanese TV documentaries that are readily available. https://apjjf.org/2018/16/Rusneac.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 aaron.gerow at yale.edu Sun Sep 23 18:59:00 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 23 Sep 2018 18:59:00 -0400 Subject: [KineJapan] Reminder: Kinema Club XVIII: Gender and Sexuality in Japanese Cinema: A Unique CFP Message-ID: <35D25D82-DDBD-4AF5-B872-C3AF5FB349C5@yale.edu> Just a reminder that there?s one week until the deadline: 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 aaron.gerow at yale.edu Fri Sep 28 23:00:33 2018 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 28 Sep 2018 23:00:33 -0400 Subject: [KineJapan] Job at IUC/Stanford Message-ID: <560CA9EA-B754-4742-8D24-64AA1723554E@yale.edu> This is not a film-related job, but since I am chair of the governing board of the Inter-University Center in Yokohama, an advanced Japanese language school run by a consortium of North American universities including Yale, I did want to send around an ad for the Managing Director position for the IUC. https://careersearch.stanford.edu/jobs/managing-director-4176 The primary place of work would be Stanford, which houses the IUC office in North America. Japanese proficiency is necessary and PhD is preferred. It might be a good option for those with a PhD (or about to get a PhD) who are not excited about the teaching profession. Yours, 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 matteo.boscarol at gmail.com Sat Sep 29 08:20:24 2018 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sat, 29 Sep 2018 21:20:24 +0900 Subject: [KineJapan] The archipelagic thought of Asia is One Message-ID: <75F26D2D-30D1-47AF-90F3-2B91B4513B52@gmail.com> Dear all, Alex wrote a fascinating piece on NDU and Asia is One for the Journal of Japanese and Korean Cinema. It?s also one of the few writings on the collective available in English (the booklet edited by Yasui Yoshio in 2012 is another one), but hopefully more are coming. The archipelagic thought of Asia is One (1973) and the documentary film collective NDU https://www.tandfonline.com/doi/abs/10.1080/17564905.2018.1512396 On a related note, on October 14th Kobe Planet Film Archive is organising a special program titled ?NDU??NDS?? with the screenings of ?To the Japs: South Korean A-Bomb Survivors Speak Out? ??????????????????????? (1971) and ?Give Back Kama's Rights! 2011? ????????? 2011. Regards 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 raine.michael.j at gmail.com Sat Sep 29 10:44:20 2018 From: raine.michael.j at gmail.com (Michael Raine) Date: Sat, 29 Sep 2018 09:44:20 -0500 Subject: [KineJapan] The archipelagic thought of Asia is One In-Reply-To: <75F26D2D-30D1-47AF-90F3-2B91B4513B52@gmail.com> References: <75F26D2D-30D1-47AF-90F3-2B91B4513B52@gmail.com> Message-ID: Thank you Matteo, This is indeed an excellent article by Alex. I'd like to take the opportunity to list the other articles that have appeared this year in the Journal of Japanese and Korean Cinema. All the articles are available on the web site and the paper edition will be coming out shortly. https://www.tandfonline.com/toc/rjkc20/current I've attached a pdf of the cover of the paper edition of volume 10 issues 1-2 and have listed the Japanese essays below Volume 10 Issue 1 Articles The limits of fiction: politics and absent scenes in Susumu Hani?s Bad Boys (Fury? Sh?nen, 1960). A film re-reading through its script Marcos P. Centeno Mart?n Beauty is the Beast: Suzuki Sumiko and Prewar Japanese Horror Cinema Michael E. Crandol Whose Blue Heaven? Musicality in the early Japanese talkies Richard M. Davis ?I don?t masturbate, I fight!?: the Spectre of Kita Ikki in Suzuki Seijun?s Kenka Ereji ( Fighting Elegy , 1966) William Carroll Issue 2 The archipelagic thought of Asia is One (1973) and the documentary film collective NDU Alexander Zahlten Embedded film, embodied reception: Tsurumi Shunsuke?s autobiographical film criticism Junko Yamazaki No land?s man: on remaking the last western in Japan and the politics of revision Charles Exley Kinoshita Keisuke?s film at the end of the rainbow: love, labour, and alienation at the Yahata Steel Works Mats Arne Karlsson We'd welcome more submissions of up to 8,000 words on Japanese (and Korean) cinema as well as book reviews. The page for authors is here: https://www.tandfonline.com/action/authorSubmission?show=instructions&journalCode=rjkc20 If you have any questions feel free to contact me at mraine3 at uwo.ca I'd be happy to see more announcements of newly-published work on KineJapan. Michael Michael Raine, Western University, Canada On Sat, Sep 29, 2018 at 7:20 AM, matteo boscarol wrote: > Dear all, > > > Alex wrote a fascinating piece on NDU and Asia is One for the Journal of > Japanese and Korean Cinema. It?s also one of the few writings on the > collective available in English (the booklet edited by Yasui Yoshio in 2012 > is another one), but hopefully more are coming. > > > The archipelagic thought of Asia is One (1973) and the documentary film > collective NDU https://www.tandfonline.com/doi/abs/10.1080/17564905.2018. > 1512396 > > > On a related note, on October 14th Kobe Planet Film Archive is organising > a special program titled ?NDU??NDS?? with the screenings of ?To the Japs: > South Korean A-Bomb Survivors Speak Out? ????????? ????????????? (1971) and > ?Give Back Kama's Rights! 2011? ????????? 2011. > > > > Regards > > Matteo Boscarol > ????? ???? > ??????????? > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > - Film writer for Il Manifesto > http://ilmanifesto.it > > > > > > _______________________________________________ > 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: RJKC_I_10_01-02_COVER.pdf Type: application/pdf Size: 203764 bytes Desc: not available URL: From azahlten at fas.harvard.edu Sat Sep 29 11:19:23 2018 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sat, 29 Sep 2018 15:19:23 +0000 Subject: [KineJapan] The archipelagic thought of Asia is One In-Reply-To: <75F26D2D-30D1-47AF-90F3-2B91B4513B52@gmail.com> References: <75F26D2D-30D1-47AF-90F3-2B91B4513B52@gmail.com> Message-ID: Dear All, Matteo, thank you so much for the kind words! I just want to add that two of our graduate students, Becky Bae and Kimberlee Sanders, created terrific subtitles for Asia is One for the screening we organized at AAS in Asia when it took place in Kyoto. That means this extraordinary film can finally be screened to non-Japanese speakers (and even a native Japanese speaker may have trouble with some of the Japanese spoken in the film). The prints / video files of the films are now handled by the Planet Film Archive in Kobe ? if you are interested in a screening, or in using the film for classes, you can get in touch with Planet directly or send me a quick note and I?ll be happy to facilitate. With best wishes, Alex From: KineJapan on behalf of matteo boscarol Reply-To: Japanese Cinema Discussion Forum Date: Saturday, September 29, 2018 at 08:20 To: "kinejapan at mailman.yale.edu" Subject: [KineJapan] The archipelagic thought of Asia is One Dear all, Alex wrote a fascinating piece on NDU and Asia is One for the Journal of Japanese and Korean Cinema. It?s also one of the few writings on the collective available in English (the booklet edited by Yasui Yoshio in 2012 is another one), but hopefully more are coming. The archipelagic thought of Asia is One (1973) and the documentary film collective NDU https://www.tandfonline.com/doi/abs/10.1080/17564905.2018.1512396 On a related note, on October 14th Kobe Planet Film Archive is organising a special program titled ?NDU??NDS?? with the screenings of ?To the Japs: South Korean A-Bomb Survivors Speak Out? ??????????????????????? (1971) and ?Give Back Kama's Rights! 2011? ????????? 2011. Regards 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 mathieucapel at gmail.com Sat Sep 29 21:45:52 2018 From: mathieucapel at gmail.com (Mathieu Capel) Date: Sun, 30 Sep 2018 10:45:52 +0900 Subject: [KineJapan] Suzuki for French readers Message-ID: 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 Capel Tokyo / French Research Institute on Japan -------------- next part -------------- An HTML attachment was scrubbed... URL: From marcus.bohr at network.rca.ac.uk Sun Sep 30 06:25:22 2018 From: marcus.bohr at network.rca.ac.uk (Marco Bohr) Date: Sun, 30 Sep 2018 11:25:22 +0100 Subject: [KineJapan] =?utf-8?q?Final_CFP=3A_Capture_Japan_=E2=80=93_Visua?= =?utf-8?q?l_Culture_and_the_Global_Imagination?= Message-ID: *Final Call for Papers* *Apologies for cross-posting* Contributions are now being accepted for a new edited book titled ?Capture Japan: Visual Culture and the Global Imagination from 1952 to the Present?. The book aims to analyse, deconstruct and challenge representations of Japan in a variety of different visual media such as cinema, documentary film, photography, visual art, anime, manga, comics, television or advertising. Through a series of case studies by an international group of experts in the field, the book will highlight the institutional framework that has allowed certain types of images of Japan to be promoted, while others have been suppressed. The book will point to a vast network of global institutions, each concerned with a different type of image of Japan that fits into an ideological, political, cultural or economic agenda. Internationally, these institutions include film production companies or art museums and galleries, whereas in Japan they include local tourist boards, government agencies or computer game manufacturers. Whilst these institutions have differing interests, this book will identify common threads in the type of image of Japan that is being imagined, produced and promoted by such institutions. The book will make the argument that these images are visual tropes that feed into a type of Japan of the global imagination. The book will identify that the 1952 ?Treaty of Mutual Cooperation and Security between Japan and the United States of America? ? commonly known as Anpo in Japan ? marked the beginning of an era or unprecedented peace and prosperity. Whilst in Japan Anpo created many questions about sovereignty and political agency, particularly during the amendment of 1960, the treaty has underpinned the global economic axis of the post-war era between Japan and the west. The book will argue that the institutional support for certain visual tropes of Japan thus feeds into a larger discourse of maintaining the global economic, political and ideological order of the post-war era. Japan, and how it is represented in images, is therefore inextricably linked to its role in maintaining this status quo since 1952. The proposed book will come out at a crucial time since the re-emergence of China as the largest economy in the world is poised to affect the global economic (dis)equilibrium that has dominated much of the last 70 years. The book will investigate whether the visual discourse of Japan in the global imagination is about to shift into a new era. The word ?capture? in the title of the book recognizes a level of dominance, even aggression with regards to images and how they feed into a larger discourse. It is also a play on words on the photographic term to ?capture?, as well as the notion of a spectacle that is ?captivating?. Contributions to this book by a diverse and interdisciplinary group of scholars will be conscious of the way images feed into, construct or subvert notions about Orientalism (Said) as well as self-exoticising discourses such as Strategic Essentialism (Spivak). Contributors might also consider how images sought to disrupt, subvert or at least challenge visual tropes about Japan thus complicating notions about a global imagination. Contributors might draw from the legacies of Japonisme of the 19th century or the rapid shifts the way Japan was perceived, and perceived itself, through images from the Meiji, Taisho or early Showa era, however the historical timespan for case studies is strictly from 1952 to the present. Please send a 200 to 250 word abstract as well as a 100 short biography to the editor of the book Dr. Marco Bohr m.bohr at lboro.ac.uk by the 1st of October 2018. Accepted contributors will receive notification by the 1st of November 2018. The full chapter of around 6500 words will be due in early 2019 with a view to publish the book in 2020. Marco can be contacted for any inquiries contributors might have. -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Sep 30 10:07:35 2018 From: nornes at umich.edu (Markus Nornes) Date: Sun, 30 Sep 2018 10:07:35 -0400 Subject: [KineJapan] FCCJ Message-ID: Dear KineJapaners, The Foreign Correspondents' Club in Yurakucho is hosting two English-subtitled screenings of new omnibus features in October, including the Hirozaku Kore-eda produced ?Ten Years Japan.? Both will be followed by Q&A sessions with the directors. Since FCCJ is a private club, you must reserve your seats through Screenings Curator Karen Severns: karenseverns at gmail.com Be sure to reserve at least TWO days before the screenings, as seats are limited. *1) **Wednesday, Oct. 3 at 5:00 pm (screenings start from 6:00 pm) * *PIGEON (from Asian Three-Fold Mirror 2016) and JOURNEY (from Asian Three-Fold Mirror 2018)* Preceded by a panel on the Tokyo International Film Festival, followed by a Q&A with directors Isao Yukisada and Daishi Matsunaga https://goo.gl/6sSqDb *2) Tuesday, Oct. 16 at 6:45 pm* *TEN YEARS JAPAN (Juu Nen)* followed by a Q&A with directors Akiyo Fujimura, Chie Hayakawa, Kei Ishikawa, Yusuke Kinoshita and Megumi Tsuno https://goo.gl/roa4rA --- *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: