From aaron.gerow at yale.edu  Tue Jan  1 01:15:44 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 1 Jan 2019 01:15:44 -0500
Subject: [KineJapan] Happy New Year and Kinema Club XVIII
Message-ID: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>

Here?s wishing you a happy and productive new year. I look forward to conversing with you all on KineJapan in 2019.

I also look forward to seeing many of you at Kinema Club XVIII at Yale. We were blessed with a lot of good nominations and ended up selecting the following films (six features and one animated short):

Fukujus? (Kawate Jir?, 1935)
?????????1935??

Flowers Have Fallen (Ishida Tamizo, 1938)
?????????1938??

Madam Butterfly?s Fantasy (1940)
??????????1940?)

Gate of Flesh (Makino Masahiro, 1948)
???????????1948??

The Eternal Breasts (Tanaka Kinuyo, 1955) 
?????????????1955??

The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)
????????????????, 1963??

Lily Festival (Hamano Sachi, 2001)
?????????2001??

We are still putting together the panels and the actual daily schedule. We have asked Kataoka Ichiro to perform the benshi, and Matsumura Makia to accompany him on piano, for the screening of Fukujuso. 

There is the chance that the copyright owners for one of these films might not let us show it (though the chance of that is quite small), so there may be some changes to the schedule, but do at least mark your calendars for February 22 to 24, 2019, and plan to join us at Yale!

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


















From maiku at umich.edu  Wed Jan  2 16:59:36 2019
From: maiku at umich.edu (M Arnold)
Date: Wed, 2 Jan 2019 21:59:36 +0000
Subject: [KineJapan] "Burning" NHK Drama Special broadcast
In-Reply-To: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
References: <CAH-ugOWi-yG7ey71L4OX7uOHCDHgF8mod+A0HY6uEBMLOsKTrA@mail.gmail.com>
Message-ID: <CAMc1D5LkSo0kmmN1ujba2+vGXFQx4uJ=f_neGcLRcc2PdsSKfA@mail.gmail.com>

I took a quick peek to compare the two versions, and sure enough the
NHK copy is heavily reedited with close to an hour cut. I didn't
compare everything, but parts of the second half are rearranged and
the early sex scene was of course drastically shortened (retaining
Jong-su's fascinating POV shots though). The TV version stops on what
looks like a proper ending shot, but it's a shot that comes ten
minutes before the credits roll in the full version. It is essentially
a different movie. How odd.

Happy new year, everyone!

Michael Arnold


On Sun, Dec 30, 2018 at 4:36 PM John Junkerman <jtj53213 at gmail.com> wrote:
>
> I had the very curious experience of watching NHK's broadcast of a "tokushu drama" version of Lee Chang-dong's "Burning" on Dec. 29 (10 pm Sat on NHK General channel). I was expecting to see the film (which is based on a Murakami Haruki short story) that won the FIPRESCI Prize at Cannes and has had a strongly positive response from critics, but what I saw was beautiful, inventive, very Murakami-esque in its oddly skewed and evocative slant on the pedestrian lives of its aimless characters, some hints of what critics raved about... but completely unengaging and unrewarding (it ended without an ending).
>
> Looking into it after the broadcast, it turned out that someone (NHK itself?) had cut 53 minutes from the film. Of course, this happens all the time after a film has finished theatrical release. The "drama special" was also dubbed...happens all the time, though it ruins the actors' performances.
>
> But why was this done a month before the film's theatrical release in Japan? Was this because NHK produced the film and has final cut, and the right to exploit it as it sees fit? I can't imagine that Lee directed this version, or signed off on it. I can't imagine Murakami did either.
>
> From what I understand, NHK has commissioned a number of leading Asian directors to make films based on Murakami's stories, and this is the first to be released. There's clearly a lot of juice behind the project (using hot Korean actors, and hot Japanese actors for the dubbing), but where are the director's rights in this equation?
>
> Some kind of hyping imperative seems to override the director's vision. To broadcast this chopped-up, incomprehensible version of a film, under its original title, with no apparent effort to let the audience know that it is not the same film--what were they thinking, if they were thinking at all?
>
> I'll look forward to seeing the original film when it is released in February, but I'd bet that a lot of those who watched the "drama special" won't bother, because they were left bored and perplexed.
>
> If anyone has heard some back story on all of this, I'd appreciate hearing it, because to me, it just flummoxes.
>
> --
> John Junkerman
> jtj53213 at gmail.com
> 2-18-6 Ehara-cho, Nakano
> Tokyo 165-0023
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

From eija at helsinkicineaasia.fi  Thu Jan  3 09:18:40 2019
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Thu, 3 Jan 2019 16:18:40 +0200
Subject: [KineJapan] Bohemian Rhapsody in Japan
In-Reply-To: <5C26FE37.4020304@treyvaud.net>
References: <9B04D6E5-1C67-4079-AA7B-F512EA378CB3@yale.edu>
 <CAH-ugOUj7Sd_orCZa_dO2riepKLg1BmvuTs3YPEQUYKs++CH5g@mail.gmail.com>
 <5C26FE37.4020304@treyvaud.net>
Message-ID: <CA+FavwM3Ehfnu8nyQ-qLXQ8Ev0jCev1t7N3OEjiqv-NPB9y6vA@mail.gmail.com>

Queen also had this decorative glitzy dress style and stage show when many
other bands were doing jeans style. Glitzy Japanese bands have always been
favorites.
Eija

la 29. jouluk. 2018 klo 6.55 Matt Treyvaud (matt at treyvaud.net) kirjoitti:

> I think a lot of it is the sheer and enduring popularity of Freddie
> Mercury in Japan. He?s an extremely beloved figure here, I?d say ranking no
> lower than John Lennon; there are references to him in comics, cartoons,
> etc... I don?t think that nostalgia for the golden age of Queen was more
> relevant here than anywhere else. The screening I attended was full of
> young-looking, many of whom (to judge from overheard conversations
> afterwards) didn?t know much about Queen beforehand, but they all knew and
> loved Freddie.
>
> I?d say this also explains the "satisfaction" thing: People wanted to have
> a good time watching the spectacular story of Freddie Mercury, with
> colorful period detail (costumes!) and a bunch of great songs (if you like
> Queen) they mostly knew. And that's exactly what they got.
>
> --Matt
>
> John Junkerman wrote:
>
> I haven't seen the film yet, anticipating feeling the same way Aaron did,
> but I was talking about this at a bonenkai last night. A friend pointed out
> that Queen's initial popularity was in Japan and then it spread throughout
> the world (I haven't verified this), and many of the audience are
> middle-aged women who became fans during that time. So nostalgia may be a
> factor. Also the ???? participatory screenings are quite an event, it
> seems. There are cine-complexes that are running it on all screens, and the
> release of other films has been delayed as a result. I'm planning to take
> in one of the oen joei, just out of sociological interest.
>
> On Sat, Dec 29, 2018 at 11:12 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:
>
>> On our last day in Portland, the family and I went to see Bohemian
>> Rhapsody in the theater. I am not really a Queen fan; in fact my main
>> interest was trying to think why this was such a huge hit in Japan. As of
>> today, it?s made $55 million at the Japanese BO (with predictions it will
>> go over $70 million), with Japan being the film?s third biggest non-US
>> market (the South Korean BO numbers are higher, but it opened there
>> earlier).
>>
>> I did not like the film that much, for its mythification of Freddie and
>> predictable direction, but I wonder why it has not only made a bunch at the
>> Japanese BO, but also came in number 1 in Pia?s satisfaction survey for all
>> of 2018.
>>
>> My inclination is to look at both its melodrama and its depiction of
>> family?and the promise of mass unity?but I was wondering what others think,
>> or what others might have written about this.
>>
>>
>> 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
>
> _______________________________________________
> KineJapan mailing listKineJapan at mailman.yale.eduhttps://mailman.yale.edu/mailman/listinfo/kinejapan
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>


-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
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From jeremyharley at gmail.com  Thu Jan  3 11:24:05 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Fri, 4 Jan 2019 01:24:05 +0900
Subject: [KineJapan] Mabashi Wonderland Movie Festival
In-Reply-To: <CAD3BKu8XdjODb5TZNEhru+CwY5=7jHpoik6bZQ3FxQH6L_yy5A@mail.gmail.com>
References: <CAD3BKu8XdjODb5TZNEhru+CwY5=7jHpoik6bZQ3FxQH6L_yy5A@mail.gmail.com>
Message-ID: <CAD3BKu96hiNedcooDOMAV44QdUT1_FA5hJ9dAw_C3Wu2zUeCww@mail.gmail.com>

Cont'd....
Here is our flyer, which lists movie times.
*Diary of a Rambling Woman* will not be shown with English subtitles, as
the director's computer has broken, and they are too complicated (involving
positioning between translations of spoken dialogue versus comic book
dialogue etc) to do last-minute. The movie's fantastic though.

I hope to have a map up here in time: https://twitter.com/mabashimovie
but please look up the venue in advance and leave a tiny bit extra time, as
it's not the most obvious place.

Do stop by if you get the chance!!!

Jeremy
Mabashi Wonderland Movie Festival

[image: ?????????? ??.jpg]
[image: ?????????? ?.jpg]


On Mon, Dec 17, 2018 at 11:40 PM Jeremy Harley <jeremyharley at gmail.com>
wrote:

> Dear everyone,
> I am starting a new festival "next month!!" in Koenji called the Mabashi
> Wonderland Movie Festival.
> Dates are Jan 18, 19, 20 (Fri, Sat, Sun).
>
> I have tried to describe it below, but some clarification is surely needed
> here and there, please don't hesitate to ask.
>
> Most but not all films have English subtitles (or are in English to begin
> with), but I don't know how much I'll be able be to promote this festival
> in English in its first year, so please pass this along to friends and
> students or anyone at all whom you think might be interested!
> (prefer it's not posted on Facebook or online, if you don't mind. It's not
> fully polished, perhaps.)
>
> A more official flyer (in Japanese) will follow in the next few days.
>
> Below are the films decided so far, which will be complemented with older
> Mabashi shorts and perhaps new shorts by Mabashi directors (TBA).
>
> *Features*:
> *Diary of a Rambling Woman* (in JP with ENG subs) by Mari Terashima
> *Bamseom Pirates,  Seoul Inferno* (in KR with JP and ENG subs) by Yoonsuk
> Jung
> *I'm Not Here *(in JP with ENG subs) by Shintaro Hihara
>
> *Shorts programs*:
> *Koki Ebata's Mabashi Movies*  (in JP)
> *Chess Forum Movies *(in JP with ENG subs)
>
> and more....
>
> Further descriptions of the movies follow below, and you may find a
> description of the original *Mabashi Movie Festival (now resting?) at the
> very bottom. That festival was founded by three of us. This time, I'm doing
> a different kind of festival under this new-ish name.
>
> Dates: Jan 18, 19, 20 (Fri, Sat, Sun)
> Venue: Shiroto no Ran #12 (Fudeno bldg. 2f 3-8-12 Koenji-kita Suginami-ku
> Tokyo 1660002 Japan)
>
> Hope to see you at the movies....!
> peace to all,
> Jeremy
>
>
> ?We will premiere the English-subtitled version (my translation) of *Diary
> of a Rambling Woman*. Mari Terashima has been making movies for a long
> time, you may be familiar with Princess Plum Pudding (1999) and Alice in
> the Underworld: the Dark M?rchen Show!! (2009).
> Diary of a Rambling Woman is a brooding batty and uproarious self-mocking
> self-documentary.
>
> ?The band in *Bamseom Pirates,  Seoul Inferno *-Bamseom Pirates - has
> close ties to Koenji, especially to Shiroto no Ran (Amateur Revolt/Riot),
> and the movie will be showing there for the first time, so it should be
> great fun. The band's satirical lyrics jibe well with the Shiroto no Ran
> view on life. The movie's garish envisioning of the band's songs has its
> own style, that complements them eloquently.
>
>  ?Both of these are laugh out loud movies, made to be seen with people, in
> public.
>
> ?*I'm Not Here* is a fiction feature shot by an employee of the film
> division of an arts college. He shot in the college itself, using film
> students as his actors, but the film's message is to harshly criticize the
> school and its administration as it becomes more and more commercial to the
> detriment of its students, a ubiquitous problem in Japan today. Unhurried
> at 2 hrs 20 min, and yet completely engrossing.
>
> ?Koki Ebata might be best known for Transgender Trouble, which showed at
> Yamagata in 2011, and she also filmed a daring chronicle of her boyfriend's
> arrest in a protest in September 2011 entitled My Boyfriend Was Arrested!
> She made 6 shorts for Mabashi over the years, all shown here. The first
> three chronicle the work of the collective RLL, who were centered in and
> around Shiroto no Ran. The third shows anti-nuclear protests from April
> 2011 through early summer of 2011. The last two are more diary-like. All
> shorts are 10 min or a few seconds under, so it's an hour-long program.
>
> ?Chess Forum is a chess store where I used to work in Greenwich Village in
> New York, and a number of shorts (fiction and documentary) have been made
> in and about it, so I thought I'd show a few, with Japanese subtitles. It's
> a last vestige of a New York that once was, watched over by the son of
> Palestian refugees, and I hope we can express at least a tiny bit of what
> the store is about, and hopefully transport viewers to someplace
> interesting.
>
> *The Mabashi Movie Festival was a community film festival held in
> ?Mabashi? (the old name for an area between Koenji and Asagaya in Tokyo) a
> total of ten times between August 2007 and February 2013. Participating
> directors made new films of up to ten minutes each, which we screened for
> one another in person (and mostly didn?t upload on YouTube, which became
> popular in the same period).
>
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From azahlten at fas.harvard.edu  Wed Jan  9 20:58:33 2019
From: azahlten at fas.harvard.edu (Zahlten, Alexander)
Date: Thu, 10 Jan 2019 01:58:33 +0000
Subject: [KineJapan] Happy New Year and Kinema Club XVIII
In-Reply-To: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
Message-ID: <F4ABEC15-1B2E-4A27-8F4E-6063D3AA88CD@fas.harvard.edu>

Hello Aaron (and Everyone),

Happy New Year!

Just in case I missed it, has a schedule for the upcoming Kinema Club been sent out yet?

Best,
Alex




?On 1/1/19, 01:16, "KineJapan on behalf of Gerow Aaron" <kinejapan-bounces at mailman.yale.edu on behalf of aaron.gerow at yale.edu> wrote:

    Here?s wishing you a happy and productive new year. I look forward to conversing with you all on KineJapan in 2019.
    
    I also look forward to seeing many of you at Kinema Club XVIII at Yale. We were blessed with a lot of good nominations and ended up selecting the following films (six features and one animated short):
    
    Fukujus? (Kawate Jir?, 1935)
    ?????????1935??
    
    Flowers Have Fallen (Ishida Tamizo, 1938)
    ?????????1938??
    
    Madam Butterfly?s Fantasy (1940)
    ??????????1940?)
    
    Gate of Flesh (Makino Masahiro, 1948)
    ???????????1948??
    
    The Eternal Breasts (Tanaka Kinuyo, 1955) 
    ?????????????1955??
    
    The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)
    ????????????????, 1963??
    
    Lily Festival (Hamano Sachi, 2001)
    ?????????2001??
    
    We are still putting together the panels and the actual daily schedule. We have asked Kataoka Ichiro to perform the benshi, and Matsumura Makia to accompany him on piano, for the screening of Fukujuso. 
    
    There is the chance that the copyright owners for one of these films might not let us show it (though the chance of that is quite small), so there may be some changes to the schedule, but do at least mark your calendars for February 22 to 24, 2019, and plan to join us at Yale!
    
    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
    


From jeremyharley at gmail.com  Thu Jan 10 22:17:02 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Fri, 11 Jan 2019 12:17:02 +0900
Subject: [KineJapan] Kawase to direct Olympics doc
In-Reply-To: <CAGdu56MqX4b1yA6soeyNLVCROdGcOj+wr-7m3-pjZd4vhRb09g@mail.gmail.com>
References: <41CD0227-5CDF-44E0-9F03-69333376CAD6@yale.edu>
 <CAMnAxfJ0tCisL8359B1wXmqT-5oBhHzMdX79Gyw6+gmLObU14g@mail.gmail.com>
 <CAA7VZxhG1BjsdB2cUjrScnoydZUqmn4rK2Rj4zaYiF1yt43-gw@mail.gmail.com>
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 <CALzvMzAFzo_EhnYhJYe49DtmH9ZGJVWNNipfL2zg_WUajfwoKw@mail.gmail.com>
 <34031BF8-6C60-4345-AB13-B7D5333BA596@yale.edu>
 <CALzvMzC=istLrsP9t=L+Z15H622czaBJVobt2gejinZk01S1bw@mail.gmail.com>
 <CANoSnpAG+ucrOpMz6GhOec-Q_E5PwqF1SRwprcCG=1FSS7jhnA@mail.gmail.com>
 <CAGdu56OC9pejgNmYDcG=aAfbTM38w-1FwVgYe6evSXftd2Sr4A@mail.gmail.com>
 <359793855.27962393.1540829558849@mail.yahoo.com>
 <CAGdu56MqX4b1yA6soeyNLVCROdGcOj+wr-7m3-pjZd4vhRb09g@mail.gmail.com>
Message-ID: <CAD3BKu-EDEbLipKdnmeOuQSctWNJdR6ugX69TuU7R+tgjUdiEA@mail.gmail.com>

Sorry to jump on this thread late but I'm wondering when they're going to
do something that reflects the slogan on all the Olympic signs around
Tokyo, "Unity in Diversity" (apparently a "supplementary" slogan to the
Japanese, see below, which has to do with "connecting everyone's radiance"
<-- slapdash translation, but I wanted to give a general idea).

Seems like choosing a non Japanese ( or "non Japanese"?) director for this
might have been one super great opportunity to do so.

Jeremy Harley
Mabashi Wonderland Movie Festival


???????
????? ???????????????
?? ?? Unity in Diversity
???????????????????

On Tue, Oct 30, 2018 at 1:29 AM Dolores Martinez <dm6 at soas.ac.uk> wrote:

> 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 <macyroger at yahoo.co.uk> 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 <
>> dm6 at soas.ac.uk> 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 <nornes at umich.edu> 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 <notreconciled at gmail.com>
>> 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 <aaron.gerow at yale.edu>
>> 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
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From tjgharris at gmail.com  Thu Jan 10 22:56:01 2019
From: tjgharris at gmail.com (Timothy Harris)
Date: Fri, 11 Jan 2019 12:56:01 +0900
Subject: [KineJapan] Alan Booth talk & book-signing
Message-ID: <CA+u7bWesDdEr1LfMMUeQ+NfufPuUuhucFqpLD0MDoMHnp3w8_g@mail.gmail.com>

On the evening of Tuesday, February the 26th, there will be a 'do' at the
Foreign Correspondents Club of Japan, at which I shall talk about the book
of Alan Booth's shorter writings that I edited: *This Great Stage of
Fools *(Bright
Wave Media)*.* These writings include 48 of his excellent reviews of
Japanese film, covering the years 1979-1989. In case any contributors to
KineJapan who live in Japan are interested in coming to the event, here is
a link:

http://www.fccj.or.jp/events-calendar/book-breaks/icalrepeat.detail/2019/02/26/5144/-/book-break-timothy-harris-editor-of-this-great-stage-of-fools-an-anthology-of-uncollected-writings-by-alan-booth.html

All good wishes for the Year of Trwch Twyrth!

Tim Harris
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From caitlin.casiello at yale.edu  Fri Jan 11 20:09:29 2019
From: caitlin.casiello at yale.edu (Caitlin Casiello)
Date: Fri, 11 Jan 2019 20:09:29 -0500
Subject: [KineJapan] Happy New Year and Kinema Club XVIII
In-Reply-To: <F4ABEC15-1B2E-4A27-8F4E-6063D3AA88CD@fas.harvard.edu>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
 <F4ABEC15-1B2E-4A27-8F4E-6063D3AA88CD@fas.harvard.edu>
Message-ID: <CAFvSkXNiE8w20QTk0FXhqZkWqHXxdNF74ciyE14BPdqsPav4Cg@mail.gmail.com>

Hi Alex & Kineclubbers,

We will have a schedule out soon!

In the mean time, I wanted to note that we have a block of rooms at a
discount rate at the Courtyard Marriott in New Haven where the panelists
will be staying. The booking link is here so if anyone is coming, please
book through this: https://www.marriott
.com/event-reservations/reservation-link.mi?id=1544217275236&key=GRP&app=resvlink.
It's for a limited time only (through January 21st) so hopefully we'll get
a schedule out so you can commit. (The block of rooms will also be
available after the 21st, but at the standard rate.)

Also (at the risk of igniting a debate about mailing lists vs Facebook), we
have a Facebook page up for the event where we will be posting updates and
information. Please follow if you still use the Zuck's information
manipulation playground:
https://www.facebook.com/Kinema-Club-18-Gender-Sexuality-in-Japanese-Film-622140941553602

Best,
Caitlin


On Wed, Jan 9, 2019 at 8:58 PM Zahlten, Alexander <azahlten at fas.harvard.edu>
wrote:

> Hello Aaron (and Everyone),
>
> Happy New Year!
>
> Just in case I missed it, has a schedule for the upcoming Kinema Club been
> sent out yet?
>
> Best,
> Alex
>
>
>
>
> ?On 1/1/19, 01:16, "KineJapan on behalf of Gerow Aaron" <
> kinejapan-bounces at mailman.yale.edu on behalf of aaron.gerow at yale.edu>
> wrote:
>
>     Here?s wishing you a happy and productive new year. I look forward to
> conversing with you all on KineJapan in 2019.
>
>     I also look forward to seeing many of you at Kinema Club XVIII at
> Yale. We were blessed with a lot of good nominations and ended up selecting
> the following films (six features and one animated short):
>
>     Fukujus? (Kawate Jir?, 1935)
>     ?????????1935??
>
>     Flowers Have Fallen (Ishida Tamizo, 1938)
>     ?????????1938??
>
>     Madam Butterfly?s Fantasy (1940)
>     ??????????1940?)
>
>     Gate of Flesh (Makino Masahiro, 1948)
>     ???????????1948??
>
>     The Eternal Breasts (Tanaka Kinuyo, 1955)
>     ?????????????1955??
>
>     The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)
>     ????????????????, 1963??
>
>     Lily Festival (Hamano Sachi, 2001)
>     ?????????2001??
>
>     We are still putting together the panels and the actual daily
> schedule. We have asked Kataoka Ichiro to perform the benshi, and Matsumura
> Makia to accompany him on piano, for the screening of Fukujuso.
>
>     There is the chance that the copyright owners for one of these films
> might not let us show it (though the chance of that is quite small), so
> there may be some changes to the schedule, but do at least mark your
> calendars for February 22 to 24, 2019, and plan to join us at Yale!
>
>     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
>


-- 
Caitlin Casiello

Ph.D. Student
Film & Media Studies / East Asian Languages and Literatures
Graduate School of Arts and Sciences
Yale University
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From earljac at gmail.com  Fri Jan 11 21:12:59 2019
From: earljac at gmail.com (Earl Jackson)
Date: Sat, 12 Jan 2019 10:12:59 +0800
Subject: [KineJapan] Happy New Year and Kinema Club XVIII
In-Reply-To: <CAFvSkXNiE8w20QTk0FXhqZkWqHXxdNF74ciyE14BPdqsPav4Cg@mail.gmail.com>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
 <F4ABEC15-1B2E-4A27-8F4E-6063D3AA88CD@fas.harvard.edu>
 <CAFvSkXNiE8w20QTk0FXhqZkWqHXxdNF74ciyE14BPdqsPav4Cg@mail.gmail.com>
Message-ID: <CABhbz8MVOcRsAxsnJQ5Eyvjd7BPWpkbgjkxSSnoBLROG80=qig@mail.gmail.com>

Dear Caitlin,
Thank you for the update. This will be such a special event!
best
ej
Earl Jackson
Professor
Chair, Foreign Languages and Literatures
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute


On Sat, Jan 12, 2019 at 9:09 AM Caitlin Casiello <caitlin.casiello at yale.edu>
wrote:

> Hi Alex & Kineclubbers,
>
> We will have a schedule out soon!
>
> In the mean time, I wanted to note that we have a block of rooms at a
> discount rate at the Courtyard Marriott in New Haven where the panelists
> will be staying. The booking link is here so if anyone is coming, please
> book through this: https://www.marriott
> .com/event-reservations/reservation-link.mi?id=1544217275236&key=GRP&app=resvlink.
> It's for a limited time only (through January 21st) so hopefully we'll get
> a schedule out so you can commit. (The block of rooms will also be
> available after the 21st, but at the standard rate.)
>
> Also (at the risk of igniting a debate about mailing lists vs Facebook),
> we have a Facebook page up for the event where we will be posting updates
> and information. Please follow if you still use the Zuck's information
> manipulation playground:
> https://www.facebook.com/Kinema-Club-18-Gender-Sexuality-in-Japanese-Film-622140941553602
>
> Best,
> Caitlin
>
>
> On Wed, Jan 9, 2019 at 8:58 PM Zahlten, Alexander <
> azahlten at fas.harvard.edu> wrote:
>
>> Hello Aaron (and Everyone),
>>
>> Happy New Year!
>>
>> Just in case I missed it, has a schedule for the upcoming Kinema Club
>> been sent out yet?
>>
>> Best,
>> Alex
>>
>>
>>
>>
>> ?On 1/1/19, 01:16, "KineJapan on behalf of Gerow Aaron" <
>> kinejapan-bounces at mailman.yale.edu on behalf of aaron.gerow at yale.edu>
>> wrote:
>>
>>     Here?s wishing you a happy and productive new year. I look forward to
>> conversing with you all on KineJapan in 2019.
>>
>>     I also look forward to seeing many of you at Kinema Club XVIII at
>> Yale. We were blessed with a lot of good nominations and ended up selecting
>> the following films (six features and one animated short):
>>
>>     Fukujus? (Kawate Jir?, 1935)
>>     ?????????1935??
>>
>>     Flowers Have Fallen (Ishida Tamizo, 1938)
>>     ?????????1938??
>>
>>     Madam Butterfly?s Fantasy (1940)
>>     ??????????1940?)
>>
>>     Gate of Flesh (Makino Masahiro, 1948)
>>     ???????????1948??
>>
>>     The Eternal Breasts (Tanaka Kinuyo, 1955)
>>     ?????????????1955??
>>
>>     The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)
>>     ????????????????, 1963??
>>
>>     Lily Festival (Hamano Sachi, 2001)
>>     ?????????2001??
>>
>>     We are still putting together the panels and the actual daily
>> schedule. We have asked Kataoka Ichiro to perform the benshi, and Matsumura
>> Makia to accompany him on piano, for the screening of Fukujuso.
>>
>>     There is the chance that the copyright owners for one of these films
>> might not let us show it (though the chance of that is quite small), so
>> there may be some changes to the schedule, but do at least mark your
>> calendars for February 22 to 24, 2019, and plan to join us at Yale!
>>
>>     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
>>
>
>
> --
> Caitlin Casiello
>
> Ph.D. Student
> Film & Media Studies / East Asian Languages and Literatures
> Graduate School of Arts and Sciences
> Yale University
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From aaron.gerow at yale.edu  Sun Jan 13 09:05:57 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sun, 13 Jan 2019 09:05:57 -0500
Subject: [KineJapan] Ichihara Etsuko
Message-ID: <E0D6EF9A-B927-4E8B-A3A1-E847EDC2AD63@yale.edu>

The actress Ichihara Etsuko has passed away at the age of 82. Starting out at the Haiyuza theater troupe in the late 1950s, she was most famous on TV for such series as "Kaseifu wa mita," but she appeared in many great films including Black Rain, Samurai Rebellion, Face of Another, Man Without a Map, Unagi, Sweet Bean, etc. She was also known for her voice work, performing Hilda in Horus: Prince of the Sun, the narrator in Manga Nihon mukashibanashi, and the grandmother in Your Name.

https://www.sankei.com/life/news/190113/lif1901130044-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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From eija.niskanen at gmail.com  Tue Jan  8 06:01:16 2019
From: eija.niskanen at gmail.com (Eija Niskanen)
Date: Tue, 8 Jan 2019 13:01:16 +0200
Subject: [KineJapan] Page of Madness
Message-ID: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>

Dear all,

who is the current distributor/rights' owner for Page of Madness? An art
house theater in Finland is interested in a screening.

Eija

-- 
Eija Niskanen
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From aaron.gerow at yale.edu  Sun Jan 13 16:45:35 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sun, 13 Jan 2019 16:45:35 -0500
Subject: [KineJapan] Page of Madness
In-Reply-To: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>
References: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>
Message-ID: <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>

That?s a tricky question. Technically, most think the film is public domain, which is why Flicker Alley was able to put out that Blu-Ray.

The NFAJ treats the film as still under the provenance of Kinugasa?s family, but it?s debatable whether those constitute any rights. The NFAJ is renting out their print again, after many years of not doing so, so if you want the best print, contact the NFAJ.

Otherwise, the Eastman House and the BFI prints are both supposed to be pretty good. I?ve seen the Eastman House one several times.

If you just want to show the Blu-Ray, you can contact Flicker Alley. That?s what we did for our screening at Haremame.

Aaron

> 2019/01/08 ??6:01?Eija Niskanen <eija.niskanen at gmail.com>????:
> 
> Dear all,
> 
> who is the current distributor/rights' owner for Page of Madness? An art house theater in Finland is interested in a screening.
> 
> Eija
> 
> -- 
> Eija Niskanen
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan


From jasper_sharp at hotmail.com  Mon Jan 14 05:23:27 2019
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Mon, 14 Jan 2019 10:23:27 +0000
Subject: [KineJapan] Page of Madness
In-Reply-To: <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>
References: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>,
 <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>
Message-ID: <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>

I don't think the BFI is loaning out their print any more, not for the past ten years at least.
They do have a very good 35mm print of JUJIRO, Kinugasa's much lesser known and seldom screened other "experimental" film, which to my mind is far better, although I know I am in a minority here.

Jasper


The Creeping Garden<http://www.creepinggarden.com/> - 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<https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>.
The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.
"A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>.
"An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter<https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>.
"Strange, eccentric, diverting", Peter Bradshaw, The Guardian<https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>.

________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Gerow Aaron <aaron.gerow at yale.edu>
Sent: 13 January 2019 21:45
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Page of Madness

That?s a tricky question. Technically, most think the film is public domain, which is why Flicker Alley was able to put out that Blu-Ray.

The NFAJ treats the film as still under the provenance of Kinugasa?s family, but it?s debatable whether those constitute any rights. The NFAJ is renting out their print again, after many years of not doing so, so if you want the best print, contact the NFAJ.

Otherwise, the Eastman House and the BFI prints are both supposed to be pretty good. I?ve seen the Eastman House one several times.

If you just want to show the Blu-Ray, you can contact Flicker Alley. That?s what we did for our screening at Haremame.

Aaron

> 2019/01/08 ??6:01?Eija Niskanen <eija.niskanen at gmail.com>????:
>
> Dear all,
>
> who is the current distributor/rights' owner for Page of Madness? An art house theater in Finland is interested in a screening.
>
> Eija
>
> --
> Eija Niskanen
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7C%7C690ff226d9fc4780c49208d679a077ca%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636830127446858656&amp;sdata=Wif92fBqFcLodDhoKE%2BDlKvxPEoaarcTaqgFofUYs1s%3D&amp;reserved=0

_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7C%7C690ff226d9fc4780c49208d679a077ca%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636830127446858656&amp;sdata=Wif92fBqFcLodDhoKE%2BDlKvxPEoaarcTaqgFofUYs1s%3D&amp;reserved=0
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From macyroger at yahoo.co.uk  Mon Jan 14 06:49:07 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 14 Jan 2019 11:49:07 +0000 (UTC)
Subject: [KineJapan] Page of Madness
In-Reply-To: <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>
References: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>
 <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>
 <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>
Message-ID: <2023346476.28588429.1547466547194@mail.yahoo.com>

 
You surprise me Jasper.

I thought that screening in September ?17 at King?s College, London wasfrom the BFI 35mm print (after some repairs) ? As you said on the panel, it had been projected to atthe wrong speed (24fps) - to fit in with the musicians? plan. Anyway, afterthat screening I checked with BFI?s silent curator, Bryony Dixon as to whether,in principle, their print could be projected at slower speed without the sound,and she said ?yes?. I sincerely hope someone does.

For completeness (although the Flicker Alley Blu-ray ismulti-region), one could mention that there is also a recent DVD from LobsterFilms in Paris. Although it comes out at 69 minutes, it is clearly from thesame capture as the Flicker Alley Blu-ray (71 minutes at 20fps), evenwith the same sound-track of music by Alloy Orchestra, and the same englishsubtitling of the opening credits (french can be switched on, but given theabsence of intertitles in this film, this is neither here nor there). So it islikely that Lobster do not have their own print (although you could check). Ithas different extras to the Flicker Alley disc and these are sourced from theirown prints, including L?Araign?e (= The Spider), 1913. The opening title onthis print says ?Mimodramejaponais, jou? par les artistes du Th??tre Imp?rial de Tokio dans la campagned?Yedo. Eclair.? ?Serge Bromberg of Lobster has confirmed that ?The film was obviously shot in the Bois deVincennes, near Paris, where Path? had his laboratories.? Path? duly picked up the ?Imperial Theatre?tag in its catalogue, but I think Hiroshi Komatsu would allow me to repeat fromhis email that ?They are absolutely not the actors of the Imperial Theatre.They are one of the theatrical groups active in France at that time. As far asI remember, Mr. Kawaura's troupe.?.

So Iam shocked - shocked - to learn that film promoters in Paris in 1913 didnot necessarily tell the pure truth.

Roger


    On Monday, 14 January 2019, 10:23:40 GMT, Jasper Sharp <jasper_sharp at hotmail.com> wrote:  
 
 I don't think the BFI is loaning out their print any more, not for the past ten years at least.?They do have a very good 35mm print of JUJIRO, Kinugasa's much lesser known and seldom screened other "experimental" film, which to my mind is far better, although I know I am in a minority here.
Jasper?

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 <kinejapan-bounces at mailman.yale.edu> on behalf of Gerow Aaron <aaron.gerow at yale.edu>
Sent: 13 January 2019 21:45
To: Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Page of Madness?That?s a tricky question. Technically, most think the film is public domain, which is why Flicker Alley was able to put out that Blu-Ray.

The NFAJ treats the film as still under the provenance of Kinugasa?s family, but it?s debatable whether those constitute any rights. The NFAJ is renting out their print again, after many years of not doing so, so if you want the best print, contact the NFAJ.

Otherwise, the Eastman House and the BFI prints are both supposed to be pretty good. I?ve seen the Eastman House one several times.

If you just want to show the Blu-Ray, you can contact Flicker Alley. That?s what we did for our screening at Haremame.

Aaron

> 2019/01/08 ??6:01?Eija Niskanen <eija.niskanen at gmail.com>????:
> 
> Dear all,
> 
> who is the current distributor/rights' owner for Page of Madness? An art house theater in Finland is interested in a screening.
> 
> Eija
> 
> -- 
> Eija Niskanen
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7C%7C690ff226d9fc4780c49208d679a077ca%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636830127446858656&amp;sdata=Wif92fBqFcLodDhoKE%2BDlKvxPEoaarcTaqgFofUYs1s%3D&amp;reserved=0

_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7C%7C690ff226d9fc4780c49208d679a077ca%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636830127446858656&amp;sdata=Wif92fBqFcLodDhoKE%2BDlKvxPEoaarcTaqgFofUYs1s%3D&amp;reserved=0
_______________________________________________
KineJapan mailing list
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https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From eija at helsinkicineaasia.fi  Mon Jan 14 12:56:17 2019
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Mon, 14 Jan 2019 19:56:17 +0200
Subject: [KineJapan] Page of Madness
In-Reply-To: <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>
References: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>
 <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>
 <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>
Message-ID: <CA+FavwNHbWBjDUHYK=PYGQznkARUBxW8iqaFLO0FXWpeyOoofQ@mail.gmail.com>

Someone found a print in Paris!
Eija

ma 14. tammik. 2019 klo 12.23 Jasper Sharp (jasper_sharp at hotmail.com)
kirjoitti:

> I don't think the BFI is loaning out their print any more, not for the
> past ten years at least.
> They do have a very good 35mm print of JUJIRO, Kinugasa's much lesser
> known and seldom screened other "experimental" film, which to my mind is
> far better, although I know I am in a minority here.
>
> Jasper
>
>
> *The Creeping Garden <http://www.creepinggarden.com/> *- 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
> <https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>
> .
> The book, *The Creeping Garden: Irrational Encounters with Plasmodial
> Slime Moulds *is out now from Alchimia Publishing
> <http://www.alchimiapublishing.com/creeping-garden/>.
> "A surprising investigation of perception, thought and life itself",
> Nicolas Rapold, *The New York Times*
> <http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>
> .
> "An out-of-left-field nerdy delight", John DeFore, *Hollywood Reporter*
> <https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>
> .
> "Strange, eccentric, diverting", Peter Bradshaw, *The Guardian*
> <https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>
> .
>
> ------------------------------
> *From:* KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Gerow
> Aaron <aaron.gerow at yale.edu>
> *Sent:* 13 January 2019 21:45
> *To:* Japanese Cinema Discussion Forum
> *Subject:* Re: [KineJapan] Page of Madness
>
> That?s a tricky question. Technically, most think the film is public
> domain, which is why Flicker Alley was able to put out that Blu-Ray.
>
> The NFAJ treats the film as still under the provenance of Kinugasa?s
> family, but it?s debatable whether those constitute any rights. The NFAJ is
> renting out their print again, after many years of not doing so, so if you
> want the best print, contact the NFAJ.
>
> Otherwise, the Eastman House and the BFI prints are both supposed to be
> pretty good. I?ve seen the Eastman House one several times.
>
> If you just want to show the Blu-Ray, you can contact Flicker Alley.
> That?s what we did for our screening at Haremame.
>
> Aaron
>
> > 2019/01/08 ??6:01?Eija Niskanen <eija.niskanen at gmail.com>????:
> >
> > Dear all,
> >
> > who is the current distributor/rights' owner for Page of Madness? An art
> house theater in Finland is interested in a screening.
> >
> > Eija
> >
> > --
> > Eija Niskanen
> >
> > _______________________________________________
> > KineJapan mailing list
> > KineJapan at mailman.yale.edu
> >
> https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7C%7C690ff226d9fc4780c49208d679a077ca%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636830127446858656&amp;sdata=Wif92fBqFcLodDhoKE%2BDlKvxPEoaarcTaqgFofUYs1s%3D&amp;reserved=0
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
>
> https://nam02.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7C%7C690ff226d9fc4780c49208d679a077ca%7C84df9e7fe9f640afb435aaaaaaaaaaaa%7C1%7C0%7C636830127446858656&amp;sdata=Wif92fBqFcLodDhoKE%2BDlKvxPEoaarcTaqgFofUYs1s%3D&amp;reserved=0
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>


-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
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From aaron.gerow at yale.edu  Mon Jan 14 13:24:42 2019
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Mon, 14 Jan 2019 13:24:42 -0500
Subject: [KineJapan] Page of Madness
In-Reply-To: <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>
References: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>
 <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>
 <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>
Message-ID: <BB92EA2F-EF78-4186-AB07-1525FD7FB86D@yale.edu>

When the JAEFF showed the film in September 2017, they used the BFI print.

Aaron

> 
> I don't think the BFI is loaning out their print any more, not for the past ten years at least. 
> They do have a very good 35mm print of JUJIRO, Kinugasa's much lesser known and seldom screened other "experimental" film, which to my mind is far better, although I know I am in a minority here.
> 
> Jasper 

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From jasper_sharp at hotmail.com  Wed Jan 16 12:37:09 2019
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Wed, 16 Jan 2019 17:37:09 +0000
Subject: [KineJapan] Page of Madness
In-Reply-To: <BB92EA2F-EF78-4186-AB07-1525FD7FB86D@yale.edu>
References: <CA+FavwN2-mzvtusL7LTzTYv15fE3uWdVyuKRj8e_zcnbQXjmig@mail.gmail.com>
 <BE6465FD-D27A-45B0-8B3F-1EFCC2831270@yale.edu>
 <AM0PR04MB4145A5E3D817CF8AF4CBF66BF7800@AM0PR04MB4145.eurprd04.prod.outlook.com>,
 <BB92EA2F-EF78-4186-AB07-1525FD7FB86D@yale.edu>
Message-ID: <VI1PR04MB4158318625E549A76DC0E053F7820@VI1PR04MB4158.eurprd04.prod.outlook.com>

Sorry, my mistake - I do know though that for a long time they weren't loaning it out and had heard that it was also a tricky business getting the clearance for this particular screening.


The Creeping Garden<http://www.creepinggarden.com/> - 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<https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>.
The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.
"A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>.
"An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter<https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>.
"Strange, eccentric, diverting", Peter Bradshaw, The Guardian<https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>.

________________________________
From: Aaron Gerow <aaron.gerow at yale.edu>
Sent: 14 January 2019 18:24
To: Jasper Sharp; Japanese Cinema Discussion Forum
Subject: Re: [KineJapan] Page of Madness

When the JAEFF showed the film in September 2017, they used the BFI print.

Aaron


I don't think the BFI is loaning out their print any more, not for the past ten years at least.
They do have a very good 35mm print of JUJIRO, Kinugasa's much lesser known and seldom screened other "experimental" film, which to my mind is far better, although I know I am in a minority here.

Jasper

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From caitlin.casiello at yale.edu  Sat Jan 19 17:09:45 2019
From: caitlin.casiello at yale.edu (Caitlin Casiello)
Date: Sat, 19 Jan 2019 17:09:45 -0500
Subject: [KineJapan] Kinema Club XVIII Schedule, February 22nd-24th,
 Yale University
Message-ID: <CAFvSkXNcdGEtXq6WZ7C11COf89fckG7M8i0=2bz9AwsCVm1WPA@mail.gmail.com>

Dear Kineastes,

We are happy to announce the below schedule for Kinema Club XVIII, Gender
and Sexuality in Japanese Cinema, on February 22nd-24th, Yale University.

If you are joining us, there is still time to book discount hotel rooms at
the Courtyard Marriott:
https://www.marriott.com/event-reservations/reservation-link.mi?id=1544217275236&key=GRP&app=resvlink

Please be in touch with any questions, comments, strong objections to our
translations of the films' titles, etc. Looking forward to seeing you all.

Best,
Caitlin

*Kinema Club XVIII Schedule*

*Feb 22nd, Friday  *

6:00pm - Reception

7:00pm - Fukujus? (Kawate Jir?, 1935)
With benshi and live piano accompaniment
Panelists: Sarah Frederick, Marta Figlerowicz, Brian Meacham

*Feb 23rd, Saturday*

8:00 am - Breakfast

9:00 am - Gate of Flesh (Makino Masahiro, 1948)
Panelists: Sait? Ayako, Kamiya Makiko, Vera Mackie, Griseldis Kirsch
(Moderator: Irene Gonzalez)

11:30am - Lunch break

12:30pm - Lily Festival (Hamano Sachi, 2001)
Panelists: Jasper Sharp, Caitlin Casiello, Jonathan Hall

3:30pm - Coffee break

4:00pm - Flowers Have Fallen (Ishida Tamiz?, 1938) and Madam Butterfly?s
Illusion (Arai Wagor?, 1940)
Panelists: Katie Trumpener, Hsin-Yuan Peng, Jason Douglass

6:30pm - Dinner break

8:00pm - The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)
Panelists: Hannah Airess, Miryam Sas, Jennifer Coates, Xavier Sawada

*Feb. 24th, Sunday*

8:00am - Breakfast

9:00am - The Eternal Breasts (Tanaka Kinuyo, 1955)
Panelists: Alejandra Armendariz-Hernandez, Roger Macy, Irene Gonzalez





-- 
Caitlin Casiello

Ph.D. Student
Film & Media Studies / East Asian Languages and Literatures
Graduate School of Arts and Sciences
Yale University
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From caitlin.casiello at yale.edu  Sat Jan 19 17:39:23 2019
From: caitlin.casiello at yale.edu (Caitlin Casiello)
Date: Sat, 19 Jan 2019 17:39:23 -0500
Subject: [KineJapan] Kinema Club XVIII Schedule, February 22nd-24th,
 Yale University
In-Reply-To: <CAFvSkXNcdGEtXq6WZ7C11COf89fckG7M8i0=2bz9AwsCVm1WPA@mail.gmail.com>
References: <CAFvSkXNcdGEtXq6WZ7C11COf89fckG7M8i0=2bz9AwsCVm1WPA@mail.gmail.com>
Message-ID: <CAFvSkXPrau7jm4SRTm30zNj43_NeBP5P5Q3NvoOpkGL3Cj=oAw@mail.gmail.com>

Amending already?I left a panelist off. See below.

*Kinema Club XVIII Schedule*

Feb 22nd, Friday

6:00pm - Reception

7:00pm - Fukujus? (Kawate Jir?, 1935)

With benshi and live piano accompaniment
Panelists: Sarah Frederick, Marta Figlerowicz, Brian Meacham

Feb 23rd, Saturday


8:00 am - Breakfast

9:00 am - Gate of Flesh (Makino Masahiro, 1948)

Panelists: Sait? Ayako, Kamiya Makiko, Vera Mackie, Griseldis Kirsch
(Moderator: Irene Gonzalez)


11:30am - Lunch break

12:30pm - Lily Festival (Hamano Sachi, 2001)

Panelists: Jasper Sharp, Caitlin Casiello, Jonathan Hall

3:30pm - Coffee break

4:00pm - Flowers Have Fallen (Ishida Tamiz?, 1938) and Madam Butterfly?s
Illusion (Arai Wagor?, 1940)

Panelists: Katie Trumpener, Hsin-Yuan Peng, Jason Douglass

6:30pm - Dinner break

8:00pm - The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)

Panelists: Hannah Airess, Miryam Sas, Jennifer Coates, Xavier Sawada


Feb. 24th, Sunday

8:00am - Breakfast

9:00am - The Eternal Breasts (Tanaka Kinuyo, 1955)
Panelists: Alejandra Armendariz-Hernandez, Roger Macy, Irene Gonzalez, Earl
Jackson

On Sat, Jan 19, 2019 at 5:09 PM Caitlin Casiello <caitlin.casiello at yale.edu>
wrote:

> Dear Kineastes,
>
> We are happy to announce the below schedule for Kinema Club XVIII, Gender
> and Sexuality in Japanese Cinema, on February 22nd-24th, Yale University.
>
> If you are joining us, there is still time to book discount hotel rooms at
> the Courtyard Marriott:
> https://www.marriott.com/event-reservations/reservation-link.mi?id=1544217275236&key=GRP&app=resvlink
>
> Please be in touch with any questions, comments, strong objections to our
> translations of the films' titles, etc. Looking forward to seeing you all.
>
> Best,
> Caitlin
>
> *Kinema Club XVIII Schedule*
>
> *Feb 22nd, Friday  *
>
> 6:00pm - Reception
>
> 7:00pm - Fukujus? (Kawate Jir?, 1935)
> With benshi and live piano accompaniment
> Panelists: Sarah Frederick, Marta Figlerowicz, Brian Meacham
>
> *Feb 23rd, Saturday*
>
> 8:00 am - Breakfast
>
> 9:00 am - Gate of Flesh (Makino Masahiro, 1948)
> Panelists: Sait? Ayako, Kamiya Makiko, Vera Mackie, Griseldis Kirsch
> (Moderator: Irene Gonzalez)
>
> 11:30am - Lunch break
>
> 12:30pm - Lily Festival (Hamano Sachi, 2001)
> Panelists: Jasper Sharp, Caitlin Casiello, Jonathan Hall
>
> 3:30pm - Coffee break
>
> 4:00pm - Flowers Have Fallen (Ishida Tamiz?, 1938) and Madam Butterfly?s
> Illusion (Arai Wagor?, 1940)
> Panelists: Katie Trumpener, Hsin-Yuan Peng, Jason Douglass
>
> 6:30pm - Dinner break
>
> 8:00pm - The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)
> Panelists: Hannah Airess, Miryam Sas, Jennifer Coates, Xavier Sawada
>
> *Feb. 24th, Sunday*
>
> 8:00am - Breakfast
>
> 9:00am - The Eternal Breasts (Tanaka Kinuyo, 1955)
> Panelists: Alejandra Armendariz-Hernandez, Roger Macy, Irene Gonzalez
>
>
>
>
>
> --
> Caitlin Casiello
>
> Ph.D. Student
> Film & Media Studies / East Asian Languages and Literatures
> Graduate School of Arts and Sciences
> Yale University
>


-- 
Caitlin Casiello

Ph.D. Student
Film & Media Studies / East Asian Languages and Literatures
Graduate School of Arts and Sciences
Yale University
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From macyroger at yahoo.co.uk  Sat Jan 19 18:41:40 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sat, 19 Jan 2019 23:41:40 +0000 (UTC)
Subject: [KineJapan] Kinema Club XVIII Schedule, February 22nd-24th,
 Yale University
In-Reply-To: <CAFvSkXNcdGEtXq6WZ7C11COf89fckG7M8i0=2bz9AwsCVm1WPA@mail.gmail.com>
References: <CAFvSkXNcdGEtXq6WZ7C11COf89fckG7M8i0=2bz9AwsCVm1WPA@mail.gmail.com>
Message-ID: <1210479924.503774.1547941300213@mail.yahoo.com>

 Thank you, Caitlin. And I note you have already added the welcome name of Earl Jackson to the discussants on 'Constant Breast', so you don't need to separately notify me of this.? I guess I should just remind you that my nomination said "?on thestipulation that I don?t have to refer to it by its idiotic english title, ?TheEternal Breast?, which immediately conjures up a gendered pair with ?SacredHeart?." - something I mentioned to Alejandra when I spoke to her a while back.

Looking forward to seeing you.Roger

    On Saturday, 19 January 2019, 22:10:04 GMT, Caitlin Casiello <caitlin.casiello at yale.edu> wrote:  
 
 Dear Kineastes,?
We are happy to announce the below schedule for Kinema Club XVIII, Gender and Sexuality in Japanese Cinema, on February 22nd-24th, Yale University.?
If you are joining us, there is still time to book discount hotel rooms at the Courtyard Marriott:?https://www.marriott.com/event-reservations/reservation-link.mi?id=1544217275236&key=GRP&app=resvlink
Please be in touch with any questions, comments, strong objections to our translations of the films' titles, etc. Looking forward to seeing you all.?
Best,Caitlin?
Kinema Club XVIII Schedule
Feb 22nd, Friday??
6:00pm - Reception?
7:00pm - Fukujus? (Kawate Jir?, 1935)With benshi and live piano accompaniment?Panelists: Sarah Frederick, Marta Figlerowicz, Brian Meacham
Feb 23rd, Saturday
8:00 am - Breakfast?
9:00 am - Gate of Flesh (Makino Masahiro, 1948)Panelists: Sait? Ayako, Kamiya Makiko, Vera Mackie, Griseldis Kirsch (Moderator: Irene Gonzalez)?
11:30am - Lunch break
12:30pm - Lily Festival (Hamano Sachi, 2001)Panelists: Jasper Sharp, Caitlin Casiello, Jonathan Hall
3:30pm - Coffee break?
4:00pm - Flowers Have Fallen (Ishida Tamiz?, 1938) and Madam Butterfly?s Illusion (Arai Wagor?, 1940)Panelists: Katie Trumpener, Hsin-Yuan Peng, Jason Douglass
6:30pm - Dinner break
8:00pm - The Elegant Life of Mr. Everyman (Okamoto Kihachi, 1963)Panelists: Hannah Airess, Miryam Sas, Jennifer Coates, Xavier Sawada
Feb. 24th, Sunday
8:00am - Breakfast?
9:00am - The Eternal Breasts (Tanaka Kinuyo, 1955)Panelists: Alejandra Armendariz-Hernandez, Roger Macy, Irene Gonzalez




-- 
Caitlin Casiello?
Ph.D. StudentFilm & Media Studies / East Asian Languages and LiteraturesGraduate School of Arts and Sciences?
Yale University?_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From alexanderjacoby at brookes.ac.uk  Tue Jan 22 06:54:01 2019
From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby)
Date: Tue, 22 Jan 2019 11:54:01 +0000
Subject: [KineJapan] Writing on Ryosuke Hashiguchi
In-Reply-To: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
Message-ID: <CANN9ZtQTmMMXTi6++mxrJ905ivX2UjnOi7J6UQTiHj8oxSYaZg@mail.gmail.com>

Dear all,

I was teaching Hashiguchi's Hush! last semester and found it went down
particularly well this year; a lot of students either presented or wrote on
the film. Perhaps the theme of alternative family models and the central
themes of a gay man wanting to be a parent and a straight woman wanting to
be a mother without having to be a wife seems particularly interesting at a
time when gay adoption and surrogacy is becoming more widespread in many
Western countries.

But I was struck by how little reading I have to recommend to students
about this film! There is the chapter on Hashiguchi in the Midnight Eye
Guide to New Japanese Film. And there's a short piece that is part of a
chapter in Romit Dasgupta et al, Configurations of Family in Contemporary
Japan. But I wondered if anyone had come across any further published
scholarship on the film, or on Hashiguchi in general, that I might have
overlooked. For the sake of the Film Studies students in the class this
needs to be in English, but I'd also be interested from my own point of
view to know if anyone has written about the film in Japanese.

Best wishes,


ALEX JACOBY
(Senior Lecturer in Japanese Studies, Oxford Brookes University)
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From jasper_sharp at hotmail.com  Tue Jan 22 11:36:13 2019
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Tue, 22 Jan 2019 16:36:13 +0000
Subject: [KineJapan] Writing on Ryosuke Hashiguchi
In-Reply-To: <CANN9ZtQTmMMXTi6++mxrJ905ivX2UjnOi7J6UQTiHj8oxSYaZg@mail.gmail.com>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>,
 <CANN9ZtQTmMMXTi6++mxrJ905ivX2UjnOi7J6UQTiHj8oxSYaZg@mail.gmail.com>
Message-ID: <AM0PR04MB414533F0FD761E2D23DE06CDF7980@AM0PR04MB4145.eurprd04.prod.outlook.com>

I've found no evidence of any scholarship on Hashiguchi in terms of journal papers, but remember that LIKE GRAINS OF SAND did get a theatrical release in the UK (I remember seeing it at the ICA in 1997), and Tony Rayns reviewed it in Sight & Sound (UK), 1997, VII, no. 2 (Feb), pp. 47-48.

At the same time, he also interviewed Hashiguchi in Time Out (UK), 1997, no. 1379 (Jan 22), for an article called
 ?Against the grain? , p. 69. The BFI library does have old back issues of Time Out.

There are also reviews of ALL AROUND US in :

  *   Cinema Scope (CN), 2009, no. 37 (Winter), p. 46-47. All around us.
  *   Film Comment (US), 2008, XLIV, no. 6 (Nov-Dec), p. 64-65. Labors of love.

But really nothing substantial in print beyond Variety reviews for his other work, unless you are also looking at stuff published in French, and even then it doesn't go much further than reviews.




The Creeping Garden<http://www.creepinggarden.com/> - 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<https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>.
The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.
"A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>.
"An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter<https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>.
"Strange, eccentric, diverting", Peter Bradshaw, The Guardian<https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>.

________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Alexander Jacoby <alexanderjacoby at brookes.ac.uk>
Sent: 22 January 2019 11:54
To: Japanese Cinema Discussion Forum
Subject: [KineJapan] Writing on Ryosuke Hashiguchi

Dear all,

I was teaching Hashiguchi's Hush! last semester and found it went down particularly well this year; a lot of students either presented or wrote on the film. Perhaps the theme of alternative family models and the central themes of a gay man wanting to be a parent and a straight woman wanting to be a mother without having to be a wife seems particularly interesting at a time when gay adoption and surrogacy is becoming more widespread in many Western countries.

But I was struck by how little reading I have to recommend to students about this film! There is the chapter on Hashiguchi in the Midnight Eye Guide to New Japanese Film. And there's a short piece that is part of a chapter in Romit Dasgupta et al, Configurations of Family in Contemporary Japan. But I wondered if anyone had come across any further published scholarship on the film, or on Hashiguchi in general, that I might have overlooked. For the sake of the Film Studies students in the class this needs to be in English, but I'd also be interested from my own point of view to know if anyone has written about the film in Japanese.

Best wishes,


ALEX JACOBY
(Senior Lecturer in Japanese Studies, Oxford Brookes University)
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From aaron.gerow at yale.edu  Tue Jan 22 12:02:40 2019
From: aaron.gerow at yale.edu (Aaron Gerow)
Date: Tue, 22 Jan 2019 12:02:40 -0500
Subject: [KineJapan] Writing on Ryosuke Hashiguchi
In-Reply-To: <AM0PR04MB414533F0FD761E2D23DE06CDF7980@AM0PR04MB4145.eurprd04.prod.outlook.com>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
 <CANN9ZtQTmMMXTi6++mxrJ905ivX2UjnOi7J6UQTiHj8oxSYaZg@mail.gmail.com>
 <AM0PR04MB414533F0FD761E2D23DE06CDF7980@AM0PR04MB4145.eurprd04.prod.outlook.com>
Message-ID: <BA24BB82-6446-40D2-8844-368D474974B3@yale.edu>

In several places, I have touched on Like Grains of Sand as exemplary of what I call the ?detached style? of 1990s Japanese cinema. One example is the old piece I wrote for the Japan Foundation:

https://works.bepress.com/aarongerow/25/

Aaron



From alexanderjacoby at brookes.ac.uk  Tue Jan 22 18:00:04 2019
From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby)
Date: Tue, 22 Jan 2019 23:00:04 +0000
Subject: [KineJapan] Writing on Ryosuke Hashiguchi
In-Reply-To: <BA24BB82-6446-40D2-8844-368D474974B3@yale.edu>
References: <D4510888-0C9F-473C-B899-A53C8304E0DA@yale.edu>
 <CANN9ZtQTmMMXTi6++mxrJ905ivX2UjnOi7J6UQTiHj8oxSYaZg@mail.gmail.com>
 <AM0PR04MB414533F0FD761E2D23DE06CDF7980@AM0PR04MB4145.eurprd04.prod.outlook.com>
 <BA24BB82-6446-40D2-8844-368D474974B3@yale.edu>
Message-ID: <CANN9ZtSNdwWmNHAzFJAjmuLODxx4h8D+q44AwsHPbhX=8hRitw@mail.gmail.com>

Thanks, Aaron and Jasper, for your comments and sources!


ALEX
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From aaron.gerow at yale.edu  Tue Jan 22 21:42:55 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 22 Jan 2019 21:42:55 -0500
Subject: [KineJapan] Mainichi Film Awards
Message-ID: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>

The Mainichi Film Awards were announced, with Koreeda's Shoplifters (which just got nominated for best foreign language film at the Oscars today) being  selected as best film. Zeze's Chrysanthemum and Guillotine was selected for the award of excellence, which is essentially second place. Ando Sakura got best actress, and her husband Emoto Tasuku got best actor. Best director went to Ueda Shinichiro of One Cut of the Dead.

https://mainichi.jp/articles/20190122/k00/00m/040/269000c?fbclid=IwAR1Li6Uoak7C9WQdX6RAeN_2EDuta_p9VUiEVHNTe5miSY5BAXX-zPQ-PH0


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From macyroger at yahoo.co.uk  Wed Jan 23 05:48:12 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Wed, 23 Jan 2019 10:48:12 +0000 (UTC)
Subject: [KineJapan] Mainichi Film Awards
In-Reply-To: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>
References: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>
Message-ID: <1865391943.3758362.1548240492594@mail.yahoo.com>

 Thanks, Aaron, as ever for your newscasts.Emoto Tasuku seems to have got his actor award for .?And Your Bird Can Sing? ????????? byMIYAKE Sh?. I see it's showing at the Berlinale 'Forum' this year (which I will not get to).Roger

    On Wednesday, 23 January 2019, 02:43:09 GMT, Gerow Aaron <aaron.gerow at yale.edu> wrote:  
 
 
The Mainichi Film Awards were announced, with Koreeda's Shoplifters (which just got nominated for best foreign language film at the Oscars today) being selected as best film. Zeze's Chrysanthemum and Guillotine was selected for the award of excellence, which is essentially second place. Ando Sakura got best actress, and her husband Emoto Tasuku got best actor. Best director went to Ueda Shinichiro of One Cut of the Dead.
https://mainichi.jp/articles/20190122/k00/00m/040/269000c?fbclid=IwAR1Li6Uoak7C9WQdX6RAeN_2EDuta_p9VUiEVHNTe5miSY5BAXX-zPQ-PH0

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and LiteraturesDirector of Graduate Studies, Film and Media StudiesYale University143 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.eduwebsite: www.aarongerow.com
















_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From unkleque at yahoo.com.au  Wed Jan 23 08:17:09 2019
From: unkleque at yahoo.com.au (quentin turnour)
Date: Wed, 23 Jan 2019 13:17:09 +0000 (UTC)
Subject: [KineJapan] Mainichi Film Awards
In-Reply-To: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>
References: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>
Message-ID: <1553777340.2309995.1548249429666@mail.yahoo.com>

Aaron - always look forward to you January announcements of the winners of the main Japanese film awards. Thank you again.
But from faulty memory, does your annual Mainichi awards alert normally come after the announcement of the Kinema Junpo Best Ten??And am I right that this year the Kinema Junpo prizes have been delayed to later than usual?
?I?was in their website a few days again, trying to get a fix on a) when the awards would be announced and b) what the magazine was planning for it?s July 2019 centennial. A lot of help from Google Translate suggested the 2019 awards are scheduled for mid-February. If so, I wonder if doing so might be a lead in to 2019 centennial celebration activities? Any rumours or intel on what?s being planned??
As one of the oldest surviving film journals of record anywhere, the centennial of course should be an anniversary of international interest to film scholars (... even if sadly it won?t be, at least beyond places like KineJapan).
Quentin TurnourNational Archive of Australia.

Sent from Yahoo Mail for iPad


On Wednesday, January 23, 2019, 1:42 pm, Gerow Aaron <aaron.gerow at yale.edu> wrote:


The Mainichi Film Awards were announced, with Koreeda's Shoplifters (which just got nominated for best foreign language film at the Oscars today) being selected as best film. Zeze's Chrysanthemum and Guillotine was selected for the award of excellence, which is essentially second place. Ando Sakura got best actress, and her husband Emoto Tasuku got best actor. Best director went to Ueda Shinichiro of One Cut of the Dead.
https://mainichi.jp/articles/20190122/k00/00m/040/269000c?fbclid=IwAR1Li6Uoak7C9WQdX6RAeN_2EDuta_p9VUiEVHNTe5miSY5BAXX-zPQ-PH0

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and LiteraturesDirector of Graduate Studies, Film and Media StudiesYale University143 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.eduwebsite: www.aarongerow.com
















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



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From macyroger at yahoo.co.uk  Wed Jan 23 10:01:16 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Wed, 23 Jan 2019 15:01:16 +0000 (UTC)
Subject: [KineJapan] Fw:  Film Awards
In-Reply-To: <1865391943.3758362.1548240492594@mail.yahoo.com>
References: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>
 <1865391943.3758362.1548240492594@mail.yahoo.com>
Message-ID: <552507718.4088126.1548255676428@mail.yahoo.com>

 
Another thing about the awards -

The top of the front page of the Financial Times today is splashedwith the news that Roma has won 15 nominations for ?best picture?. Theirtack, as in other papers is that ?the streaming service is disrupting thesilver screen in the way it has television?.

Well, undoubtedly, but something else has happened here. Roma is afilm with almost no english dialogue (we were warned at the start thatspanish would be subtitled uninflected, but mixteco languages would bebracketed).

I could always manage, with a certain old-world hauteur, to lookdown on the Oscars as a supercharged fashion show because the way they treat ?foreign?films. A brief glance through film history can show that there have been manyyears when the main contenders for world?s ?best film? are nowhere to be seenat the Academy Awards, and are only skimpingly, if at all, seen segregated inthe colonialist structure of ?best foreign language? film.

So, I?m curious how Roma got its tanks on that lawn.

And, to quickly tuck this back into Japanese film topics, I?m curious howRoma gets nominated in the main category, and Shoplifters in thecolonial category. Both are excellent, tender films that have gained just aboutuniversal critical and popular success. Here in London, Shoplifters,which I think opened in November is already scheduled to continue in cinemasuntil the end of January. Roma, which opened later, is also still doingwell but, in this case, demand has been artificially attenuated by restrictingits theatre screenings.

I should add that I can see reasons why Roma would getnominated - from both Hollywood-imperialist and dissentient motives (and,obviously artistic), but I?m curious how it gets through the rules andso many others haven?t.

Roger


   ----- Forwarded message ----- From: Roger Macy <macyroger at yahoo.co.uk>To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>Sent: Wednesday, 23 January 2019, 10:48:12 GMTSubject: Re: [KineJapan] Mainichi Film Awards
  Thanks, Aaron, as ever for your newscasts.Emoto Tasuku seems to have got his actor award for .?And Your Bird Can Sing? ????????? byMIYAKE Sh?. I see it's showing at the Berlinale 'Forum' this year (which I will not get to).Roger

    On Wednesday, 23 January 2019, 02:43:09 GMT, Gerow Aaron <aaron.gerow at yale.edu> wrote:  
 
 
The Mainichi Film Awards were announced, with Koreeda's Shoplifters (which just got nominated for best foreign language film at the Oscars today) being selected as best film. Zeze's Chrysanthemum and Guillotine was selected for the award of excellence, which is essentially second place. Ando Sakura got best actress, and her husband Emoto Tasuku got best actor. Best director went to Ueda Shinichiro of One Cut of the Dead.
https://mainichi.jp/articles/20190122/k00/00m/040/269000c?fbclid=IwAR1Li6Uoak7C9WQdX6RAeN_2EDuta_p9VUiEVHNTe5miSY5BAXX-zPQ-PH0

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and LiteraturesDirector of Graduate Studies, Film and Media StudiesYale University143 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.eduwebsite: www.aarongerow.com
















_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
    
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From komori at hamilton.edu  Wed Jan 23 14:30:54 2019
From: komori at hamilton.edu (Kyoko Omori)
Date: Wed, 23 Jan 2019 14:30:54 -0500
Subject: [KineJapan] CFP: guaranteed panel "Japanese since 1900" Forum @ MLA
 2020 in Seattle
Message-ID: <120F5334-25C7-4704-BE81-F69AB9A7F935@hamilton.edu>

? Apologies for cross-posting ?

Dear All, 

The Modern Language Association convention in 2020 will take place in Seattle, WA, on January 9-12.
Below is a CFP for our guaranteed panel. We look forward to receiving proposals from many of you. Please email me with any questions.

Best,

Kyoko
MLA Language, Literature, and Culture Forum ?Japanese since 1900? executive committee
....................
Kyoko Omori

Associate Professor of Japanese
East Asian Languages and Literatures Department
*************
Hamilton College, 198 College Hill Road, Clinton, NY 13323, USA

CFP MLA 2020 Panel Theme LLC Japanese since 1900 

Guaranteed Panel 

?At the Borders of the Human in Japanese Literature and Culture since 1900?

 
Following the 2020 MLA Presidential Theme of ?Being Human,? the LLC Forum "Japanese since 1900" executive committee invites submissions for proposals for our guaranteed panel: ?At the Borders of the Human in Japanese Literature and Culture since 1900.? 

 
Some of the questions to reflect on include, but are not limited to: 

?      What distinguishes the human from the non-human? 

?      How can we think productively about the human/animal dichotomy? 

?      How is human depicted in science fiction, or tales of ghosts, spirits, and other post-human forms? 

?      What do technological interfaces and digital portals tell us about the borders/limits of human perception? 

?      What happens to humanity in times of conflict? 

?      How are ?borders? established and maintained in the form of group identity?

 

Please send 250-word abstract and CV to Kyoko Omori (komori at hamilton.edu <mailto:komori at hamilton.edu>) by March 15, 2019. Presenters must be MLA members.
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From williamjamescarroll at gmail.com  Wed Jan 23 15:49:25 2019
From: williamjamescarroll at gmail.com (William Carroll)
Date: Wed, 23 Jan 2019 14:49:25 -0600
Subject: [KineJapan] Importing Prints from Japan for Film Series
Message-ID: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>

Hi everyone,

I'm just writing to let you know that I'm running a film series this spring
at the University of Chicago. The series highlights filmmakers who were
formerly students of Hasumi Shigehiko. We're planning to import a number of
film prints, and I wanted to let everyone know. They aren't all confirmed
yet, but here are some of the titles we're planning to import:

*Okaeri* (Shinozaki Makoto, 1996)
*Wild Life* (Aoyama Shinji, 1997)
*Eureka* (Aoyama Shinji, 2000) (being imported from France)
*Harmful Insect* (Shiota Akihiko, 2001)
*Synchronizer* (Manda Kunitoshi, 2017)--DCP

If you are affiliated with a venue that might be interested in showing one
or more of these films, please let me know and we can discuss splitting
shipping costs and such.

Thanks,
Will Carroll
PhD Candidate
The University of Chicago
Department of Cinema & Media Studies/
Department of East Asian Languages & Civilizations
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From azahlten at fas.harvard.edu  Wed Jan 23 15:53:23 2019
From: azahlten at fas.harvard.edu (Zahlten, Alexander)
Date: Wed, 23 Jan 2019 20:53:23 +0000
Subject: [KineJapan] Importing Prints from Japan for Film Series
In-Reply-To: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>
References: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>
Message-ID: <6E8AB4E4-FD7E-4C64-AD27-3FAD0C9C1DE1@fas.harvard.edu>

Hi Will,

Thanks for sending this- it?s a terrific lineup! Congratulations on putting this together.

Are you planning any events (workshops / symposia /etc.) to accompany it? Hasumi?s influence (and, in some ways, surprising lack of influence) is a really interesting topic.

Best,
Alex

-------------------------------
Alexander Zahlten
Associate Professor
Department of East Asian Languages and Civilizations
Director of Graduate Studies ? Regional Studies East Asia Program
Harvard University

From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of William Carroll <williamjamescarroll at gmail.com>
Reply-To: Japanese Cinema Discussion Forum <KineJapan at mailman.yale.edu>
Date: Wednesday, January 23, 2019 at 15:50
To: "KineJapan at mailman.yale.edu" <KineJapan at mailman.yale.edu>
Subject: [KineJapan] Importing Prints from Japan for Film Series

Hi everyone,

I'm just writing to let you know that I'm running a film series this spring at the University of Chicago. The series highlights filmmakers who were formerly students of Hasumi Shigehiko. We're planning to import a number of film prints, and I wanted to let everyone know. They aren't all confirmed yet, but here are some of the titles we're planning to import:

Okaeri (Shinozaki Makoto, 1996)
Wild Life (Aoyama Shinji, 1997)
Eureka (Aoyama Shinji, 2000) (being imported from France)
Harmful Insect (Shiota Akihiko, 2001)
Synchronizer (Manda Kunitoshi, 2017)--DCP

If you are affiliated with a venue that might be interested in showing one or more of these films, please let me know and we can discuss splitting shipping costs and such.

Thanks,
Will Carroll
PhD Candidate
The University of Chicago
Department of Cinema & Media Studies/
Department of East Asian Languages & Civilizations
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From williamjamescarroll at gmail.com  Wed Jan 23 16:09:08 2019
From: williamjamescarroll at gmail.com (William Carroll)
Date: Wed, 23 Jan 2019 15:09:08 -0600
Subject: [KineJapan] Importing Prints from Japan for Film Series
In-Reply-To: <6E8AB4E4-FD7E-4C64-AD27-3FAD0C9C1DE1@fas.harvard.edu>
References: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>
 <6E8AB4E4-FD7E-4C64-AD27-3FAD0C9C1DE1@fas.harvard.edu>
Message-ID: <CAFU5t8HisE3wdMmKBYpwSm7f_5T2V3eYsmGUzJfw9PnhM6Zt+g@mail.gmail.com>

Hi Alex,

Thanks! We do have a guest lined up for an event in late April, but the
exact nature of the event hasn't been worked out yet (whether it's just a
talk or a larger workshop/symposium). It will probably mostly depend on how
much of our budget we have left over after getting the films. I'll keep you
informed, though.

Best,
Will

On Wed, Jan 23, 2019 at 2:53 PM Zahlten, Alexander <azahlten at fas.harvard.edu>
wrote:

> Hi Will,
>
>
>
> Thanks for sending this- it?s a terrific lineup! Congratulations on
> putting this together.
>
>
>
> Are you planning any events (workshops / symposia /etc.) to accompany it?
> Hasumi?s influence (and, in some ways, surprising lack of influence) is a
> really interesting topic.
>
>
>
> Best,
>
> Alex
>
>
>
> -------------------------------
>
> Alexander Zahlten
>
> Associate Professor
>
> Department of East Asian Languages and Civilizations
>
> Director of Graduate Studies ? Regional Studies East Asia Program
>
> Harvard University
>
>
>
> *From: *KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of
> William Carroll <williamjamescarroll at gmail.com>
> *Reply-To: *Japanese Cinema Discussion Forum <KineJapan at mailman.yale.edu>
> *Date: *Wednesday, January 23, 2019 at 15:50
> *To: *"KineJapan at mailman.yale.edu" <KineJapan at mailman.yale.edu>
> *Subject: *[KineJapan] Importing Prints from Japan for Film Series
>
>
>
> Hi everyone,
>
>
>
> I'm just writing to let you know that I'm running a film series this
> spring at the University of Chicago. The series highlights filmmakers who
> were formerly students of Hasumi Shigehiko. We're planning to import a
> number of film prints, and I wanted to let everyone know. They aren't all
> confirmed yet, but here are some of the titles we're planning to import:
>
>
>
> *Okaeri* (Shinozaki Makoto, 1996)
>
> *Wild Life* (Aoyama Shinji, 1997)
>
> *Eureka* (Aoyama Shinji, 2000) (being imported from France)
>
> *Harmful Insect* (Shiota Akihiko, 2001)
>
> *Synchronizer* (Manda Kunitoshi, 2017)--DCP
>
>
>
> If you are affiliated with a venue that might be interested in showing one
> or more of these films, please let me know and we can discuss splitting
> shipping costs and such.
>
>
>
> Thanks,
>
> Will Carroll
>
> PhD Candidate
>
> The University of Chicago
>
> Department of Cinema & Media Studies/
>
> Department of East Asian Languages & Civilizations
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From aaron.gerow at yale.edu  Wed Jan 23 20:50:31 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Wed, 23 Jan 2019 20:50:31 -0500
Subject: [KineJapan] Importing Prints from Japan for Film Series
In-Reply-To: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>
References: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>
Message-ID: <90878114-E972-4A06-A984-073B80882276@yale.edu>

Dear Will,

Great to hear of this. It?s something I?ve thought about doing before. Since I?ve written about and translated Aoyama (and know all of them personally except Manda), let me know if I can help.

Can you provide some dates? That might help securing the print if the lender only has a short window.

Best,

Aaron


From williamjamescarroll at gmail.com  Wed Jan 23 21:44:57 2019
From: williamjamescarroll at gmail.com (William Carroll)
Date: Wed, 23 Jan 2019 20:44:57 -0600
Subject: [KineJapan] Importing Prints from Japan for Film Series
In-Reply-To: <90878114-E972-4A06-A984-073B80882276@yale.edu>
References: <CAFU5t8Ga_3aJzGhd4W0NZtcgi6xmjiAMwdEf9qSf9sef-r0ugA@mail.gmail.com>
 <90878114-E972-4A06-A984-073B80882276@yale.edu>
Message-ID: <CAFU5t8HWzqJD53kDDEQAVW-sEf=FqRV5goEhrpU3THcLZfMTww@mail.gmail.com>

Hi Aaron,

The (tentative) dates for the series are:

Sunday, April 7: *The Ring*
Sunday, April 14: *Okaeri*
Sunday, April 21: *Shall We Dance?*
Sunday, April 28: *Wild Life*
Sunday, May 5: *Cure*
Sunday, May 12: *Eureka*
Sunday, May 19: *Pulse*
Sunday, May 26: *Harmful Insect*
Sunday, June 2: *Bright Future*
Sunday, June 9: *Synchronizer*

 We're hoping that everything will be on 35mm except *Synchronizer*. There
are prints of *The Ring*, *Shall We Dance?*, *Cure*, *Pulse*, and *Bright
Future* that reside in the U.S., so those don't need to be imported. We are
also looking to play Hori Teiichi's *Bessho Tea Factory* documentary on the
last week, but that will likely be a blu-ray.

Thanks,
Will

On Wed, Jan 23, 2019 at 7:50 PM Gerow Aaron <aaron.gerow at yale.edu> wrote:

> Dear Will,
>
> Great to hear of this. It?s something I?ve thought about doing before.
> Since I?ve written about and translated Aoyama (and know all of them
> personally except Manda), let me know if I can help.
>
> Can you provide some dates? That might help securing the print if the
> lender only has a short window.
>
> Best,
>
> Aaron
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From george at jaeff.org  Thu Jan 24 08:37:13 2019
From: george at jaeff.org (George Crosthwait)
Date: Thu, 24 Jan 2019 13:37:13 +0000
Subject: [KineJapan] Toho film rights
Message-ID: <16880143018.1008310cc69642.9092990000479360031@jaeff.org>

Hello everyone, We're keen to ascertain the rights situation of some films released by Toho in the 1960s/70s, but all our attempts to contact them have received no reply. Does anyone know who we should get in touch with? Is anyone with contacts at the studio able to find out? Best, George George Crosthwait Festival Producer? Japanese Avant-garde and Experimental Film Festival jaeff.org george at jaeff.org? +44 (0)7854 448 101
The contents of this e-mail are confidential and may be legally privileged. If you are not the intended recipient, kindly notify the sender that you have received this message in error and immediately delete it. Unless you are the intended recipient, you may not forward this e-mail to anybody, nor make any use of its contents.
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From jagodamurczynska at gmail.com  Thu Jan 24 09:58:18 2019
From: jagodamurczynska at gmail.com (=?UTF-8?Q?Jagoda_Murczy=C5=84ska?=)
Date: Thu, 24 Jan 2019 15:58:18 +0100
Subject: [KineJapan] Toho film rights
In-Reply-To: <16880143018.1008310cc69642.9092990000479360031@jaeff.org>
References: <16880143018.1008310cc69642.9092990000479360031@jaeff.org>
Message-ID: <CAPm+1E3fyUhFhoq5NaNa_oO93KvjWVhua-6sAwwJ4WPnOpKnWQ@mail.gmail.com>

Hello,

They are quite famous for being difficult to contact with. You can try
these mails:

Akihiro Takeda <a_takeda at toho.co.jp>
Hiroki Goukon <h_goukon at toho.co.jp>

Both of them works as an international sales managers since last year.

Best!

Jagoda Murczynska

13 Azjatycki Festiwal Filmowy Pi?? Smak?w
13th Five Flavours Asian Film Festival
13 - 20 XI 2019, Warsaw, Poland
www.piecsmakow.pl






Czw., 24.01.2019, 14:37: George Crosthwait <george at jaeff.org> napisa?(a):

> Hello everyone,
>
> We're keen to ascertain the rights situation of some films released by
> Toho in the 1960s/70s, but all our attempts to contact them have received
> no reply. Does anyone know who we should get in touch with? Is anyone with
> contacts at the studio able to find out?
>
> Best,
> George
>
> *George Crosthwait*
> Festival Producer
> Japanese Avant-garde and Experimental Film Festival
> jaeff.org
>
> george at jaeff.org
> +44 (0)7854 448 101
>
>
>
>
>
>
> *The contents of this e-mail are confidential and may be legally
> privileged. If you are not the intended recipient, kindly notify the sender
> that you have received this message in error and immediately delete it.
> Unless you are the intended recipient, you may not forward this e-mail to
> anybody, nor make any use of its contents.*
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From eija at helsinkicineaasia.fi  Fri Jan 25 06:00:50 2019
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Fri, 25 Jan 2019 13:00:50 +0200
Subject: [KineJapan] Toho film rights
In-Reply-To: <CAPm+1E3fyUhFhoq5NaNa_oO93KvjWVhua-6sAwwJ4WPnOpKnWQ@mail.gmail.com>
References: <16880143018.1008310cc69642.9092990000479360031@jaeff.org>
 <CAPm+1E3fyUhFhoq5NaNa_oO93KvjWVhua-6sAwwJ4WPnOpKnWQ@mail.gmail.com>
Message-ID: <CA+FavwM=Mm08GQfe4ADTw=BuOjiZH_ZUJFTesiPkMYNuhbhJug@mail.gmail.com>

At some point someone replied from this email, but not always:
tohointl at toho.co.jp

Eija

to 24. tammik. 2019 klo 16.58 Jagoda Murczy?ska (jagodamurczynska at gmail.com)
kirjoitti:

> Hello,
>
> They are quite famous for being difficult to contact with. You can try
> these mails:
>
> Akihiro Takeda <a_takeda at toho.co.jp>
> Hiroki Goukon <h_goukon at toho.co.jp>
>
> Both of them works as an international sales managers since last year.
>
> Best!
>
> Jagoda Murczynska
>
> 13 Azjatycki Festiwal Filmowy Pi?? Smak?w
> 13th Five Flavours Asian Film Festival
> 13 - 20 XI 2019, Warsaw, Poland
> www.piecsmakow.pl
>
>
>
>
>
>
> Czw., 24.01.2019, 14:37: George Crosthwait <george at jaeff.org> napisa?(a):
>
>> Hello everyone,
>>
>> We're keen to ascertain the rights situation of some films released by
>> Toho in the 1960s/70s, but all our attempts to contact them have received
>> no reply. Does anyone know who we should get in touch with? Is anyone with
>> contacts at the studio able to find out?
>>
>> Best,
>> George
>>
>> *George Crosthwait*
>> Festival Producer
>> Japanese Avant-garde and Experimental Film Festival
>> jaeff.org
>>
>> george at jaeff.org
>> +44 (0)7854 448 101
>>
>>
>>
>>
>>
>>
>> *The contents of this e-mail are confidential and may be legally
>> privileged. If you are not the intended recipient, kindly notify the sender
>> that you have received this message in error and immediately delete it.
>> Unless you are the intended recipient, you may not forward this e-mail to
>> anybody, nor make any use of its contents.*
>> _______________________________________________
>> 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
>


-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
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From george at jaeff.org  Fri Jan 25 06:33:35 2019
From: george at jaeff.org (George Crosthwait)
Date: Fri, 25 Jan 2019 11:33:35 +0000
Subject: [KineJapan] Toho film rights
In-Reply-To: <CA+FavwM=Mm08GQfe4ADTw=BuOjiZH_ZUJFTesiPkMYNuhbhJug@mail.gmail.com>
References: <16880143018.1008310cc69642.9092990000479360031@jaeff.org>
 <CAPm+1E3fyUhFhoq5NaNa_oO93KvjWVhua-6sAwwJ4WPnOpKnWQ@mail.gmail.com>
 <CA+FavwM=Mm08GQfe4ADTw=BuOjiZH_ZUJFTesiPkMYNuhbhJug@mail.gmail.com>
Message-ID: <16884c95e08.ac734d8592915.168821356281314799@jaeff.org>

Thanks Eija and Jagoda, We've had no luck with either Akihiro Takeda or Hiroki Goukon so will give the tohointl address a go. George ---- On Fri, 25 Jan 2019 11:00:50 +0000?Eija Niskanen <eija at helsinkicineaasia.fi> wrote ---- At some point someone replied from this email, but not always: tohointl at toho.co.jp Eija to 24. tammik. 2019 klo 16.58 Jagoda Murczy?ska (jagodamurczynska at gmail.com) kirjoitti: -- Eija Niskanen +358-50-355 3189 +81-80-3558-1645 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan Hello, They are quite famous for being difficult to contact with. You can try these mails: Akihiro Takeda <a_takeda at toho.co.jp> Hiroki Goukon <h_goukon at toho.co.jp> Both of them works as an international sales managers since last year. Best! Jagoda Murczynska 13 Azjatycki Festiwal Filmowy Pi?? Smak?w 13th Five Flavours?Asian?Film Festival 13 - 20 XI 2019, Warsaw, Poland www.piecsmakow.pl Czw., 24.01.2019, 14:37: George Crosthwait <george at jaeff.org> napisa?(a): Hello everyone, We're keen to ascertain the rights situation of some films released by Toho in the 1960s/70s, but all our attempts to contact them have received no reply. Does anyone know who we should get in touch with? Is anyone with contacts at the studio able to find out? Best, George George Crosthwait Festival Producer? Japanese Avant-garde and Experimental Film Festival jaeff.org george at jaeff.org? +44 (0)7854 448 101 The contents of this e-mail are confidential and may be legally privileged. If you are not the intended recipient, kindly notify the sender that you have received this message in error and immediately delete it. Unless you are the intended recipient, you may not forward this e-mail to anybody, nor make any use of its contents._______________________________________________ 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
The contents of this e-mail are confidential and may be legally privileged. If you are not the intended recipient, kindly notify the sender that you have received this message in error and immediately delete it. Unless you are the intended recipient, you may not forward this e-mail to anybody, nor make any use of its contents.
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From aaron.gerow at yale.edu  Sun Jan 27 22:19:44 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sun, 27 Jan 2019 22:19:44 -0500
Subject: [KineJapan] Mainichi Film Awards
In-Reply-To: <1553777340.2309995.1548249429666@mail.yahoo.com>
References: <A3CEAE78-9C1C-4D5A-85F1-C11AB59589A2@yale.edu>
 <1553777340.2309995.1548249429666@mail.yahoo.com>
Message-ID: <1D670B5A-99FD-45C7-89B3-56AF35703F37@yale.edu>

Sorry for the delayed response. 

The KineJun Best Ten will be announced on February 4, which is later than usual. My impression is that this is in part timed to match the sales date of the issue itself. Previously, the Best Ten would be announced more than a week before the Best Ten issue hit the stands.

I know one thing KineJun has been doing is ?best? lists of the decades of Japanese cinema. For instance, they announced the best list for the 1980s in December, with Family Game coming in at number 1.  The 90s list should be announced in the spring.


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From aaron.gerow at yale.edu  Tue Jan 29 12:17:03 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 29 Jan 2019 12:17:03 -0500
Subject: [KineJapan] Inabata letters
Message-ID: <3CAF0272-2E8C-4AFF-8BBD-FDB15C1CF510@yale.edu>

The Kyoto Shinbun has reported that a graduate student at Kyoto University, Hase Ken'ichiro, has discovered notes for four letters that Inabata Katsutaro, known in Japanese film history as the man who imported the Lumiere Cinematograph to Japan, sent to the Lumiere Brothers. The notes are likely transcripts of letters in French Inabata sent from March to October of 1897, and describe the importation of the apparatus. What is wonderful is that Inabata Co. (which still exists), has put the letters on their home page, complete with a Japanese translation by Hori Junji.

https://www.inabata.co.jp/ik/digital/ <https://www.inabata.co.jp/ik/digital/>

 


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From aaron.gerow at yale.edu  Tue Jan 29 12:27:40 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 29 Jan 2019 12:27:40 -0500
Subject: [KineJapan] The Various Challenges of Film Archives
Message-ID: <07129A98-F6D9-4BDD-B23C-A7825881DF88@yale.edu>

In another resource made available online, the National Film Archive of Japan has made available on their website PDF copies of all the installments of the column "The Various Challenges of Film Archives" (?????????????), a series that has run in every issue of that archive's newsletter since 1995. 

https://www.nfaj.go.jp/onlineservice/variouschallenges/


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From fw181 at georgetown.edu  Tue Jan 29 17:28:22 2019
From: fw181 at georgetown.edu (Fanglin Wang)
Date: Tue, 29 Jan 2019 17:28:22 -0500
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
Message-ID: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>

Hi everyone,
I hope this email finds you well. I am working on a film project that
analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
wondering if there is any place to look for the movie scripts of
Kinoshita's films by any chance (online or in the U.S.)?

The scripts can be in either Japanese or English. I am specifically looking
for the scripts of the following films:
*Rikugun (Army; 1944);*
*Morning for the Osone Family(1946)*
*Fushicho(Phoenix; 1947)*
*A Japanese Tragedy (1953)*
*Twenty-Four Eyes (1954)*

Feel free to let me know if you have any questions. Thank you for your help
in advance!

Sincerely,
Fanglin Wang

Graduate Student
Department of Communication, Culture and Technology
Georgetown University
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From earljac at gmail.com  Tue Jan 29 18:08:48 2019
From: earljac at gmail.com (Earl Jackson)
Date: Wed, 30 Jan 2019 07:08:48 +0800
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
Message-ID: <CABhbz8NfhH7CbKgMtHrB5VW3c=Lp88gpHeWj_w43kzuDNB9cqQ@mail.gmail.com>

Dear Fanglin Wang
Often the scenarios are included in journals such as Scenario, Eiga Hyoron,
or Kinema Junpo - and other times published alone by the studio. I would
contact Yaguchi Shoten in Jimbocho.

   - ??
   <https://www.yelp.com.tw/biz_attribute?biz_id=Tmc8OaKNR8h3_t3GfUSjaQ>


*?????2-5-1 ????, ??? ?101-0051 ??*Jinbocho Station
   -  ????
   <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
   - ??????*Mita Line*
   <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>Jimbocho
   ???2??
   <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
   -  ????+81 3 3261 5708
   -  ????homepage3.nifty.com/yaguchi
   <https://www.yelp.com.tw/biz_redir?url=http%3A%2F%2Fhomepage3.nifty.com%2Fyaguchi&website_link_type=website&src_bizid=Tmc8OaKNR8h3_t3GfUSjaQ&cachebuster=1548803188&s=7a5dbac109cda61d7d1c7a4ae92f565d659dc18c1a293ee527eec89c2b085ef2>
   -  ?????

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 Wed, Jan 30, 2019 at 6:28 AM Fanglin Wang <fw181 at georgetown.edu> wrote:

> Hi everyone,
> I hope this email finds you well. I am working on a film project that
> analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
> wondering if there is any place to look for the movie scripts of
> Kinoshita's films by any chance (online or in the U.S.)?
>
> The scripts can be in either Japanese or English. I am specifically
> looking for the scripts of the following films:
> *Rikugun (Army; 1944);*
> *Morning for the Osone Family(1946)*
> *Fushicho(Phoenix; 1947)*
> *A Japanese Tragedy (1953)*
> *Twenty-Four Eyes (1954)*
>
> Feel free to let me know if you have any questions. Thank you for your
> help in advance!
>
> Sincerely,
> Fanglin Wang
>
> Graduate Student
> Department of Communication, Culture and Technology
> Georgetown University
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From earljac at gmail.com  Tue Jan 29 18:10:49 2019
From: earljac at gmail.com (Earl Jackson)
Date: Wed, 30 Jan 2019 07:10:49 +0800
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CABhbz8NfhH7CbKgMtHrB5VW3c=Lp88gpHeWj_w43kzuDNB9cqQ@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
 <CABhbz8NfhH7CbKgMtHrB5VW3c=Lp88gpHeWj_w43kzuDNB9cqQ@mail.gmail.com>
Message-ID: <CABhbz8O34QY7LjWs4Z6Mn5r1WkYPDjTa4quEe3=4kiPGkzA=RQ@mail.gmail.com>

Dear Fanglin Wang
For some reason the links to Yaguchi Shoten's website are broken, but they
do respond to email inquiries too. This is the email address that worked
for me a couple years ago.
<yaguchi at mbk.nifty.com>
best
ej

Earl Jackson
Professor
Chair, Foreign Languages and Literatures
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute


On Wed, Jan 30, 2019 at 7:08 AM Earl Jackson <earljac at gmail.com> wrote:

> Dear Fanglin Wang
> Often the scenarios are included in journals such as Scenario, Eiga
> Hyoron, or Kinema Junpo - and other times published alone by the studio. I
> would contact Yaguchi Shoten in Jimbocho.
>
>    - ??
>    <https://www.yelp.com.tw/biz_attribute?biz_id=Tmc8OaKNR8h3_t3GfUSjaQ>
>
>
> *?????2-5-1 ????, ??? ?101-0051 ??*Jinbocho Station
>    -  ????
>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
>    - ??????*Mita Line*
>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>Jimbocho
>    ???2??
>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
>    -  ????+81 3 3261 5708
>    -  ????homepage3.nifty.com/yaguchi
>    <https://www.yelp.com.tw/biz_redir?url=http%3A%2F%2Fhomepage3.nifty.com%2Fyaguchi&website_link_type=website&src_bizid=Tmc8OaKNR8h3_t3GfUSjaQ&cachebuster=1548803188&s=7a5dbac109cda61d7d1c7a4ae92f565d659dc18c1a293ee527eec89c2b085ef2>
>    -  ?????
>
> 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 Wed, Jan 30, 2019 at 6:28 AM Fanglin Wang <fw181 at georgetown.edu> wrote:
>
>> Hi everyone,
>> I hope this email finds you well. I am working on a film project that
>> analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
>> wondering if there is any place to look for the movie scripts of
>> Kinoshita's films by any chance (online or in the U.S.)?
>>
>> The scripts can be in either Japanese or English. I am specifically
>> looking for the scripts of the following films:
>> *Rikugun (Army; 1944);*
>> *Morning for the Osone Family(1946)*
>> *Fushicho(Phoenix; 1947)*
>> *A Japanese Tragedy (1953)*
>> *Twenty-Four Eyes (1954)*
>>
>> Feel free to let me know if you have any questions. Thank you for your
>> help in advance!
>>
>> Sincerely,
>> Fanglin Wang
>>
>> Graduate Student
>> Department of Communication, Culture and Technology
>> Georgetown University
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>
>
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From fw181 at georgetown.edu  Tue Jan 29 18:31:48 2019
From: fw181 at georgetown.edu (Fanglin Wang)
Date: Tue, 29 Jan 2019 18:31:48 -0500
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CABhbz8O34QY7LjWs4Z6Mn5r1WkYPDjTa4quEe3=4kiPGkzA=RQ@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
 <CABhbz8NfhH7CbKgMtHrB5VW3c=Lp88gpHeWj_w43kzuDNB9cqQ@mail.gmail.com>
 <CABhbz8O34QY7LjWs4Z6Mn5r1WkYPDjTa4quEe3=4kiPGkzA=RQ@mail.gmail.com>
Message-ID: <CAFz8Oeu301HhDBWkP8CJ+J1n2KtUrCw3YAdVWkT=Pa4C-n3MGQ@mail.gmail.com>

Thank you so much for the information, Professor Jackson! I really
appreciate it!


On Tue, Jan 29, 2019 at 6:11 PM Earl Jackson <earljac at gmail.com> wrote:

> Dear Fanglin Wang
> For some reason the links to Yaguchi Shoten's website are broken, but they
> do respond to email inquiries too. This is the email address that worked
> for me a couple years ago.
> <yaguchi at mbk.nifty.com>
> best
> ej
>
> Earl Jackson
> Professor
> Chair, Foreign Languages and Literatures
> National Chiao Tung University
> Associate Professor, Emeritus
> University of California, Santa Cruz
> Co-Director
> Trans-Asia Screen Cultures Institute
>
>
> On Wed, Jan 30, 2019 at 7:08 AM Earl Jackson <earljac at gmail.com> wrote:
>
>> Dear Fanglin Wang
>> Often the scenarios are included in journals such as Scenario, Eiga
>> Hyoron, or Kinema Junpo - and other times published alone by the studio. I
>> would contact Yaguchi Shoten in Jimbocho.
>>
>>    - ??
>>    <https://www.yelp.com.tw/biz_attribute?biz_id=Tmc8OaKNR8h3_t3GfUSjaQ>
>>
>>
>> *?????2-5-1 ????, ??? ?101-0051 ??*Jinbocho Station
>>    -  ????
>>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
>>    - ??????*Mita Line*
>>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>Jimbocho
>>    ???2??
>>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
>>    -  ????+81 3 3261 5708
>>    -  ????homepage3.nifty.com/yaguchi
>>    <https://www.yelp.com.tw/biz_redir?url=http%3A%2F%2Fhomepage3.nifty.com%2Fyaguchi&website_link_type=website&src_bizid=Tmc8OaKNR8h3_t3GfUSjaQ&cachebuster=1548803188&s=7a5dbac109cda61d7d1c7a4ae92f565d659dc18c1a293ee527eec89c2b085ef2>
>>    -  ?????
>>
>> 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 Wed, Jan 30, 2019 at 6:28 AM Fanglin Wang <fw181 at georgetown.edu>
>> wrote:
>>
>>> Hi everyone,
>>> I hope this email finds you well. I am working on a film project that
>>> analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
>>> wondering if there is any place to look for the movie scripts of
>>> Kinoshita's films by any chance (online or in the U.S.)?
>>>
>>> The scripts can be in either Japanese or English. I am specifically
>>> looking for the scripts of the following films:
>>> *Rikugun (Army; 1944);*
>>> *Morning for the Osone Family(1946)*
>>> *Fushicho(Phoenix; 1947)*
>>> *A Japanese Tragedy (1953)*
>>> *Twenty-Four Eyes (1954)*
>>>
>>> Feel free to let me know if you have any questions. Thank you for your
>>> help in advance!
>>>
>>> Sincerely,
>>> Fanglin Wang
>>>
>>> Graduate Student
>>> Department of Communication, Culture and Technology
>>> Georgetown University
>>>
>>> _______________________________________________
>>> 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
>
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From earljac at gmail.com  Tue Jan 29 18:32:57 2019
From: earljac at gmail.com (Earl Jackson)
Date: Wed, 30 Jan 2019 07:32:57 +0800
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CAFz8Oeu301HhDBWkP8CJ+J1n2KtUrCw3YAdVWkT=Pa4C-n3MGQ@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
 <CABhbz8NfhH7CbKgMtHrB5VW3c=Lp88gpHeWj_w43kzuDNB9cqQ@mail.gmail.com>
 <CABhbz8O34QY7LjWs4Z6Mn5r1WkYPDjTa4quEe3=4kiPGkzA=RQ@mail.gmail.com>
 <CAFz8Oeu301HhDBWkP8CJ+J1n2KtUrCw3YAdVWkT=Pa4C-n3MGQ@mail.gmail.com>
Message-ID: <CABhbz8N4vNMdovFAadBjdz_VErZuqZDS7NDBpxpk5kc=dKas_g@mail.gmail.com>

My pleasure!
best
ej
Earl Jackson
Professor
Chair, Foreign Languages and Literatures
National Chiao Tung University
Associate Professor, Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute


On Wed, Jan 30, 2019 at 7:32 AM Fanglin Wang <fw181 at georgetown.edu> wrote:

> Thank you so much for the information, Professor Jackson! I really
> appreciate it!
>
>
> On Tue, Jan 29, 2019 at 6:11 PM Earl Jackson <earljac at gmail.com> wrote:
>
>> Dear Fanglin Wang
>> For some reason the links to Yaguchi Shoten's website are broken, but
>> they do respond to email inquiries too. This is the email address that
>> worked for me a couple years ago.
>> <yaguchi at mbk.nifty.com>
>> best
>> ej
>>
>> Earl Jackson
>> Professor
>> Chair, Foreign Languages and Literatures
>> National Chiao Tung University
>> Associate Professor, Emeritus
>> University of California, Santa Cruz
>> Co-Director
>> Trans-Asia Screen Cultures Institute
>>
>>
>> On Wed, Jan 30, 2019 at 7:08 AM Earl Jackson <earljac at gmail.com> wrote:
>>
>>> Dear Fanglin Wang
>>> Often the scenarios are included in journals such as Scenario, Eiga
>>> Hyoron, or Kinema Junpo - and other times published alone by the studio. I
>>> would contact Yaguchi Shoten in Jimbocho.
>>>
>>>    - ??
>>>    <https://www.yelp.com.tw/biz_attribute?biz_id=Tmc8OaKNR8h3_t3GfUSjaQ>
>>>
>>>
>>> *?????2-5-1 ????, ??? ?101-0051 ??*Jinbocho Station
>>>    -  ????
>>>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
>>>    - ??????*Mita Line*
>>>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>Jimbocho
>>>    ???2??
>>>    <https://www.yelp.com.tw/map/%E7%9F%A2%E5%8F%A3%E6%9B%B8%E5%BA%97-%E5%8D%83%E4%BB%A3%E7%94%B0%E5%8C%BA-2>
>>>    -  ????+81 3 3261 5708
>>>    -  ????homepage3.nifty.com/yaguchi
>>>    <https://www.yelp.com.tw/biz_redir?url=http%3A%2F%2Fhomepage3.nifty.com%2Fyaguchi&website_link_type=website&src_bizid=Tmc8OaKNR8h3_t3GfUSjaQ&cachebuster=1548803188&s=7a5dbac109cda61d7d1c7a4ae92f565d659dc18c1a293ee527eec89c2b085ef2>
>>>    -  ?????
>>>
>>> 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 Wed, Jan 30, 2019 at 6:28 AM Fanglin Wang <fw181 at georgetown.edu>
>>> wrote:
>>>
>>>> Hi everyone,
>>>> I hope this email finds you well. I am working on a film project that
>>>> analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
>>>> wondering if there is any place to look for the movie scripts of
>>>> Kinoshita's films by any chance (online or in the U.S.)?
>>>>
>>>> The scripts can be in either Japanese or English. I am specifically
>>>> looking for the scripts of the following films:
>>>> *Rikugun (Army; 1944);*
>>>> *Morning for the Osone Family(1946)*
>>>> *Fushicho(Phoenix; 1947)*
>>>> *A Japanese Tragedy (1953)*
>>>> *Twenty-Four Eyes (1954)*
>>>>
>>>> Feel free to let me know if you have any questions. Thank you for your
>>>> help in advance!
>>>>
>>>> Sincerely,
>>>> Fanglin Wang
>>>>
>>>> Graduate Student
>>>> Department of Communication, Culture and Technology
>>>> Georgetown University
>>>>
>>>> _______________________________________________
>>>> 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
>
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From aaron.gerow at yale.edu  Tue Jan 29 18:42:52 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 29 Jan 2019 18:42:52 -0500
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CABhbz8N4vNMdovFAadBjdz_VErZuqZDS7NDBpxpk5kc=dKas_g@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
 <CABhbz8NfhH7CbKgMtHrB5VW3c=Lp88gpHeWj_w43kzuDNB9cqQ@mail.gmail.com>
 <CABhbz8O34QY7LjWs4Z6Mn5r1WkYPDjTa4quEe3=4kiPGkzA=RQ@mail.gmail.com>
 <CAFz8Oeu301HhDBWkP8CJ+J1n2KtUrCw3YAdVWkT=Pa4C-n3MGQ@mail.gmail.com>
 <CABhbz8N4vNMdovFAadBjdz_VErZuqZDS7NDBpxpk5kc=dKas_g@mail.gmail.com>
Message-ID: <B2826FE9-5287-4913-82A6-DE119032884A@yale.edu>

Dear Fanglin,

Tanikawa Yoshio?s Shinario bunken is the best reference source for finding out what film scripts were published and where. Here is the Yale catalog record for that book:

http://hdl.handle.net/10079/bibid/6559865 <http://hdl.handle.net/10079/bibid/6559865>

This is an index that will help you find out which issue of Shinario, for instance, might have this or that film.

If you are at Georgetown, I would hope the Library of Congress has a copy if Georgetown does not.

The following publication would be included in Tanikawa?s book, but there is a Nihon shinario bungaku zenshu that was published in 1955 that has a volume of Kinoshita?s scripts. It seems it only has Nihon no higeki of the ones you are looking for, but it is a start.

http://hdl.handle.net/10079/bibid/8462139 <http://hdl.handle.net/10079/bibid/8462139>

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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From raine.michael.j at gmail.com  Tue Jan 29 18:53:08 2019
From: raine.michael.j at gmail.com (Michael Raine)
Date: Tue, 29 Jan 2019 18:53:08 -0500
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
Message-ID: <CAH_CNbeEU=5BvfuuTjxvCN=ObFq2E_MdjF8nuQZk489yFNrELA@mail.gmail.com>

Hello Fanglin,

Aaron's right that shinario bunken is the best place to look.
>From my copy, it looks like the scripts are published in the following
places:
Rikugun: Kinema Junpo's Nihon eiga daihyo shinario zenshu, v. 4
Osoneke no asa: Kinema junpo #163, Nihon shinario taikei v. 2, Sengo daihyo
shinario shu (45-51)
I can't see a Fushicho entry, and A Japanese Tragedy and Twenty-Four eyes
are in Kinoshita Keisuke shinario shu, which I don't have but saw here:
https://www.usa-rin.com/product-page/%E6%9C%A8%E4%B8%8B%E6%81%B5%E4%BB%8B%E3%82%B7%E3%83%8A%E3%83%AA%E3%82%AA%E9%9B%86-%E3%82%B7%E3%83%8A%E3%83%AA%E3%82%AA%E6%96%87%E5%BA%AB108
Those two are also published in a bunch of other places but you should be
able to find the book, which will probably be better quality.

Michael

Michael Raine, Western University, Canada


On Tue, Jan 29, 2019 at 5:28 PM Fanglin Wang <fw181 at georgetown.edu> wrote:

> Hi everyone,
> I hope this email finds you well. I am working on a film project that
> analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
> wondering if there is any place to look for the movie scripts of
> Kinoshita's films by any chance (online or in the U.S.)?
>
> The scripts can be in either Japanese or English. I am specifically
> looking for the scripts of the following films:
> *Rikugun (Army; 1944);*
> *Morning for the Osone Family(1946)*
> *Fushicho(Phoenix; 1947)*
> *A Japanese Tragedy (1953)*
> *Twenty-Four Eyes (1954)*
>
> Feel free to let me know if you have any questions. Thank you for your
> help in advance!
>
> Sincerely,
> Fanglin Wang
>
> Graduate Student
> Department of Communication, Culture and Technology
> Georgetown University
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From jeremyharley at gmail.com  Tue Jan 29 19:02:42 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Wed, 30 Jan 2019 09:02:42 +0900
Subject: [KineJapan] Inabata letters
In-Reply-To: <3CAF0272-2E8C-4AFF-8BBD-FDB15C1CF510@yale.edu>
References: <3CAF0272-2E8C-4AFF-8BBD-FDB15C1CF510@yale.edu>
Message-ID: <CAD3BKu8VNojhxMbRRUtJZkh6R664DEoBp5kCt5t-yyPAMrWHxw@mail.gmail.com>

So cool! Thank you so much, Aaron.

For those who read French but not Japanese, here's the direct link to the
PDF:
https://www.inabata.co.jp/themes/inabata/ik/assets/pdf/inabata_lumiere.pdf

Can anyone make out the ******* word on the first page?
Suivant la loi japonaise, on interdisait les *******, les instruments de
musique, enfin tout ce qui concerne les distractions.
(???????????? ? ????????????????????????????????)

Jeremy Harley
Mabashi Wonderland Movie Festival

On Wed, Jan 30, 2019 at 2:17 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:

> The Kyoto Shinbun has reported that a graduate student at Kyoto
> University, Hase Ken'ichiro, has discovered notes for four letters that
> Inabata Katsutaro, known in Japanese film history as the man who imported
> the Lumiere Cinematograph to Japan, sent to the Lumiere Brothers. The notes
> are likely transcripts of letters in French Inabata sent from March to
> October of 1897, and describe the importation of the apparatus. What is
> wonderful is that Inabata Co. (which still exists), has put the letters on
> their home page, complete with a Japanese translation by Hori Junji.
>
> https://www.inabata.co.jp/ik/digital/
>
>
>
>
> 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
>
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From fw181 at georgetown.edu  Tue Jan 29 19:25:32 2019
From: fw181 at georgetown.edu (Fanglin Wang)
Date: Tue, 29 Jan 2019 19:25:32 -0500
Subject: [KineJapan] Movie scripts of Keisuke Kinoshita's films
In-Reply-To: <CAH_CNbeEU=5BvfuuTjxvCN=ObFq2E_MdjF8nuQZk489yFNrELA@mail.gmail.com>
References: <CAFz8OetJrm6AvDR6ZTv8wpv7BGX5hS9idi9+4Lbw-7jrY=__2A@mail.gmail.com>
 <CAH_CNbeEU=5BvfuuTjxvCN=ObFq2E_MdjF8nuQZk489yFNrELA@mail.gmail.com>
Message-ID: <CAFz8OeuZx3Ei0xptkkx=vg5tSMwALDWLTRQ0o5yp3jYyZ8qdXA@mail.gmail.com>

Thank you so much for your help, Professor Gerow! Georgetown does not seem
to have either book, but I will definitely check with the Library of
Congress!

Thank you, Professor Raine! I really appreciate it!

On Tue, Jan 29, 2019 at 6:53 PM Michael Raine <raine.michael.j at gmail.com>
wrote:

> Hello Fanglin,
>
> Aaron's right that shinario bunken is the best place to look.
> From my copy, it looks like the scripts are published in the following
> places:
> Rikugun: Kinema Junpo's Nihon eiga daihyo shinario zenshu, v. 4
> Osoneke no asa: Kinema junpo #163, Nihon shinario taikei v. 2, Sengo
> daihyo shinario shu (45-51)
> I can't see a Fushicho entry, and A Japanese Tragedy and Twenty-Four eyes
> are in Kinoshita Keisuke shinario shu, which I don't have but saw here:
>
> https://www.usa-rin.com/product-page/%E6%9C%A8%E4%B8%8B%E6%81%B5%E4%BB%8B%E3%82%B7%E3%83%8A%E3%83%AA%E3%82%AA%E9%9B%86-%E3%82%B7%E3%83%8A%E3%83%AA%E3%82%AA%E6%96%87%E5%BA%AB108
> Those two are also published in a bunch of other places but you should be
> able to find the book, which will probably be better quality.
>
> Michael
>
> Michael Raine, Western University, Canada
>
>
> On Tue, Jan 29, 2019 at 5:28 PM Fanglin Wang <fw181 at georgetown.edu> wrote:
>
>> Hi everyone,
>> I hope this email finds you well. I am working on a film project that
>> analyzes director Keisuke Kinoshita's melodrama films in 1940s-50s. I am
>> wondering if there is any place to look for the movie scripts of
>> Kinoshita's films by any chance (online or in the U.S.)?
>>
>> The scripts can be in either Japanese or English. I am specifically
>> looking for the scripts of the following films:
>> *Rikugun (Army; 1944);*
>> *Morning for the Osone Family(1946)*
>> *Fushicho(Phoenix; 1947)*
>> *A Japanese Tragedy (1953)*
>> *Twenty-Four Eyes (1954)*
>>
>> Feel free to let me know if you have any questions. Thank you for your
>> help in advance!
>>
>> Sincerely,
>> Fanglin Wang
>>
>> Graduate Student
>> Department of Communication, Culture and Technology
>> Georgetown University
>>
>> _______________________________________________
>> 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
>
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From macyroger at yahoo.co.uk  Tue Jan 29 19:40:54 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Wed, 30 Jan 2019 00:40:54 +0000 (UTC)
Subject: [KineJapan] Inabata letters
In-Reply-To: <CAD3BKu8VNojhxMbRRUtJZkh6R664DEoBp5kCt5t-yyPAMrWHxw@mail.gmail.com>
References: <3CAF0272-2E8C-4AFF-8BBD-FDB15C1CF510@yale.edu>
 <CAD3BKu8VNojhxMbRRUtJZkh6R664DEoBp5kCt5t-yyPAMrWHxw@mail.gmail.com>
Message-ID: <1172690837.5607376.1548808854734@mail.yahoo.com>

 Thanks Aaron and Jeremy.Is it 'au interdisait les am?ricains' ?It's not perfect, but he also misses the accent earlier on this word.Roger

    On Wednesday, 30 January 2019, 00:03:01 GMT, Jeremy Harley <jeremyharley at gmail.com> wrote:  
 
 So cool! Thank you so much, Aaron.
For those who read French but not Japanese, here's the direct link to the PDF:?https://www.inabata.co.jp/themes/inabata/ik/assets/pdf/inabata_lumiere.pdf
Can anyone make out the ******* word on the first page?Suivant la loi japonaise, on interdisait les *******, les instruments de musique, enfin tout ce qui concerne les distractions.(???????????? ? ????????????????????????????????)
Jeremy HarleyMabashi Wonderland Movie Festival
On Wed, Jan 30, 2019 at 2:17 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:

The Kyoto Shinbun has reported that a graduate student at Kyoto University, Hase Ken'ichiro, has discovered notes for four letters that Inabata Katsutaro, known in Japanese film history as the man who imported the Lumiere Cinematograph to Japan, sent to the Lumiere Brothers. The notes are likely transcripts of letters in French Inabata sent from March to October of 1897, and describe the importation of the apparatus. What is wonderful is that Inabata Co. (which still exists), has put the letters on their home page, complete with a Japanese translation by Hori Junji.
https://www.inabata.co.jp/ik/digital/
?

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and LiteraturesDirector of Graduate Studies, Film and Media StudiesYale University143 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.eduwebsite: 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
  
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From beatfrey at gmx.ch  Tue Jan 29 20:29:45 2019
From: beatfrey at gmx.ch (Beat Frey)
Date: Wed, 30 Jan 2019 02:29:45 +0100
Subject: [KineJapan] Inabata letters
Message-ID: <trinity-fe37e081-0bb3-4c5a-9d65-2d405368c97c-1548811785324@msvc-mesg-gmx122>

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From mathieucapel at gmail.com  Tue Jan 29 21:00:18 2019
From: mathieucapel at gmail.com (Mathieu Capel)
Date: Wed, 30 Jan 2019 11:00:18 +0900
Subject: [KineJapan] Inabata letters
In-Reply-To: <trinity-fe37e081-0bb3-4c5a-9d65-2d405368c97c-1548811785324@msvc-mesg-gmx122>
References: <trinity-fe37e081-0bb3-4c5a-9d65-2d405368c97c-1548811785324@msvc-mesg-gmx122>
Message-ID: <CAJptavQXnyR=RxJpx21GHNR5ziA71A=YWQzxm4UMprG4jjjXUQ@mail.gmail.com>

Dear all,

The point is that Inabata's french is far from perfect (pretty good indeed,
but not perfect)...
"Renvians" is quite a good idea, dear Beat, I could second that, as,
according to some dictionaries, "renvier"was still used by that time. And
you're right : in that case, we'd have to assume an inaccurate spelling of
"renviants"...
I might have another version to suggest anyway : what about "les r?unions",
i.e. "meetings", with the same kind of "orthographic tolerance" you were
advocating before (but it looks more like "reunians"...).
Plus, I would like to suggest something for page 8, where we can find three
more *** : instead of "envelop", I read "cassette", i.e. a  small casket
with some piece of art in it.
Open debate, anyway.
Best,

Mathieu Capel


Le mer. 30 janv. 2019 ? 10:29, Beat Frey <beatfrey at gmx.ch> a ?crit :

> It could be read as 'les renvians'. The verbe renvier means to gamble, so
> with a little orthographic tolerance (always tricky to do that in french)
> you may interpret it as 'gambling' or 'the ones who gamble'. Would be good
> to have the opinion of a native french speaker.
>
> Beat
> beatfrey at gmx.ch
> --
> Sent from my Android phone with GMX Mail.
> Le 30.01.19, 06:10 Roger Macy <macyroger at yahoo.co.uk> a ?crit:
>>
>> Thanks Aaron and Jeremy.
>> Is it 'au interdisait les am?ricains' ?
>> It's not perfect, but he also misses the accent earlier on this word.
>> Roger
>>
>> On Wednesday, 30 January 2019, 00:03:01 GMT, Jeremy Harley <
>> jeremyharley at gmail.com> wrote:
>>
>>
>> So cool! Thank you so much, Aaron.
>>
>> For those who read French but not Japanese, here's the direct link to the
>> PDF:
>> https://www.inabata.co.jp/themes/inabata/ik/assets/pdf/inabata_lumiere.pdf
>>
>> Can anyone make out the ******* word on the first page?
>> Suivant la loi japonaise, on interdisait les *******, les instruments de
>> musique, enfin tout ce qui concerne les distractions.
>> (???????????? ? ????????????????????????????????)
>>
>> Jeremy Harley
>> Mabashi Wonderland Movie Festival
>>
>> On Wed, Jan 30, 2019 at 2:17 AM Gerow Aaron <aaron.gerow at yale.edu> wrote:
>>
>> The Kyoto Shinbun has reported that a graduate student at Kyoto
>> University, Hase Ken'ichiro, has discovered notes for four letters that
>> Inabata Katsutaro, known in Japanese film history as the man who imported
>> the Lumiere Cinematograph to Japan, sent to the Lumiere Brothers. The notes
>> are likely transcripts of letters in French Inabata sent from March to
>> October of 1897, and describe the importation of the apparatus. What is
>> wonderful is that Inabata Co. (which still exists), has put the letters on
>> their home page, complete with a Japanese translation by Hori Junji.
>>
>> https://www.inabata.co.jp/ik/digital/
>>
>>
>>
>>
>> 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
>> _______________________________________________ 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
>
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From aaron.gerow at yale.edu  Tue Jan 29 21:11:28 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 29 Jan 2019 21:11:28 -0500
Subject: [KineJapan] Eigei Best and Worst Ten
Message-ID: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>

The magazine Eiga Geijutsu announced its Best and Worst Ten for 2018. 

Best One was Miyake Sho's Kimi no tori wa utaeru. Worst One was Koreeda's Shoplifters.

www3.cinematopics.com/archives/104418?

Having participated in the EG Best Ten for 7 years, I have fond memories of it. But with shifts like the controversy last year over not allowing animated films, it is getting harder to take seriously. I knew Shoplifters would be worst one even before I saw the results, because recently they seem to always select in a knee jerk fashion any critically successful film?especially critically successful abroad?as worst one. That kind of tired predictability is not good for the magazine.


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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From azahlten at fas.harvard.edu  Tue Jan 29 21:45:00 2019
From: azahlten at fas.harvard.edu (Zahlten, Alexander)
Date: Wed, 30 Jan 2019 02:45:00 +0000
Subject: [KineJapan] Eigei Best and Worst Ten
In-Reply-To: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
References: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
Message-ID: <C011796E-C805-40CB-BF14-4AA072281C08@fas.harvard.edu>

Thanks for sending this Aaron. The EiGei choices have of course always been controversial and also distrusted (there was a sense that certain results were being engineered), and as a former contributor myself I?ve  heard a lot of that discussion even among the other contributors. Maybe one might add that it isn?t just that the poll names ?any? critically successful film to worst #1- it is certainly more specific than that, and Koreeda has been in the EiGei crosshairs for a long time. It also maybe isn?t surprising that Dare To Stop Us / Tomerareru ka, Oretachi o, the film about Wakamatsu Productions, is worst #2 (and percentage-wise tied with Shoplifters at first place)? with so many people in the EiGei orbit having been close to or even members of Wakamatsu pro at some point.

There are always interesting points about the poll, however, and the films that are voted fairly high up in both the best and the worst ten list make for interesting cases. This year it is Zeze Takahisa?s Kiku to Girochin, the film about the encounter of Taisho-era anarchists with female sumo wrestlers, that made #4 on both rankings.

Alex




From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Gerow Aaron <aaron.gerow at yale.edu>
Reply-To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Date: Tuesday, January 29, 2019 at 21:11
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: [KineJapan] Eigei Best and Worst Ten

The magazine Eiga Geijutsu announced its Best and Worst Ten for 2018.

Best One was Miyake Sho's Kimi no tori wa utaeru. Worst One was Koreeda's Shoplifters.

www3.cinematopics.com/archives/104418?<https://urldefense.proofpoint.com/v2/url?u=http-3A__www3.cinematopics.com_archives_104418-3F&d=DwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=__ROkypPMfBMMPVia3CjGrxSJryXbwjGyfBDGhCKd68&m=IdT5SOsWSaU8nv_LlfdPJuYJ2i0szurBOWX7Z8hfZNc&s=CVTC52rSJPKfOrBO6bEt-xzLb0rYN-6Gw7ITqsqssWk&e=>

Having participated in the EG Best Ten for 7 years, I have fond memories of it. But with shifts like the controversy last year over not allowing animated films, it is getting harder to take seriously. I knew Shoplifters would be worst one even before I saw the results, because recently they seem to always select in a knee jerk fashion any critically successful film?especially critically successful abroad?as worst one. That kind of tired predictability is not good for the magazine.

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<mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com<https://urldefense.proofpoint.com/v2/url?u=http-3A__www.aarongerow.com&d=DwMFaQ&c=WO-RGvefibhHBZq3fL85hQ&r=__ROkypPMfBMMPVia3CjGrxSJryXbwjGyfBDGhCKd68&m=IdT5SOsWSaU8nv_LlfdPJuYJ2i0szurBOWX7Z8hfZNc&s=6HRln9bikfeBo9j3Hgpc0koJUCAU8IgfBrM3Fia9_6E&e=>

















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From aaron.gerow at yale.edu  Tue Jan 29 21:56:16 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 29 Jan 2019 21:56:16 -0500
Subject: [KineJapan] Eigei Best and Worst Ten
In-Reply-To: <C011796E-C805-40CB-BF14-4AA072281C08@fas.harvard.edu>
References: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
 <C011796E-C805-40CB-BF14-4AA072281C08@fas.harvard.edu>
Message-ID: <A5F473AA-718C-4554-94AF-A3A198423281@yale.edu>

Yes, Koreeda has been in their crosshairs for a while. But there is a strong sense that Eigei likes to declare they hate anything the mainstream critics or institutions like. It can get personal, as there has long been a sense that films with which the publisher Arai Haruhiko (screenwriter and director) are involved end up high in the list, and those he doesn?t like (perhaps Tomerareru this year?he even appears as a character in the film) get dumped on. Voters are reportedly added and removed according to what results are desired. The Worst results are often dubious because for long time half the voters did not submit worst votes (I think it is now mandatory?), and so just a few people decided that list.

But much of that is nothing new. And in some ways, it was kind of interesting. My complaint is that the Eigei results to me seem to be getting less interesting and more predictable. I support Eigei and still pay for my subscription, but they need to do something to shake things up a bit.

Aaron

> 2019/01/29 ??9:45?Zahlten, Alexander <azahlten at fas.harvard.edu>????:
> 
> Thanks for sending this Aaron. The EiGei choices have of course always been controversial and also distrusted (there was a sense that certain results were being engineered), and as a former contributor myself I?ve  heard a lot of that discussion even among the other contributors. Maybe one might add that it isn?t just that the poll names ?any? critically successful film to worst #1- it is certainly more specific than that, and Koreeda has been in the EiGei crosshairs for a long time. It also maybe isn?t surprising that Dare To Stop Us / Tomerareru ka, Oretachi o, the film about Wakamatsu Productions, is worst #2 (and percentage-wise tied with Shoplifters at first place)? with so many people in the EiGei orbit having been close to or even members of Wakamatsu pro at some point.
>  
> There are always interesting points about the poll, however, and the films that are voted fairly high up in both the best and the worst ten list make for interesting cases. This year it is Zeze Takahisa?s Kiku to Girochin, the film about the encounter of Taisho-era anarchists with female sumo wrestlers, that made #4 on both rankings.
>  
> Alex
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From azahlten at fas.harvard.edu  Tue Jan 29 22:17:44 2019
From: azahlten at fas.harvard.edu (Zahlten, Alexander)
Date: Wed, 30 Jan 2019 03:17:44 +0000
Subject: [KineJapan] Eigei Best and Worst Ten
In-Reply-To: <A5F473AA-718C-4554-94AF-A3A198423281@yale.edu>
References: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
 <C011796E-C805-40CB-BF14-4AA072281C08@fas.harvard.edu>
 <A5F473AA-718C-4554-94AF-A3A198423281@yale.edu>
Message-ID: <3C8BF30F-416C-483A-9348-B42C3D416A81@fas.harvard.edu>

I?m not sure any hopes that EiGei will shake things up are likely to be fulfilled? it is more likely that it will simply fold. The magazine has had quite a few near-death experiences in the last years, and won?t be able to dodge that forever.

Arai?s influence on the rankings is what I was of course alluding to; I?m not certain, however, that it as simple as saying that EiGei simply is reflexively contrarian in its Best / Worst list ? it has shared a best #1 with Kinema Junpo in the past (and we must remember that KineJun?s rankings are also often seen as problematic, especially as the reader and critics rankings have increasingly converged in recent years). That?s not to be understood as a defence of EiGei, however, but simply to say that the magazine?s rankings, despite all the backdoor mechanics, aren?t an inaccurate reflection of opinions in what one might call the ?old film world??s opinions. Koreeda has never been particularly popular (to put it mildly) among that old guard of critics / filmmakers / archivists etc.

Alex


From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Gerow Aaron <aaron.gerow at yale.edu>
Reply-To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Date: Tuesday, January 29, 2019 at 21:56
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Subject: Re: [KineJapan] Eigei Best and Worst Ten

Yes, Koreeda has been in their crosshairs for a while. But there is a strong sense that Eigei likes to declare they hate anything the mainstream critics or institutions like. It can get personal, as there has long been a sense that films with which the publisher Arai Haruhiko (screenwriter and director) are involved end up high in the list, and those he doesn?t like (perhaps Tomerareru this year?he even appears as a character in the film) get dumped on. Voters are reportedly added and removed according to what results are desired. The Worst results are often dubious because for long time half the voters did not submit worst votes (I think it is now mandatory?), and so just a few people decided that list.

But much of that is nothing new. And in some ways, it was kind of interesting. My complaint is that the Eigei results to me seem to be getting less interesting and more predictable. I support Eigei and still pay for my subscription, but they need to do something to shake things up a bit.

Aaron


2019/01/29 ??9:45?Zahlten, Alexander <azahlten at fas.harvard.edu<mailto:azahlten at fas.harvard.edu>>????:

Thanks for sending this Aaron. The EiGei choices have of course always been controversial and also distrusted (there was a sense that certain results were being engineered), and as a former contributor myself I?ve  heard a lot of that discussion even among the other contributors. Maybe one might add that it isn?t just that the poll names ?any? critically successful film to worst #1- it is certainly more specific than that, and Koreeda has been in the EiGei crosshairs for a long time. It also maybe isn?t surprising that Dare To Stop Us / Tomerareru ka, Oretachi o, the film about Wakamatsu Productions, is worst #2 (and percentage-wise tied with Shoplifters at first place)? with so many people in the EiGei orbit having been close to or even members of Wakamatsu pro at some point.

There are always interesting points about the poll, however, and the films that are voted fairly high up in both the best and the worst ten list make for interesting cases. This year it is Zeze Takahisa?s Kiku to Girochin, the film about the encounter of Taisho-era anarchists with female sumo wrestlers, that made #4 on both rankings.

Alex
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From aaron.gerow at yale.edu  Tue Jan 29 22:44:36 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 29 Jan 2019 22:44:36 -0500
Subject: [KineJapan] Eigei Best and Worst Ten
In-Reply-To: <3C8BF30F-416C-483A-9348-B42C3D416A81@fas.harvard.edu>
References: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
 <C011796E-C805-40CB-BF14-4AA072281C08@fas.harvard.edu>
 <A5F473AA-718C-4554-94AF-A3A198423281@yale.edu>
 <3C8BF30F-416C-483A-9348-B42C3D416A81@fas.harvard.edu>
Message-ID: <0F4A179E-F009-442F-AB39-5C2E4726E6E2@yale.edu>

Indeed, Eigei will likely fold given Arai?s health?unless someone buys it up. Howver for a while, there were some young editors that could have taken it in new directions.

If Eigei was the old film world, it was a different old film world. The old film world was the generation of film critics that dominated KineJun until even the 80s and early 90s, who had been active since the 1950s. Even in the 60s, under Ogawa Toru, Eigei was different in bringing in non-professional film critics. In those days, that was people from other arts; today, it is having people who work on the film set write much of the film criticism. Eventually, Eigei came to represent those old film practitioners who were not members of the established film critical world, the major studios, or new critics like Hasumi. 

And those were voices it was wonderful to hear. The Eigei best ten could often be a surprise as you could see a film entered at no. 5 that you had never heard of. But in the last decade, those surprises have become less frequent. On the one hand, the predictable ??. On the other hand, the increasingly frequent concordances between the Eigei and KineJun lists. Perhaps that reflected the confusion and contradictions of that old film world, but to me it didn?t have as much of the politics I had expected before. 

Aaron

From eija at helsinkicineaasia.fi  Wed Jan 30 07:39:57 2019
From: eija at helsinkicineaasia.fi (Eija Niskanen)
Date: Wed, 30 Jan 2019 14:39:57 +0200
Subject: [KineJapan] Eigei Best and Worst Ten
In-Reply-To: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
References: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
Message-ID: <CA+FavwPvuk9EAfQd1EYuBBT5gGb+3kEZMuUDrOpgvAnGB1UGFQ@mail.gmail.com>

And it is also very revealing that One Cut of the Dead is considered 3rd
worst by these critics, maybe because it became such a commercial hit,
depiste being an indie film.
Eija

ke 30. tammik. 2019 klo 4.11 Gerow Aaron (aaron.gerow at yale.edu) kirjoitti:

> The magazine Eiga Geijutsu announced its Best and Worst Ten for 2018.
>
> Best One was Miyake Sho's Kimi no tori wa utaeru. Worst One was Koreeda's
> Shoplifters.
>
> www3.cinematopics.com/archives/104418?
>
> Having participated in the EG Best Ten for 7 years, I have fond memories
> of it. But with shifts like the controversy last year over not allowing
> animated films, it is getting harder to take seriously. I knew Shoplifters
> would be worst one even before I saw the results, because recently they
> seem to always select in a knee jerk fashion any critically successful
> film?especially critically successful abroad?as worst one. That kind of
> tired predictability is not good for the magazine.
>
>
> 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
>
>
>
>
>
>
>
>
>
>
>
>
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>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
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-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
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From macyroger at yahoo.co.uk  Wed Jan 30 10:27:38 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Wed, 30 Jan 2019 15:27:38 +0000 (UTC)
Subject: [KineJapan] Eigei Best and Worst Ten
In-Reply-To: <CA+FavwPvuk9EAfQd1EYuBBT5gGb+3kEZMuUDrOpgvAnGB1UGFQ@mail.gmail.com>
References: <862D802B-32A5-4DC6-A427-9CEFA5BC6605@yale.edu>
 <CA+FavwPvuk9EAfQd1EYuBBT5gGb+3kEZMuUDrOpgvAnGB1UGFQ@mail.gmail.com>
Message-ID: <785054099.653466.1548862058048@mail.yahoo.com>

 Exactly, Eija.????????? - One Cut of the Dead is a 2017 film which had a Tokyo release of November 2017. It didn't get any worse in 2018, just more famous, particularly abroad. That very much supports Aaron's comments.Roger

    On Wednesday, 30 January 2019, 12:40:17 GMT, Eija Niskanen <eija at helsinkicineaasia.fi> wrote:  
 
 And it is also very revealing that One Cut of the Dead is considered 3rd worst by these critics, maybe because it became such a commercial hit, depiste being an indie film.
Eija

ke 30. tammik. 2019 klo 4.11 Gerow Aaron (aaron.gerow at yale.edu) kirjoitti:

The magazine Eiga Geijutsu announced its Best and Worst Ten for 2018.?
Best One was Miyake Sho's Kimi no tori wa utaeru. Worst One was Koreeda's Shoplifters.
www3.cinematopics.com/archives/104418?
Having participated in the EG Best Ten for 7 years, I have fond memories of it. But with shifts like the controversy last year over not allowing animated films, it is getting harder to take seriously. I knew Shoplifters would be worst one even before I saw the results, because recently they seem to always select in a knee jerk fashion any critically successful film?especially critically successful abroad?as worst one. That kind of tired predictability is not good for the magazine.

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and LiteraturesDirector of Graduate Studies, Film and Media StudiesYale University143 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.eduwebsite: www.aarongerow.com
















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



-- 
Eija Niskanen
+358-50-355 3189
+81-80-3558-1645
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From aaron.gerow at yale.edu  Thu Jan 31 18:12:31 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Thu, 31 Jan 2019 18:12:31 -0500
Subject: [KineJapan] Japanese Reference Materials for Studying Japanese
 Cinema at Yale University
Message-ID: <63D67708-59ED-41E4-9FB1-4538D20909CE@yale.edu>

An updated version of my library guide "Japanese Reference Materials for Studying Japanese Cinema at Yale University" has been uploaded to the Yale Library website. This is a quite helpful guide to books, journals, and reference materials in Japanese useful in the study of cinema in Japan. Of course, the best source for information like that is the Reference Guide to Japanese Film Studies that Markus Nornes and I wrote (especially the Japanese edition, which is more up to date than the English one), but this library guide is a rare online guide to such information. It is focused on materials available at Yale, but it it can help those outside of Yale as well. It can also help you know what is at Yale if you intend to come use our library for film-related resources.

https://guides.library.yale.edu/c.php?g=295932&p=1973050


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com

















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