From nornes at umich.edu Thu Jul 4 07:25:34 2019 From: nornes at umich.edu (Markus Nornes) Date: Thu, 4 Jul 2019 20:25:34 +0900 Subject: [KineJapan] Working Conditions Message-ID: Yesterday, there was an interesting symposium on collaborations between Japan and SE Asian filmmakers, with Eric Khoo, Brilliante Mendoza and Garin Nugraho. It was quite the all-star lineup. The SE Asian filmmakers all commented on the persnickety attention to details and planning in Japanese crews. They either implied or directly drew a contrast between ultra-low budget, chaotic production styles in SE Asia in contrast to the careful, professionalized, and probably rich Japanese situation. Actually, the poor working conditions are becoming a hot topic of discussion in Japan. Here is a nice English article in Vox about the anime situation: https://www.vox.com/culture/2019/7/2/20677237/anime-industry-japan-artists-pay-labor-abuse-neon-genesis-evangelion-netflix Even better, our own Diane has a detailed look in Feminist Media Studies: Shiage and Women's Flexible Labor in the Japanese Animation Industry Diane Wei Lewis Feminist Media Histories, Vol. 4 No. 1, Winter 2018; (pp. 115-141) https://fmh.ucpress.edu/content/4/1/115 In a related vein in the feature film world, Fukada Koji has been regularly writing about power harassment and sexual harassment in his Twitter feed. Me.too does come up here and there, but not nearly as much as you?d think.... Markus -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From takafusa.hatori.2017 at gmail.com Fri Jul 5 03:43:03 2019 From: takafusa.hatori.2017 at gmail.com (Takafusa Hatori) Date: Fri, 5 Jul 2019 16:43:03 +0900 Subject: [KineJapan] Materials and Data in Media Studies In-Reply-To: References: Message-ID: Dear KineJapaners I am Takafusa Hatori, a Project Assistant Professor of University of Niigata. A Symposium *Materials and Data in Media Studies* will be held at Tokyo Keizai Daigaku on Aug 4th. For details, please see the attached handbill. Best regards, ---------------------------------------- ?????Hatori Takafusa? ---------------------------------------- -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 190804.pdf Type: application/pdf Size: 253044 bytes Desc: not available URL: From nornes at umich.edu Tue Jul 9 09:03:53 2019 From: nornes at umich.edu (Markus Nornes) Date: Tue, 9 Jul 2019 22:03:53 +0900 Subject: [KineJapan] =?utf-8?q?Yamagata_=E2=80=94_Aichi?= Message-ID: Yamagata International Documentary Film Festival just announced and the Aichi Triennale announced their lineups. Aichi's list is pretty interesting ( https://aichitriennale.jp/news/2019/003415.html). A few films that have been around, like Toda Hikaru's Love and Law. Two Reifenstahl films (!?), some kind of collection of Aichi interviews from Company Matsuo (unclear if it includes all the sex), and the two Japanese films from Cannes, Kuzoku's Tenzo and the colorful experimental short Grand Bouquet. ????????????????? 77? 2017??? ????????????????? 142? 2017??? ????????????? 105? 2017?? ????????A Day in the Aichi???????? ?????? 2019??? ???????????????? 113? 2018??? ??????????? 75? 2018??? ???????????? 105? 2017??? ???????????????????????????????? 138? 1938??? ??????????????????????????????? 97? 1938??? ?????????? 94? 2017??? ???????????????? 77? 2018??? ???????-TENZO-???????? 62? 2019??? ?????Grand Bouquet???????? 15? 2019??? I'd heard rumors that the Yamagata competition ( https://www.yidff.jp/2019/program/19p1-e.html) was going to have a lot of long films. Indeed it does. It's one of the admirable things about Yamagata. Length doesn't seem to factor into selection for their competition. So this time around, they've got Anand Patwardhan's new film clocking in a 240 minutes and Wang Bing's Dead Souls at 495 minutes?over 8 hours long. They make Wiseman's Monrovia feel short at 2 hours, 20+ minutes. I noticed they list Dead Souls as a Swiss, French co-production; I guess that's one way to get around the new censorship law in China....but I note that Zhang Menqi's new film is included, most definitely not with the Dragon Seal, and it is listed as a Chinese film. Interesting. I was thrilled to see Makino Takashi included in the competition. Looks great. They'll also have sidebars on 311 (again), films about film (again), Yamagata and film (again).........they really need to mix things up. But the original programming includes sidebars on Iran, Oceana, new Japanese works, and a north Indian archives, and a reevaluation of 1930s Japanese documentary. Hint for those thinking of attending. There is a medical conference overlapping with the festival and it has really sucked up the prime location hotel rooms. I've had a bunch of people asking me about this. Thankfully, the festival will be announcing a package tour that includes Shinkansen and hotel. The price should be decent and the hotel should be central. I'll forward information when it's announced. Even better: maybe the YIDFF folks on KineJapan could post this themselves? YIDFF competition list follows... Markus +++++++++++++++++++++++++++++++++++++++ *Absence*INDIA / 2018 / 80 min *Director:* Ekta Mittal ------------------------------ [image: -]*Cachada?The Opportunity*EL SALVADOR / 2019 / 81 min *Director:* Marl?n Vi?ayo ------------------------------ [image: -]*The Crosses*CHILE / 2018 / 80 min *Directors:* Teresa Arredondo, Carlos V?squez M?ndez ------------------------------ [image: -]*Dead Souls*FRANCE, SWITZERLAND / 2018 / 495 min *Director:* Wang Bing ------------------------------ [image: -]*Did You Wonder Who Fired the Gun?*USA / 2017 / 90 min *Director:* Travis Wilkerson ------------------------------ [image: -]*In Our Paradise*FRANCE / 2019 / 76 min *Director:* Claudia Marschal ------------------------------ [image: -]*Living the Light?Robby M?ller*THE NETHERLANDS / 2018 / 86 min *Director:* Claire Pijman ------------------------------ [image: -]*Memento Stella*JAPAN, HONG KONG / 2018 / 60 min *Director:* Makino Takashi ------------------------------ [image: -]*Midnight Traveler*USA, QATAR, CANADA, UK / 2019 / 87 min *Director:* Hassan Fazili ------------------------------ [image: -]*Monrovia, Indiana*USA / 2018 / 143 min *Director:* Frederick Wiseman ------------------------------ [image: -]*Reason*INDIA / 2018 / 240 min *Director:* Anand Patwardhan ------------------------------ [image: -]*Self-Portrait: Window in 47 KM*CHINA / 2019 / 110 min *Director:* Zhang Mengqi ------------------------------ [image: -]*Transnistra*SWEDEN, DENMARK, BELGIUM / 2019 / 93 min *Director:* Anna Eborn ------------------------------ [image: -]*Your Turn*BRAZIL / 2019 / 93 min *Director:* Eliza Capai ------------------------------ [image: -]*Yukiko*FRANCE / 2018 / 70 min *Director:* Young Sun Noh -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Wed Jul 10 19:36:09 2019 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Thu, 11 Jul 2019 08:36:09 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= Message-ID: Dear All, The first number of Kinema Junp? was published on this day (July 11th) in 1919. Regardless of its flaws, I think it?s quite an accomplishment. Regards Matteo Boscarol ????? ???? ??????????? - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Jul 11 08:14:18 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 11 Jul 2019 21:14:18 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: References: Message-ID: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> Yes, it is. Does anyone know of other film magazines still in publication that are 100 years old? KineJun is not a ?pure? 100 years old, since it stopped publication several times. First, during the war, after having to change its name to Eiga junpo. It began again under its original name in March 1946, but stopped again in April 1950, only to start again in November 1950. It has been continually publishing since then. It is important to talk about KineJun?s flaws, but it is also important to remember that KineJun has had many existences, especially under different editors. In the mid-1990s, for instance, KineJun was actually publishing a number of pieces that bordered on the academic. (That is less so these days). Somebody should try to do a history of KineJun. Aaron > 2019/07/11 ??8:36?matteo boscarol via KineJapan ????: > > Dear All, > > The first number of Kinema Junp? was published on this day (July 11th) in 1919. Regardless of its flaws, I think it?s quite an accomplishment. > > > Regards > > Matteo Boscarol > ????? ???? > ??????????? > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > - Film writer for Il Manifesto > http://ilmanifesto.it > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Thu Jul 11 09:47:31 2019 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 11 Jul 2019 13:47:31 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> Message-ID: <488192154.9028803.1562852851266@mail.yahoo.com> Not sure, but I know one that is not 100 years old. The BFI put out a press release on the 7th June that 'Sight and Sound' was "the world's oldest film magazine". I emailed straight back, copying Nick James, saying ""Launched in 1932, Sight & Sound is the world?s oldest film magazine"I don't think so!? Even Kinema Junpo, launched in 1919, only claims to be Japan's oldest film magazine." I never heard back and they didn't correct.R. On Thursday, 11 July 2019, 13:14:28 BST, Gerow Aaron via KineJapan wrote: Yes, it is. Does anyone know of other film magazines still in publication that are 100 years old? KineJun is not a ?pure? 100 years old, since it stopped publication several times. First, during the war, after having to change its name to Eiga junpo. It began again under its original name in March 1946, but stopped again in April 1950, only to start again in November 1950. It has been continually publishing since then. It is important to talk about KineJun?s flaws, but it is also important to remember that KineJun has had many existences, especially under different editors. In the mid-1990s, for instance, KineJun was actually publishing a number of pieces that bordered on the academic. (That is less so these days). Somebody should try to do a history of KineJun. Aaron 2019/07/11 ??8:36?matteo boscarol via KineJapan ????: Dear All,? The first number of Kinema Junp? was published on this day (July 11th) in 1919. Regardless of its flaws, I think it?s quite an accomplishment.? Regards Matteo Boscarol ????? ???????????????- Documentary in Japan and Asiahttp://storiadocgiappone.wordpress.com- Film writer for Il Manifestohttp://ilmanifesto.it _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 11 10:18:09 2019 From: nornes at umich.edu (Markus Nornes) Date: Thu, 11 Jul 2019 23:18:09 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: <488192154.9028803.1562852851266@mail.yahoo.com> References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> Message-ID: Sight and Sound is most definitely not the world's oldest film magazine. Box Office, American Cinematographer and Hollywood Reporter all started up in the late silent era. The oldest film magazine is Variety, which started up in 1905. Billboard is older, late 1800s; it covered all kinds of entertainment, including cinema. I remember hearing that it shifted to music when Variety proved stiff competition for motion picture coverage. Playbill is also old?1800s??and I wonder if they covered film at all. I've never looked. I wonder about publications in other languages. There must be some older than Sight and Sound...... In any case, that Kinema Junpo could sustain publication for a century speaks to the incredible vibrancy of Japanese film history! Pretty amazing when you think about it. Someone could write a book about it. But I now Yuki Nakayama is writing on a smaller chunk. Yuki? Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Thu, Jul 11, 2019 at 10:48 PM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > Not sure, but I know one that is *not* 100 years old. The BFI put out a > press release on the 7th June that 'Sight and Sound' was "the world's > oldest film magazine". I emailed straight back, copying Nick James, saying > ""Launched in 1932, *Sight & Sound* is the world?s oldest film magazine" > I don't think so! > Even Kinema Junpo, launched in 1919, only claims to be Japan's oldest film > magazine." > > I never heard back and they didn't correct. > R. > > On Thursday, 11 July 2019, 13:14:28 BST, Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Yes, it is. Does anyone know of other film magazines still in publication > that are 100 years old? > > KineJun is not a ?pure? 100 years old, since it stopped publication > several times. First, during the war, after having to change its name to > Eiga junpo. It began again under its original name in March 1946, but > stopped again in April 1950, only to start again in November 1950. It has > been continually publishing since then. > > It is important to talk about KineJun?s flaws, but it is also important to > remember that KineJun has had many existences, especially under different > editors. In the mid-1990s, for instance, KineJun was actually publishing a > number of pieces that bordered on the academic. (That is less so these > days). Somebody should try to do a history of KineJun. > > Aaron > > 2019/07/11 ??8:36?matteo boscarol via KineJapan < > kinejapan at mailman.yale.edu>????: > > Dear All, > > The first number of Kinema Junp? was published on this day (July 11th) in > 1919. Regardless of its flaws, I think it?s quite an accomplishment. > > > Regards > > Matteo Boscarol > ????? ???? > ??????????? > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > - Film writer for Il Manifesto > http://ilmanifesto.it > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Jul 11 10:30:55 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 11 Jul 2019 23:30:55 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> Message-ID: <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> It seems Box Office and American Cinematographer started in 1920, the year after KineJun, though they might have been published continuously. Hollywood Reporter appears to have started in 1930. I wouldn?t count either Variety or Billboard because neither reports exclusively on film, and were not started for that reason. But I would be curious if any long running film magazines exist out there, especially in languages other than English. Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From notreconciled at gmail.com Thu Jul 11 10:38:35 2019 From: notreconciled at gmail.com (Frederick Veith) Date: Thu, 11 Jul 2019 23:38:35 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> Message-ID: Photoplay started publication in 1911 and lasted until 1980. On Thu, Jul 11, 2019 at 11:31 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > It seems Box Office and American Cinematographer started in 1920, the year > after KineJun, though they might have been published continuously. > Hollywood Reporter appears to have started in 1930. > > I wouldn?t count either Variety or Billboard because neither reports > exclusively on film, and were not started for that reason. > > But I would be curious if any long running film magazines exist out there, > especially in languages other than English. > > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Chair, East Asian Languages and Literatures > Yale University > 143 Elm Street, Room 210 > PO Box 208324 > New Haven, CT 06520-8324 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 11 10:48:15 2019 From: nornes at umich.edu (Markus Nornes) Date: Thu, 11 Jul 2019 23:48:15 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> Message-ID: The other amazing thing here is that a significant chunk of Kinejun has been reprinted on paper. That?s really special. Totally different than researching on microfilm, fiche or online databases. Markus On Thu, Jul 11, 2019 at 11:38 PM Frederick Veith via KineJapan < kinejapan at mailman.yale.edu> wrote: > Photoplay started publication in 1911 and lasted until 1980. > > On Thu, Jul 11, 2019 at 11:31 PM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> It seems Box Office and American Cinematographer started in 1920, the >> year after KineJun, though they might have been published continuously. >> Hollywood Reporter appears to have started in 1930. >> >> I wouldn?t count either Variety or Billboard because neither reports >> exclusively on film, and were not started for that reason. >> >> But I would be curious if any long running film magazines exist out >> there, especially in languages other than English. >> >> >> Aaron Gerow >> Professor >> Film and Media Studies Program/East Asian Languages and Literatures >> Chair, East Asian Languages and Literatures >> 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 > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From alexanderjacoby at brookes.ac.uk Thu Jul 11 17:29:56 2019 From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby) Date: Thu, 11 Jul 2019 22:29:56 +0100 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> Message-ID: So is Sight and Sound then the oldest continuously published film Magazine? ALEX On Thu, 11 Jul 2019 at 15:18, Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Sight and Sound is most definitely not the world's oldest film magazine. > Box Office, American Cinematographer and Hollywood Reporter all started up > in the late silent era. > > The oldest film magazine is Variety, which started up in 1905. Billboard > is older, late 1800s; it covered all kinds of entertainment, including > cinema. I remember hearing that it shifted to music when Variety proved > stiff competition for motion picture coverage. > > Playbill is also old?1800s??and I wonder if they covered film at all. I've > never looked. > > I wonder about publications in other languages. There must be some older > than Sight and Sound...... > > In any case, that Kinema Junpo could sustain publication for a century > speaks to the incredible vibrancy of Japanese film history! Pretty amazing > when you think about it. > > Someone could write a book about it. But I now Yuki Nakayama is writing on > a smaller chunk. Yuki? > > Markus > > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Thu, Jul 11, 2019 at 10:48 PM Roger Macy via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Not sure, but I know one that is *not* 100 years old. The BFI put out a >> press release on the 7th June that 'Sight and Sound' was "the world's >> oldest film magazine". I emailed straight back, copying Nick James, saying >> ""Launched in 1932, *Sight & Sound* is the world?s oldest film magazine" >> I don't think so! >> Even Kinema Junpo, launched in 1919, only claims to be Japan's oldest >> film magazine." >> >> I never heard back and they didn't correct. >> R. >> >> On Thursday, 11 July 2019, 13:14:28 BST, Gerow Aaron via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >> >> Yes, it is. Does anyone know of other film magazines still in publication >> that are 100 years old? >> >> KineJun is not a ?pure? 100 years old, since it stopped publication >> several times. First, during the war, after having to change its name to >> Eiga junpo. It began again under its original name in March 1946, but >> stopped again in April 1950, only to start again in November 1950. It has >> been continually publishing since then. >> >> It is important to talk about KineJun?s flaws, but it is also important >> to remember that KineJun has had many existences, especially under >> different editors. In the mid-1990s, for instance, KineJun was actually >> publishing a number of pieces that bordered on the academic. (That is less >> so these days). Somebody should try to do a history of KineJun. >> >> Aaron >> >> 2019/07/11 ??8:36?matteo boscarol via KineJapan < >> kinejapan at mailman.yale.edu>????: >> >> Dear All, >> >> The first number of Kinema Junp? was published on this day (July 11th) in >> 1919. Regardless of its flaws, I think it?s quite an accomplishment. >> >> >> Regards >> >> Matteo Boscarol >> ????? ???? >> ??????????? >> - Documentary in Japan and Asia >> http://storiadocgiappone.wordpress.com >> - Film writer for Il Manifesto >> http://ilmanifesto.it >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 11 20:25:52 2019 From: nornes at umich.edu (Markus Nornes) Date: Fri, 12 Jul 2019 09:25:52 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> Message-ID: > I wouldn?t count either Variety or Billboard because neither reports > exclusively on film, and were not started for that reason. > > It's likely Kinejun would not have been exclusively about film if it had started in 1905. M -------------- next part -------------- An HTML attachment was scrubbed... URL: From unkleque at yahoo.com.au Thu Jul 11 23:15:17 2019 From: unkleque at yahoo.com.au (quentin turnour) Date: Fri, 12 Jul 2019 03:15:17 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> Message-ID: <1886249873.117962.1562901317864@mail.yahoo.com> UNOFFICIAL ? The formal authority here?should?(more on that should in a moment) be the FIAF?International Index to Film Periodicals.?https://www.fiafnet.org/pages/Publications/International-Index-Film-Periodicals.html. ? This lists the following still active journals, by longevity: ? Variety - USA - 1905- American Cinematographer ? USA - 1920- Radio Times - United Kingdom - 1923- Architectural Digest - United States of America ? 1925- (has published occasionally on cinema)- Iskusstvo Kino - Russia - 1931- Sight & Sound - United Kingdom - 1932- Monthly Film Bulletin- United Kingdom - 1934-1991 (Absorbed into S&S) Film-dienst - German Federal Republic - 1947-2017? (Unclear if this has ceased publication formally). T?l?rama ? France - 1950- Filmcritica ? Italy - 1950- Cahiers du Cin?ma ? France - 1951- Kwartalnik Filmowy ? Poland - 1951- Journal of Communication - United States of America - 1951- Positif ? France - 1952- Kosmorama ? Denmark - 1954- S?quences ? Canada - 1955- Film a Doba - Czech Republic - 1955- Gazette ? Netherlands - 1955-2005 Journal of Broadcasting & Electronic Media - United States of America - 1956- Gentlemen's Quarterly - United States of America ? 1957 (publishes occasionally on cinema) Filmrutan ? Sweden - 1958- Filmbulletin ? Switzerland - 1958- Film Quarterly - United States of America - 1958-. ? ? .. except data reliability for the FIAF Index is (as FIAF would admit) entirely dependent on the institution-sourced indexing services that have been provided by its members since the project started in 1972.? That?s patchy. For example, I know that Iskusstvo Kino has stopped and started a few times since 1931, whilst the Italian journal Black and White has been running since the late 1930s, but has only been published since 1970 according to FIAF. ? Of course, from the pov of this group and this conversation, the startling absence is Kinema Junpo. Checking in on the FIAF Index this morning, I only just realised that this has never been indexed, nor any other Japanese publication apart from the probably unfamiliar to all HBF Newsletter (1997-2002) and Studies in Broadcasting (1963-1999)? although it does include the short-lived ? 1977-79 ? French journal Cinejap, which apparently was a specialist Japanese cinema journal published in French and English and which had people Tony Rayns ?on its board: http://www.cineressources.net/ressource.php?collection=PERIODIQUES&pk=41. Arguably, this reflects the old-school Euro-centric nature of FIAF; ?most of the indexing work is done by European FIAF members, reflects their national cinema journal publications and that they were mostly subscribing either in their national languages or ones their staff could read. Other Asian national screen studies publications are also absent, apart from India?s Cinema in India and Cinemmaya, Singapore?s Media Asia and a range of hard copy, mostly now defunct Oz and NZ publications. The Index doesn?t try to catalogue on-line publications. ? Except, as mentioned, the Index?s data is volunteered by its members. There are two FIAF members in Japan: the NFAJ (member since 1958) and the Fukuoka City Library (Associate since 2003). Both could have been contributing to the Indexing project in order to reflect the status of Japanese screen journals of record, but seem not to have been. I have no current access to the full index, which needs to be subscribed through the academic suppliers Ovid an ProQuest to confirm this. But it would be a question worth asking. Anyone tempted to email to the Index?s editorial team in Brussels to clarify the status of Japanese and Asian publications would probably encouraged to do so by the editors themselves, who are dead-keen to make the project better:?pip at fiafnet.org ? If I?m correct, I can guess why Japanese data is absent from the Index. It?s time-consuming work, the FIAF member libraries doing it are rarely subscribing in Japanese or have Japanese-speaking volunteers who can do the indexing and many FIAF members have been shedding their own paper library services and librarians in recent years.?T TheFIAF-member archives that probably should be undertaking this, the NFAJ has always been so chronically understaffed, journal subscription and indexing is a way-somewhere down-there priority. The Fukuoka Library archive probably doesn?t even realise it?s a thing. But perhaps the new status for the NFAJ and the centennial of Kinema Jumpo might timely markers for a push to get Japanese screen publishing heritage indexed into an internationally visible form. Could be a collaboration with Kinejapaners? Quentin Turnour. National Archives of Australia. ? Sent from Yahoo7 Mail on Android On Fri., 12 Jul. 2019 at 10:26 am, Markus Nornes via KineJapan wrote: _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- An embedded and charset-unspecified text was scrubbed... Name: Untitled URL: From unkleque at yahoo.com.au Thu Jul 11 23:15:17 2019 From: unkleque at yahoo.com.au (quentin turnour) Date: Fri, 12 Jul 2019 03:15:17 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> Message-ID: <1886249873.117962.1562901317864@mail.yahoo.com> UNOFFICIAL ? The formal authority here?should?(more on that should in a moment) be the FIAF?International Index to Film Periodicals.?https://www.fiafnet.org/pages/Publications/International-Index-Film-Periodicals.html. ? This lists the following still active journals, by longevity: ? Variety - USA - 1905- American Cinematographer ? USA - 1920- Radio Times - United Kingdom - 1923- Architectural Digest - United States of America ? 1925- (has published occasionally on cinema)- Iskusstvo Kino - Russia - 1931- Sight & Sound - United Kingdom - 1932- Monthly Film Bulletin- United Kingdom - 1934-1991 (Absorbed into S&S) Film-dienst - German Federal Republic - 1947-2017? (Unclear if this has ceased publication formally). T?l?rama ? France - 1950- Filmcritica ? Italy - 1950- Cahiers du Cin?ma ? France - 1951- Kwartalnik Filmowy ? Poland - 1951- Journal of Communication - United States of America - 1951- Positif ? France - 1952- Kosmorama ? Denmark - 1954- S?quences ? Canada - 1955- Film a Doba - Czech Republic - 1955- Gazette ? Netherlands - 1955-2005 Journal of Broadcasting & Electronic Media - United States of America - 1956- Gentlemen's Quarterly - United States of America ? 1957 (publishes occasionally on cinema) Filmrutan ? Sweden - 1958- Filmbulletin ? Switzerland - 1958- Film Quarterly - United States of America - 1958-. ? ? .. except data reliability for the FIAF Index is (as FIAF would admit) entirely dependent on the institution-sourced indexing services that have been provided by its members since the project started in 1972.? That?s patchy. For example, I know that Iskusstvo Kino has stopped and started a few times since 1931, whilst the Italian journal Black and White has been running since the late 1930s, but has only been published since 1970 according to FIAF. ? Of course, from the pov of this group and this conversation, the startling absence is Kinema Junpo. Checking in on the FIAF Index this morning, I only just realised that this has never been indexed, nor any other Japanese publication apart from the probably unfamiliar to all HBF Newsletter (1997-2002) and Studies in Broadcasting (1963-1999)? although it does include the short-lived ? 1977-79 ? French journal Cinejap, which apparently was a specialist Japanese cinema journal published in French and English and which had people Tony Rayns ?on its board: http://www.cineressources.net/ressource.php?collection=PERIODIQUES&pk=41. Arguably, this reflects the old-school Euro-centric nature of FIAF; ?most of the indexing work is done by European FIAF members, reflects their national cinema journal publications and that they were mostly subscribing either in their national languages or ones their staff could read. Other Asian national screen studies publications are also absent, apart from India?s Cinema in India and Cinemmaya, Singapore?s Media Asia and a range of hard copy, mostly now defunct Oz and NZ publications. The Index doesn?t try to catalogue on-line publications. ? Except, as mentioned, the Index?s data is volunteered by its members. There are two FIAF members in Japan: the NFAJ (member since 1958) and the Fukuoka City Library (Associate since 2003). Both could have been contributing to the Indexing project in order to reflect the status of Japanese screen journals of record, but seem not to have been. I have no current access to the full index, which needs to be subscribed through the academic suppliers Ovid an ProQuest to confirm this. But it would be a question worth asking. Anyone tempted to email to the Index?s editorial team in Brussels to clarify the status of Japanese and Asian publications would probably encouraged to do so by the editors themselves, who are dead-keen to make the project better:?pip at fiafnet.org ? If I?m correct, I can guess why Japanese data is absent from the Index. It?s time-consuming work, the FIAF member libraries doing it are rarely subscribing in Japanese or have Japanese-speaking volunteers who can do the indexing and many FIAF members have been shedding their own paper library services and librarians in recent years.?T TheFIAF-member archives that probably should be undertaking this, the NFAJ has always been so chronically understaffed, journal subscription and indexing is a way-somewhere down-there priority. The Fukuoka Library archive probably doesn?t even realise it?s a thing. But perhaps the new status for the NFAJ and the centennial of Kinema Jumpo might timely markers for a push to get Japanese screen publishing heritage indexed into an internationally visible form. Could be a collaboration with Kinejapaners? Quentin Turnour. National Archives of Australia. ? Sent from Yahoo7 Mail on Android On Fri., 12 Jul. 2019 at 10:26 am, Markus Nornes via KineJapan wrote: _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- An embedded and charset-unspecified text was scrubbed... Name: Untitled URL: From nornes at umich.edu Fri Jul 12 03:42:57 2019 From: nornes at umich.edu (Markus Nornes) Date: Fri, 12 Jul 2019 16:42:57 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: <1886249873.117962.1562901317864@mail.yahoo.com> References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> <1886249873.117962.1562901317864@mail.yahoo.com> Message-ID: Thanks Quinten, that was fascinating. Actually, the problem you point out is directly related to the issues you raise. Kinema Club (and then KineJapan) was formed precisely to do something about this. The first "members" were frustrated at the lack of bibliographic resources for Japan?including in Japan?and started a packet of xeroxed tables of contents. Go and copy one of your own, add it to the collection, and you got the packet and were "in." This system went by the wayside when we went digital with KineJapan, which has been a remarkably resource for people tracking down information. [By the way, it's not too late to submit an idea/question for the upcoming anniversary edition of Kinema Club in Ann Arbor. Drop me a line if you are interested.] Back to FIAF... Here is what Aaron and I wrote in the Research Guide to Japanese Cinema: ?FIAF > www.fiafnet.org/uk/publications/fdbo.cfm > FIAF is the global organization of film archives. Their online database is > the go-to resource for anything from film periodicals. While it has > impressive coverage of non-English languages, there are extremely few > Japanese journals here (we would be shocked if it weren?t so typical). > However, for articles on Japanese film in foreign film periodicals, this > should be one?s first stop. Subscription only; included in Proquest.? > Excerpt From: Ab? Mark Nornes and Aaron Gerow. ?Research Guide to Japanese > Film Studies.? Apple Books. And while we are at it, I might as well pass on our entry on Kinema Junpo and some hints on how to use it: ?Kinema junp? (1919-) > Kinema junp? = The movie times > Tokyo: Y?sh?d? Shuppan, 1993-1995. > = The movie times., 1993-1995. > Eiga junp? > Tokyo: Yumani Shob?, 2004. > Kinema junp? = The movie times > Tokyo: Bunsei Shoin, 2009. > = The movie times, 2009. > Kinema junp? is the most important film journal in Japan, concentrating on > film criticism and trade news. It started as a coterie publication in 1919 > and lasted until 1941 when the government forced it to change its katakana > title to Eiga junp?. There was a fitful attempt to restart it after the > war, but publication only resumed for good after 1950. Since KineJun made > an effort to print not only reviews, but also ?sh?kai? (basically credits > and plot summary) of every commercial film released in Japan, it is an > essential source for beginning to research a film. Many of the major > critics wrote for it and the industry analysis is also important, although > its stance has been relatively conservative and a target of criticism for > other journals trying to distinguish themselves. The second issue in > February (the February 15 issue or ?gejung??) is the Best Ten issue, > featuring both the results of the Kinema junp? Best Ten, the critics poll > that[?]? > Excerpt From: Ab? Mark Nornes and Aaron Gerow. ?Research Guide to Japanese > Film Studies.? Apple Books. Our book has a lot of hints on how to use Kinejun, and the partial database indexing it has received. I'm happy to say that there is one bit of wrong information in that *kaisetsu;* there are now full runs of Kinema Junpo at Michigan and Yale. If you need to work in it, UM has a library grant for visiting and I'll bet Yale does, too. If there are other full runs, I'd love to hear about them. Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Fri, Jul 12, 2019 at 12:25 PM quentin turnour wrote: > *UNOFFICIAL* > > > > The formal authority here *should* (more on that should in a moment) be > the FIAF International Index to Film Periodicals. > https://www.fiafnet.org/pages/Publications/International-Index-Film-Periodicals.html > . > > > > This lists the following still active journals, by longevity: > > > > Variety - USA - 1905- > > American Cinematographer ? USA - 1920- > > Radio Times - United Kingdom - 1923- > > Architectural Digest - United States of America ? 1925- (has published > occasionally on cinema)- > > Iskusstvo Kino - Russia - 1931- > > Sight & Sound - United Kingdom - 1932- > > Monthly Film Bulletin- United Kingdom - 1934-1991 (Absorbed into S&S) > > Film-dienst - German Federal Republic - 1947-2017? (Unclear if this has > ceased publication formally). > > T?l?rama ? France - 1950- > > Filmcritica ? Italy - 1950- > > Cahiers du Cin?ma ? France - 1951- > > Kwartalnik Filmowy ? Poland - 1951- > > Journal of Communication - United States of America - 1951- > > Positif ? France - 1952- > > Kosmorama ? Denmark - 1954- > > S?quences ? Canada - 1955- > > Film a Doba - Czech Republic - 1955- > > Gazette ? Netherlands - 1955-2005 > > Journal of Broadcasting & Electronic Media - United States of America - > 1956- > > Gentlemen's Quarterly - United States of America ? 1957 (publishes > occasionally on cinema) > > Filmrutan ? Sweden - 1958- > > Filmbulletin ? Switzerland - 1958- > > Film Quarterly - United States of America - 1958-. > > > > > > .. except data reliability for the FIAF Index is (as FIAF would admit) > entirely dependent on the institution-sourced indexing services that have > been provided by its members since the project started in 1972. > > > That?s patchy. For example, I know that Iskusstvo Kino has stopped and > started a few times since 1931, whilst the Italian journal Black and White > has been running since the late 1930s, but has only been published since > 1970 according to FIAF. > > > > Of course, from the pov of this group and this conversation, the startling > absence is Kinema Junpo. Checking in on the FIAF Index this morning, I only > just realised that this has never been indexed, nor any other Japanese > publication apart from the probably unfamiliar to all HBF Newsletter > (1997-2002) and Studies in Broadcasting (1963-1999)? although it does > include the short-lived ? 1977-79 ? French journal Cinejap, which > apparently was a specialist Japanese cinema journal published in French and > English and which had people Tony Rayns on its board: > http://www.cineressources.net/ressource.php?collection=PERIODIQUES&pk=41. > > Arguably, this reflects the old-school Euro-centric nature of FIAF; most > of the indexing work is done by European FIAF members, reflects their > national cinema journal publications and that they were mostly subscribing > either in their national languages or ones their staff could read. Other > Asian national screen studies publications are also absent, apart from > India?s Cinema in India and Cinemmaya, Singapore?s Media Asia and a range > of hard copy, mostly now defunct Oz and NZ publications. The Index doesn?t > try to catalogue on-line publications. > > > > Except, as mentioned, the Index?s data is volunteered by its members. > There are two FIAF members in Japan: the NFAJ (member since 1958) and the > Fukuoka City Library (Associate since 2003). Both could have been > contributing to the Indexing project in order to reflect the status of > Japanese screen journals of record, but seem not to have been. I have no > current access to the full index, which needs to be subscribed through the > academic suppliers Ovid an ProQuest to confirm this. But it would be a > question worth asking. Anyone tempted to email to the Index?s editorial > team in Brussels to clarify the status of Japanese and Asian publications > would probably encouraged to do so by the editors themselves, who are > dead-keen to make the project better: pip at fiafnet.org > > > > If I?m correct, I can guess why Japanese data is absent from the Index. > It?s time-consuming work, the FIAF member libraries doing it are rarely > subscribing in Japanese or have Japanese-speaking volunteers who can do the > indexing and many FIAF members have been shedding their own paper library > services and librarians in recent years. T > > > TheFIAF-member archives that probably should be undertaking this, the NFAJ > has always been so chronically understaffed, journal subscription and > indexing is a way-somewhere down-there priority. The Fukuoka Library > archive probably doesn?t even realise it?s a thing. > > > But perhaps the new status for the NFAJ and the centennial of Kinema Jumpo > might timely markers for a push to get Japanese screen publishing heritage > indexed into an internationally visible form. Could be a collaboration with > Kinejapaners? > > > Quentin Turnour. > > National Archives of Australia. > > > > Sent from Yahoo7 Mail on Android > > > On Fri., 12 Jul. 2019 at 10:26 am, Markus Nornes via KineJapan > wrote: > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Jul 12 08:07:55 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 12 Jul 2019 21:07:55 +0900 Subject: [KineJapan] =?utf-8?q?100_years_of_Kinema_Junp=C5=8D?= In-Reply-To: <1886249873.117962.1562901317864@mail.yahoo.com> References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> <1886249873.117962.1562901317864@mail.yahoo.com> Message-ID: Thanks Quentin! > Except, as mentioned, the Index?s data is volunteered by its members. There are two FIAF members in Japan: the NFAJ (member since 1958) and the Fukuoka City Library (Associate since 2003). Both could have been contributing to the Indexing project in order to reflect the status of Japanese screen journals of record, but seem not to have been. Yes, you are right. The lack of Japanese film periodicals in the FIAF index is not just due to Eurocentrism, it is largely due to the fact that Japanese FIAF members made a decision not to participate in the indexing project. That might be understandable with Fukuoka, which is pretty small, but it is unfortunate that the NFAJ never did it. I did ask someone there about that some time ago and it seems to have been a combination of lack of money and lack of personnel. But we should also remember that for a long time the major periodical index in Japan, Zasshi Kiji Sakuhin, which is prepared by the Diet Library, ignored film magazines. They picked up KineJun sometime in the 80s, but it has only been in the last decade that they?ve tried to make up for some of the missing decades. They?ve added a few more magazines, but are still missing many major ones. And even now, the indexing is poor. Instead of indexing each film review, for instance, they?d just create one entry ?Japanese Film Reviews? for that section of the issue. So I can?t help think that the NFAJ dropping the ball on indexing film magazines is part of a larger national failure to recognize its own film culture and history. Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Fri Jul 12 13:09:12 2019 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Fri, 12 Jul 2019 17:09:12 +0000 Subject: [KineJapan] =?cp1257?q?100_years_of_Kinema_Junp=F4?= In-Reply-To: References: <44FA2320-8CE3-4EEF-8AF6-A486D6A0CA2B@yale.edu> <488192154.9028803.1562852851266@mail.yahoo.com> <9161C790-6B1F-4CF4-9940-E5F3922A3E49@yale.edu> <1886249873.117962.1562901317864@mail.yahoo.com>, Message-ID: I might be able to provide some insight here, as I am one of the dozen or so indexers working on the FIAF Periodicals Indexing Project worldwide, which as you can probably appreciate, is not really a huge number of people responsible for indexing every single film-related journal published at the moment, especially when one considers the indexers are not employed full time but on a piece work basis ? ie, per article indexed, which is a time consuming job because it requires reading every essay the whole way through and writing original abstracts (as the abstracts in the journals fall under the publisher?s copyright) and filing under specific subject categories. Given this, it is a comprehensive as one could hope for. The emphasis is on academic publications. Specialist film magazines such as Sight and Sound or Film Comment are included ? although only the reviews, interviews and longer articles not the smaller sidebars, puff pieces or news announcements ? and not more obviously commercially oriented titles like Empire or Total Film. With weeklies like Variety, The Radio Times or Time Out, the material chosen for indexing is much much more selective. You can see a list of the journals included here: https://www.fiafnet.org/pages/E-Resources/Journal-List.html There is also a huge backlog to catch up on, especially given the proliferating trend in universities publishing their own online journals, such as The Projector or Frames Cinema journal. And of course there?s huge amounts of material un-indexed from prior to 1972 when the indexing project first started. I am not entirely clued up on what is chosen for index and what isn?t, but there are a wide variety of publications from different territories - including areas like Finland, Macedonia, Uruguay, Portugal, Turkey Hungary etc ? and in a variety of languages. It?s interesting to note however that all of the journal languages do essentially use the standard roman alphabet, or when languages like Polish are indexed, are simplified into it, presumably due to legacy issues with the database design. I?ve never really asked, but there is a complete absence of journals indexed in Arabic, Russian, or Chinese, for example. Problems could be avoided by specialist indexers in the language transliterating into the roman alphabet, but due to the scale of the project, this could be difficult. I?ve had to correct numerous transliterations errors or issues due to variations in transliteration standards in Japanese film titles and directors? names alone. Imagine the problem with Chinese or Indian dialects for specific film titles. As I said, this is basically undertaken by a skeleton staff of freelancers, and there is not a lot of money in the project, so the scope of what is indexed is about as impressive as one could hope. Aaron?s explanation that the lack of coverage of Japanese material is a decision by Japanese FIAF members not to participate makes perfect sense. Japan?s marginalisation when it comes to accusations of Eurocentricism is often self-inflicted. But one notices no Korean or Russian titles indexed either. No one has ever suggested to me that Kinema Jumpo should be indexed, but I can always ask why this is the case, as I?m my own Japanese skills would be up to the task were it ever required. But I will say, having spent a good part of last year catching up on every back issue of semi-academic online journals like Jump Cut, there?s certainly more than enough in the English language alone to keep the indexers busy. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Gerow Aaron via KineJapan Sent: 12 July 2019 12:07 To: unkleque at yahoo.com.au; Japanese Cinema Discussion Forum Cc: Gerow Aaron Subject: Re: [KineJapan] 100 years of Kinema Junp? Thanks Quentin! Except, as mentioned, the Index?s data is volunteered by its members. There are two FIAF members in Japan: the NFAJ (member since 1958) and the Fukuoka City Library (Associate since 2003). Both could have been contributing to the Indexing project in order to reflect the status of Japanese screen journals of record, but seem not to have been. Yes, you are right. The lack of Japanese film periodicals in the FIAF index is not just due to Eurocentrism, it is largely due to the fact that Japanese FIAF members made a decision not to participate in the indexing project. That might be understandable with Fukuoka, which is pretty small, but it is unfortunate that the NFAJ never did it. I did ask someone there about that some time ago and it seems to have been a combination of lack of money and lack of personnel. But we should also remember that for a long time the major periodical index in Japan, Zasshi Kiji Sakuhin, which is prepared by the Diet Library, ignored film magazines. They picked up KineJun sometime in the 80s, but it has only been in the last decade that they?ve tried to make up for some of the missing decades. They?ve added a few more magazines, but are still missing many major ones. And even now, the indexing is poor. Instead of indexing each film review, for instance, they?d just create one entry ?Japanese Film Reviews? for that section of the issue. So I can?t help think that the NFAJ dropping the ball on indexing film magazines is part of a larger national failure to recognize its own film culture and history. Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From joelnevilleanderson at gmail.com Fri Jul 12 14:56:02 2019 From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA)) Date: Fri, 12 Jul 2019 14:56:02 -0400 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 19-28, 2019) Message-ID: <1C775267-14E1-46FC-84B0-B97598EE537F@gmail.com> Dear KineJapan subscribers, The JAPAN CUTS programming team is proud to share the full lineup for the thirteenth edition of JAPAN CUTS: Festival of New Japanese Film, kicking off next week July 19-28, 2019 at Japan Society in New York City: www.japansociety.org/japancuts The Opening Film is the U.S. Premiere of Dance With Me, the Centerpiece Presentation is the East Coast Premiere of Killing, and the Closing Film is the North American Premiere of Blue Hour. Read the attached press release and browse the entire dynamic lineup on the website and listed below by program section: Feature Slate And Your Bird Can Sing (dir. Sho Miyake), North American Premiere Being Natural (dir. Tadashi Nagayama), U.S. Premiere Blue Hour (dir. Yuko Hakota), North American Premiere, Closing Film The Chaplain (dir. Dai Sako), North American Premiere Dance With Me (dir. Shinobu Yaguchi), U.S. Premiere, Opening Film Demolition Girl (dir. Genta Matsugami), East Coast Premiere Erica 38 (dir. Yuichi Hibi), North American Premiere His Lost Name (dir. Nanako Hirose), New York Premiere The Island of Cats (dir. Mitsuaki Iwago), U.S. Premiere Jesus (dir. Hiroshi Okuyama), North American Premiere?Preceded by Tokyo 21st October (dir. Hiroshi Okuyama), East Coast Premiere Jeux de plage (dir. Aimi Natsuto), International Premiere The Journalist (dir. Michihito Fujii), International Premiere The Kamagasaki Cauldron War (dir. Leo Sato), East Coast Premiere?Preceded by Takoyaki Story (dir. Sawako Kabuki), East Coast Premiere Killing (dir. Shinya Tsukamoto), East Coast Premiere, Centerpiece Presentation Melancholic (dir. Seiji Tanaka), North American Premiere The Miracle of Crybaby Shottan (dir. Toshiaki Toyoda), New York Premiere Orphan?s Blues (dir. Riho Kudo), North American Premiere Randen: The Comings and Goings on a Kyoto Tram (dir. Takuji Suzuki), North American Premiere Red Snow (dir. Sayaka Kai), North American Premiere Samurai Shifters (dir. Isshin Inudo), International Premiere Ten Years Japan (dir. Akiyo Fujimura, Chie Hayakawa, Yusuke Kinoshita, Megumi Tsuno, Kei Ishikawa), New York Premiere WHOLE (dir. Bilal Kawazoe), International Premiere?Preceded by Tokyo Kurds (dir. Fumiari Hyuga), U.S. Premiere Classics: Rediscoveries & Restorations Bullet Ballet (dir. Shinya Tsukamoto), 35mm The Legend of the Stardust Brothers (dir. Macoto Tezka), New York Premiere Documentary Focus I Go Gaga, My Dear (dir. Naoko Nobutomo), North American Premiere NIGHT CRUISING (dir. Makoto Sasaki), International Premiere A Step Forward (dir. Atsushi Kasezawa), North American Premiere Experimental Spotlight Mountain (dir. Isamu Hirabayashi), North American Premiere FLUFFICTION (dir. Yoshiki Imazu), North American Premiere A Snowflake into the Night (dir. Yoko Yuki), North American Premiere Living in the Story (dir. Lynn Estomin), New York Premiere 100percentElectrical (dir. Yoko Yuki), North American Premiere) The Dawn of Ape (dir. Mirai Mizue), North American Premiere A Japanese Boy Who Draws (dir. Masanao Kawajiri), U.S. Premiere Shorts Showcase Cloudy, Occasionally Sunny (dir. Motoyuki Itabashi), International Premiere Saaya?s Box (dir. Mikiko Okamoto), International Premiere Last Judgement (dir. Shinya Kawakami), International Premiere Farewell Family (dir. Kohei Sanada), International Premiere Quiet Hide-and-Seek (dir. Kan Yamamoto), International Premiere Panel Discussion The Current State of Film Restoration in Japan Featuring special guest appearances by the CUT ABOVE Award for Outstanding Achievement in Film recipient Shinya Tsukamoto (Killing, Bullet Ballet), Yuko Hakota (Blue Hour), Nanako Hirose (His Lost Name), Kaho (Blue Hour), Atsushi Kasezawa (A Step Forward), Hideyuki Kato (NIGHT CRUISING), Yota Kawase (Being Natural, The Kamagasaki Cauldron War), Bilal Kawazoe (WHOLE), Usman Kawazoe (WHOLE), Aya Kitai (Demolition Girl), Genta Matsugami (Demolition Girl), Natsuki Mieda (Being Natural), Ayaka Miyoshi (Dance With Me), Tadashi Nagayama (Being Natural), Hiroshi Okuyama (Jesus, Tokyo 21st October), Kai Hoshino Sandy (WHOLE), Makoto Sasaki (NIGHT CRUISING), Eun-kyung Shim (Blue Hour, The Journalist), Miyuki Tanaka (NIGHT CRUISING), Macoto Tezka (The Legend of the Stardust Brothers), Toshiaki Toyoda (The Miracle of Crybaby Shottan), and Shinobu Yaguchi (Dance With Me). We hope to see some KineJapan subscribers here in person for the screenings and parties?please do share the lineup and festival trailer with your networks. Follow via Facebook and Twitter with the hashtag #JAPANCUTS , and receive special announcements by subscribing to our newsletter . -The JAPAN CUTS Team Joel Neville Anderson JAnderson at japansociety.org Amber No? ANoe at japansociety.org Kazu Watanabe KWatanabe at japansociety.org -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: JAPAN CUTS 19_Short Lead ENG_FNL.pdf Type: application/pdf Size: 327513 bytes Desc: not available URL: -------------- next part -------------- An HTML attachment was scrubbed... URL: From joanne.bernardi at rochester.edu Fri Jul 12 17:55:56 2019 From: joanne.bernardi at rochester.edu (Bernardi, Joanne) Date: Fri, 12 Jul 2019 21:55:56 +0000 Subject: [KineJapan] Tokkan Kozo/Toy Film Museum 9.5mm print Message-ID: Hi everyone, You might already be familiar with a 9.5mm reduction print "home cinema" version of Ozu Yasujiro?s Tokkan Kozo (sometimes translated as ?A Straightforward Boy, 1929), transferred to 35mm by the NFAJ and available on YouTube (it was also screened at the Pordenone Silent Film Festival in 2001). A slightly longer version (also 9.5mm home cinema version) was donated to Ota Yoneo's Toy Cinema Museum (Omocha eiga myujiamu) a few years ago, and it was digitally scanned by IMAGICA WEST, Corp. We made a DCP of this scan here at the University of Rochester Digital Scholarship Lab, and this DCP was screened at Pordenone last October (2018). From July 19-25, this version will be available to watch online for free at the curated site, Le Cin?ma Club. (For more on their recently re-launched platform check this Indiewire article.) You can read a bit about the original theatrical release and this shorter version in the Pordenone catalogue, here. In making the DCP, DSL worked to improve image stability and sharpness, initially using a deep-learning application to double the resolution of each individual frame of IMAGICA?s standard definition transfer to increase resolution for the HD (2K) DCP, with final touches (subtitles, stabilization, speed) in DaVinci Resolve. Just a heads up - it?s a fun way to spend 15-20 min. best, Joanne Joanne Bernardi, Ph.D. Professor Japanese Studies | Film and Media Studies 409 Lattimore Hall Dept. of Modern Languages and Cultures University of Rochester | PO Box 270082 Rochester NY 14627 Tel. (585) 275-4251 (MLC Dept.) Re-Envisioning Japan as Destination in 20th Century Visual and Material Culture https://rej.lib.rochester.edu/ (2017-current) https://dslab.lib.rochester.edu/rej/ (2013-2016) ReEnvisioning Japan University of Rochester https://www.facebook.com/ReenvisioningJapan Joanne Bernardi at ReEnvisionJapan https://twitter.com/ReEnvisionJapan Instagram: https://www.instagram.com/reenvisioningjapan/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sun Jul 14 08:14:39 2019 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sun, 14 Jul 2019 21:14:39 +0900 Subject: [KineJapan] Tokkan Kozo/Toy Film Museum 9.5mm print In-Reply-To: References: Message-ID: Thank you for the information Joanne. Le Cin?ma Club is a small jewel of a site, I think it?s still possible to watch Hamaguchi Ry?suke?s short Heaven is Still Far Away. I visited the Toy Cinema Museum a couple of weeks ago, a really lovely place, if you?re in Kyoto, it?s worth a visit. p.s. They were kind enough to screen Tokkan Koz? just for me. Regards Matteo Boscarol ????? ???? ??????????? - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Jul 13, 2019, at 6:55, Bernardi, Joanne via KineJapan wrote: > > Hi everyone, > > You might already be familiar with a 9.5mm reduction print "home cinema" version of Ozu Yasujiro?s Tokkan Kozo (sometimes translated as ?A Straightforward Boy, 1929), transferred to 35mm by the NFAJ and available on YouTube (it was also screened at the Pordenone Silent Film Festival in 2001). A slightly longer version (also 9.5mm home cinema version) was donated to Ota Yoneo's Toy Cinema Museum (Omocha eiga myujiamu) a few years ago, and it was digitally scanned by IMAGICA WEST, Corp. We made a DCP of this scan here at the University of Rochester Digital Scholarship Lab, and this DCP was screened at Pordenone last October (2018). From July 19-25, this version will be available to watch online for free at the curated site, Le Cin?ma Club. (For more on their recently re-launched platform check this Indiewire article.) You can read a bit about the original theatrical release and this shorter version in the Pordenone catalogue, here. > > In making the DCP, DSL worked to improve image stability and sharpness, initially using a deep-learning application to double the resolution of each individual frame of IMAGICA?s standard definition transfer to increase resolution for the HD (2K) DCP, with final touches (subtitles, stabilization, speed) in DaVinci Resolve. > > Just a heads up - it?s a fun way to spend 15-20 min. > > best, > Joanne > > > Joanne Bernardi, Ph.D. > Professor > Japanese Studies | Film and Media Studies > 409 Lattimore Hall > Dept. of Modern Languages and Cultures > University of Rochester | PO Box 270082 > Rochester NY 14627 > Tel. (585) 275-4251 (MLC Dept.) > > Re-Envisioning Japan as Destination in 20th Century > Visual and Material Culture > https://rej.lib.rochester.edu/ (2017-current) > https://dslab.lib.rochester.edu/rej/ (2013-2016) > > ReEnvisioning Japan University of Rochester > https://www.facebook.com/ReenvisioningJapan > > Joanne Bernardi at ReEnvisionJapan > https://twitter.com/ReEnvisionJapan > > Instagram: https://www.instagram.com/reenvisioningjapan/ > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Mon Jul 15 06:57:45 2019 From: macyroger at yahoo.co.uk (Roger Macy) Date: Mon, 15 Jul 2019 10:57:45 +0000 (UTC) Subject: [KineJapan] Nippon Connection 2019 References: <2008420276.1836543.1563188265421.ref@mail.yahoo.com> Message-ID: <2008420276.1836543.1563188265421@mail.yahoo.com> NipponConnection 2019 Rather belatedly, since no one else has pitched in, here?s a fewreflections on the 19th Nippon Connection festival, that finished onJune 1st. First, let?s get done with the bad stuff. After my quibbles about Melancholicat the Far East Film Festival, it won the ?Visions? audience award ? anaudience whose choices I have sided with in previous years. So I should justretreat quietly about those multiple murders and their bodies made to disappearin routine working shifts ? After all, the violence is mostly off screen. If Iwere to object to approval of violence in a plot, is a well-acted and wittyscript the place to start ? Yes, if it?s the banality of evil made as feel-goodcomedy. No, thank you. If that were not enough, the other film I disliked at Udine,which won a minor and vanishing audience award there, won the main, ?NipponCinema?, audience award here in Frankfurt. That was FlyMe to the Saitama. I just wish the money had gone elsewhere. Fortunately, I?m happy to report that there were many really goodfilms and that the juries chose excellent films for their awards. In particular, TAKAHASHI Kenseiwon the ?Visions? jury award for Sea, a superb graduation project atJosei International University. To give some idea how unprepared he was forfame, his film press notes had no contact method and he proved just asdifficult to contact before the award as after. Sea - ?? ? even starts with a caption ?graduation work?, in which the frame isseen to wobble uncertainly, but it proved a very assured piece ofstory-telling. After a seemingly unconnected seaside glimpse, we see a youngman working hard at the very bottom of the economy, as a newspaper deliveryman. There is the odd piece of dialogue as his boss gives curt orders, butbasically we are seeing a taciturn life being told visually in a compellingway. He desperately wants a Sunday evening off but it?s a very long time beforewe begin to find out why, which will involve revisiting that seaside scene often years before. To do so, we need to go back to the years before that where,as a schoolboy, he was pathetically unable to resist bullying. But at thatseaside scene, a rape victim sees him, reasonably so, as a perpetrator. That?snot why he was absent from society for eight years, but it?s why that victimalso needs to talk. There is almost no non-diegeticmusic until the very final scene. This single absence of realist sound providesfor a 50/50 ending ? in the sense that half of the audience are intended toread it one way, and the other half another. It was only with the music down inthe viewing room, that I read the other ending but, I must say, I overwhelminglyprefer my first reading, even if Takahashi took 20 takes to get his ?balance?. On any reading, the film is farremoved from the simple rape-revenge story that Takahashi first had in mind andshows, I believe, the value of his being able to argue and develop his scriptwith the staff and students at Josei. The whole film, with multiple locationsand even a touch of CGI, was made for the princely sum of 800,000 yen. The ?Visions? jury also gave special mention to Blue Hour, thedebut feature by HAKOTA Y?ko. Thejapanese title tells more of the set-up, Bur?aw? ni buttobasu, in which a TVdrama director is bounced by her friend into making the long weekend trip hometo Ibaraki which she usually avoids. Avoiding thesit-com traps, Hakota showed that this formula could be done with wit andconsistent characterization. My own favourite in the?Visions? strand was neither of these fine two films but The Chaplain(Ky?kaishi), written and directed by SAK? Dai. The catalogue described thisdrama as a kammerspiel, which gives its general milieu but there were threeimportant scenes which broaden out space and time. Otherwise they areface-to-face pastoral conversations initiated by a Christian chaplain withinmates in a detention centre for convicts on death row. I found the variedcharacters totally convincing and surprizingly interesting. The chamber dramastood in stark contrast to the Brechtian distancing effects employed by ?shima.For example, the execution scene has a strongly implied point-of-view. Even theinterview room scenes are strongly cinematic in the way they are edited toquestion and support testimony There is a total absence of non-diegetic musicwhich allows the silences in the acting to tell. Sak??s death-row convicts areacted by a combination of professional and non-professional actors. Thechaplain himself was taken by ?SUGI Ren in a role much deeperthan most he got to play. ?sugi died soon after the film was made and hadstumped up also as producer. I asked Sak?-san whether ?sugi knew his time wasup and wished for something to be remembered by. He thought not ? ?sugi wasapparently his usual jokey self on set. I?m not so sure. The one notable change to the festival was that there was a specificprize for documentary films this year. The strand still shared the venue in theNaxoshalle with the ?Visions? strand, but each now competed for a differentprize. Besides somerepeats at another cinema, the only other venue is the Filmmuseum about 2kilometres away. The retrospective there this year was on the actress WAKAOAyako. Unusually for me, I only went to one film there, partly because theywere familiar films, but also because, inexplicably, the Filmmuseum persistedwith Japan Foundation prints, mostly 16mm, even where recent digitalrestorations had been made and shown, for instance, in New York. I concentrated on thedocumentaries and the ?Visions? strand which, by and large, are thenon-commercial films. However, small-hourtrains on the night before a holiday gave me the chance to see the 189 minute?The Chrysanthemum and the Guillotine?, set in the 1920s. The english title ofthis film, with its definite articles, could be argued to be over-claiming. Thelead characters are a woman whose stage name is Kiku ? or ?Chrysanthemum? andan anarchist whose nick-name is ?Girochin?. If there was a thread pointing atthe Chrysanthemum throne, I missed it. What we got were two uneven halves with a valuable stone in the middle.The half I much preferred was a story of a woman?s sumo troupe. Although thestory is fictional, there were, historically, several travelling women?s sumotroupes at the time. To live hand-to-mouth, without a home, would only draw thosewith little to lose and this story portrays well the precarity of existence formany at this time. Interestingly, the theme of performing sportswomen in a ringhas recently been taken up in the theatreas a feminist device to foreground historic women?s forgotten stories, so theinterest seems to go wider than just my male gaze. Whilst the women strugglemeaningfully with each other and their masters, the anarchists, on the otherhand, splutter randomly, messily and ? anarchically. In contrast to the women,none of these actors manage to make much of any role. The core of the film is the story of a sumo wrestler of Korean origin whostruggles against prejudice. She gets to tell of her survival at Asakusa afterthe Great Kanto Earthquake. It needs checking but I heard something like, ?Say15 yen one way and you lived, say it another and were slaughtered?. That?s thesame weapon of ethnic slaughter as in Judges 12:6. ? something anyoneshould consider before fashionably using the word ?shibboleth?. The winner of the documentary strand here was Sending Off,a study by Ian Garton Ash of a local doctor in Fukushimaprefecture, KONTA Kaoro, who specializes in care for the terminally ill. Dr.Konta was present with director Ash, and I could only be envious of a countrywhose medical insurance allowed ordinary people to die at home with suchdignity and tenderness. But also showing were many other strong documentaries, including the KinemaJunp? #1 bunka eiga, Okinawa supai senshi.?Supai? is a tricky word to translate. Here it relates to the militarilyencouraged paranoia of the early forties. Alas, some Okinawans were not abovesettling old feuds by denouncing neighbours as ?spies?. The english title, BoySoldiers: the Secret War in Okinawa refers to another section of this longfilm, dealing with the exploitation of boy soldiers, intended to bepost-surrender guerrillas to keep the civilian population alienated. Perhapsthere were really several films here, but directors MIKAMI Chie and ?YA Hanoyohave amassed testimony in quantity and quality, in the nick of time. Somehow, the english title, Kagura: Troupe on the Beat hadconjured up some outreach-focussed, jazzed-up sort of Kagura but I wasdelighted to find it meant nothing like that. ?Mawari? kagura, ofcourse, means ?beat? in the specialized english meaning of ?why don?t we seepolicemen on the beat?. The ?going round? here is both a biennial tour of thecoastal villages of Iwate, and the opening procession at each village. TheKuromori troupe are a highly skilled group, several of whose members come fromthe tsunami-deluged villages that are visited. Of course, the film also servesas a vehicle to show both loss and recovery. So, despite their being a verytraditional troupe who didn?t even have the women or girls of the villagesdancing, the personal testimonies we heard, against occasional found footage,spoke strongly. Mawari was an excellent non-revolutionary film. That doesn?t exhaust the interesting films at Nippon Connection 19, butit?s enough for this report. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Mon Jul 15 11:32:05 2019 From: raine.michael.j at gmail.com (Michael Raine) Date: Mon, 15 Jul 2019 10:32:05 -0500 Subject: [KineJapan] Nippon Connection 2019 In-Reply-To: <2008420276.1836543.1563188265421@mail.yahoo.com> References: <2008420276.1836543.1563188265421.ref@mail.yahoo.com> <2008420276.1836543.1563188265421@mail.yahoo.com> Message-ID: Thank you for this fascinating report, Roger! On Mon, Jul 15, 2019 at 5:59 AM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > *Nippon** Connection 2019* > > Rather belatedly, since no one else has pitched in, here?s a few > reflections on the 19th Nippon Connection festival, that finished on June > 1st. > > First, let?s get done with the bad stuff. After my quibbles about > *Melancholic* at the Far East Film Festival, it won the ?Visions? > audience award ? an audience whose choices I have sided with in previous > years. So I should just retreat quietly about those multiple murders and > their bodies made to disappear in routine working shifts ? After all, the > violence is mostly off screen. If I were to object to approval of violence > in a plot, is a well-acted and witty script the place to start ? Yes, if > it?s the banality of evil made as feel-good comedy. No, thank you. > > If that were not enough, the other film I disliked at Udine, which won a > minor and vanishing audience award there, won the main, ?Nippon Cinema?, > audience award here in Frankfurt. That was *Fly Me to the Saitama*. I > just wish the money had gone elsewhere. > > Fortunately, I?m happy to report that there were many *really good films* > and that the juries chose excellent films for their awards. > > In particular, TAKAHASHI Kensei won the ?Visions? jury award for *Sea*, a > superb graduation project at Josei International University. To give some > idea how unprepared he was for fame, his film press notes had no contact > method and he proved just as difficult to contact before the award as after. > > *Sea* - ?? ? even starts with a caption ?graduation work?, in which the > frame is seen to wobble uncertainly, but it proved a very assured piece of > story-telling. After a seemingly unconnected seaside glimpse, we see a > young man working hard at the very bottom of the economy, as a newspaper > delivery man. There is the odd piece of dialogue as his boss gives curt > orders, but basically we are seeing a taciturn life being told visually in > a compelling way. He desperately wants a Sunday evening off but it?s a very > long time before we begin to find out why, which will involve revisiting > that seaside scene of ten years before. To do so, we need to go back to the > years before that where, as a schoolboy, he was pathetically unable to > resist bullying. But at that seaside scene, a rape victim sees him, > reasonably so, as a perpetrator. That?s not why he was absent from society > for eight years, but it?s why that victim also needs to talk. > > There is almost no non-diegetic music until the very final scene. This > single absence of realist sound provides for a 50/50 ending ? in the sense > that half of the audience are intended to read it one way, and the other > half another. It was only with the music down in the viewing room, that I > read the other ending but, I must say, I overwhelmingly prefer my first > reading, even if Takahashi took 20 takes to get his ?balance?. > > On any reading, the film is far removed from the simple rape-revenge story > that Takahashi first had in mind and shows, I believe, the value of his > being able to argue and develop his script with the staff and students at > Josei. The whole film, with multiple locations and even a touch of CGI, was > made for the princely sum of 800,000 yen. > > The ?Visions? jury also gave special mention to *Blue Hour*, the debut > feature by HAKOTA Y?ko. The japanese title tells more of the set-up, > *Bur?** aw? ni buttobasu*, in which a TV drama director is bounced by her > friend into making the long weekend trip home to Ibaraki which she > usually avoids. Avoiding the sit-com traps, Hakota showed that this formula > could be done with wit and consistent characterization. > > My own favourite in the ?Visions? strand was neither of these fine two > films but *The Chaplain* (Ky?kaishi), written and directed by SAK? Dai. > The catalogue described this drama as a kammerspiel, which gives its > general milieu but there were three important scenes which broaden out > space and time. Otherwise they are face-to-face pastoral conversations > initiated by a Christian chaplain with inmates in a detention centre for > convicts on death row. I found the varied characters totally convincing and > surprizingly interesting. The chamber drama stood in stark contrast to the > Brechtian distancing effects employed by ?shima. For example, the execution > scene has a strongly implied point-of-view. Even the interview room scenes > are strongly cinematic in the way they are edited to question and support > testimony There is a total absence of non-diegetic music which allows the > silences in the acting to tell. > > Sak??s death-row convicts are acted by a combination of professional and > non-professional actors. The chaplain himself was taken by ?SUGI Ren in a > role much deeper than most he got to play. ?sugi died soon after the film > was made and had stumped up also as producer. I asked Sak?-san whether > ?sugi knew his time was up and wished for something to be remembered by. He > thought not ? ?sugi was apparently his usual jokey self on set. I?m not so > sure. > > The one notable change to the festival was that there was a specific prize > for documentary films this year. The strand still shared the venue in the > Naxoshalle with the ?Visions? strand, but each now competed for a different > prize. Besides some repeats at another cinema, the only other venue is > the Filmmuseum about 2 kilometres away. The retrospective there this year > was on the actress WAKAO Ayako. Unusually for me, I only went to one film > there, partly because they were familiar films, but also because, > inexplicably, the Filmmuseum persisted with Japan Foundation prints, mostly > 16mm, even where recent digital restorations had been made and shown, for > instance, in New York. I concentrated on the documentaries and the > ?Visions? strand which, by and large, are the non-commercial films. > > However, small-hour trains on the night before a holiday gave me the > chance to see the 189 minute ?The Chrysanthemum and the Guillotine?, set in > the 1920s. The english title of this film, with its definite articles, > could be argued to be over-claiming. The lead characters are a woman whose > stage name is Kiku ? or ?Chrysanthemum? and an anarchist whose nick-name is > ?Girochin?. If there was a thread pointing at the Chrysanthemum throne, I > missed it. > > What we got were two uneven halves with a valuable stone in the middle. > The half I much preferred was a story of a woman?s sumo troupe. Although > the story is fictional, there were, historically, several travelling > women?s sumo troupes at the time. To live hand-to-mouth, without a home, > would only draw those with little to lose and this story portrays well the > precarity of existence for many at this time. Interestingly, the theme of > performing sportswomen in a ring has recently been taken up in the theatre > > as a feminist device to foreground historic women?s forgotten stories, so > the interest seems to go wider than just my male gaze. Whilst the women > struggle meaningfully with each other and their masters, the anarchists, on > the other hand, splutter randomly, messily and ? anarchically. In contrast > to the women, none of these actors manage to make much of any role. > > The core of the film is the story of a sumo wrestler of Korean origin who > struggles against prejudice. She gets to tell of her survival at Asakusa > after the Great Kanto Earthquake. It needs checking but I heard something > like, ?Say 15 yen one way and you lived, say it another and were > slaughtered?. That?s the same weapon of ethnic slaughter as in *Judges* > 12:6. ? something anyone should consider before fashionably using the word > ?shibboleth?. > > The winner of the *documentary* strand here was *Sending Off*, a study by > Ian Garton Ash of a local doctor in Fukushima prefecture, KONTA Kaoro, who > specializes in care for the terminally ill. Dr. Konta was present with > director Ash, and I could only be envious of a country whose medical > insurance allowed ordinary people to die at home with such dignity and > tenderness. > > But also showing were many other strong documentaries, including the > Kinema Junp? #1 bunka eiga, *Okinawa** supai senshi*. ?Supai? is a tricky > word to translate. Here it relates to the militarily encouraged paranoia of > the early forties. Alas, some Okinawans were not above settling old feuds > by denouncing neighbours as ?spies?. The english title, *Boy Soldiers: > the Secret War in Okinawa* refers to another section of this long film, > dealing with the exploitation of boy soldiers, intended to be > post-surrender guerrillas to keep the civilian population alienated. > Perhaps there were really several films here, but directors MIKAMI Chie and > ?YA Hanoyo have amassed testimony in quantity and quality, in the nick of > time. > > Somehow, the english title, *Kagura: Troupe on the Beat* had conjured up > some outreach-focussed, jazzed-up sort of Kagura but I was delighted to > find it meant nothing like that. ?*Mawari? kagura*, of course, means > ?beat? in the specialized english meaning of ?why don?t we see policemen on > the beat?. The ?going round? here is both a biennial tour of the coastal > villages of Iwate, and the opening procession at each village. The Kuromori > troupe are a highly skilled group, several of whose members come from the > tsunami-deluged villages that are visited. Of course, the film also serves > as a vehicle to show both loss and recovery. So, despite their being a very > traditional troupe who didn?t even have the women or girls of the villages > dancing, the personal testimonies we heard, against occasional found > footage, spoke strongly. *Mawari* was an excellent non-revolutionary film. > > That doesn?t exhaust the interesting films at Nippon Connection 19, but > it?s enough for this report. > > Roger > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From jmthfrsa at gmail.com Tue Jul 16 06:49:48 2019 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Tue, 16 Jul 2019 12:49:48 +0200 Subject: [KineJapan] Nippon Connection 2019 In-Reply-To: References: <2008420276.1836543.1563188265421.ref@mail.yahoo.com> <2008420276.1836543.1563188265421@mail.yahoo.com> Message-ID: Thank you Roger. I hope some of these films would be shown at the MCJP in Paris Best Jacline Le lun. 15 juil. 2019 ? 17:32, Michael Raine via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > Thank you for this fascinating report, Roger! > > On Mon, Jul 15, 2019 at 5:59 AM Roger Macy via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> *Nippon** Connection 2019* >> >> Rather belatedly, since no one else has pitched in, here?s a few >> reflections on the 19th Nippon Connection festival, that finished on >> June 1st. >> >> First, let?s get done with the bad stuff. After my quibbles about >> *Melancholic* at the Far East Film Festival, it won the ?Visions? >> audience award ? an audience whose choices I have sided with in previous >> years. So I should just retreat quietly about those multiple murders and >> their bodies made to disappear in routine working shifts ? After all, the >> violence is mostly off screen. If I were to object to approval of violence >> in a plot, is a well-acted and witty script the place to start ? Yes, if >> it?s the banality of evil made as feel-good comedy. No, thank you. >> >> If that were not enough, the other film I disliked at Udine, which won a >> minor and vanishing audience award there, won the main, ?Nippon Cinema?, >> audience award here in Frankfurt. That was *Fly Me to the Saitama*. I >> just wish the money had gone elsewhere. >> >> Fortunately, I?m happy to report that there were many *really good films* >> and that the juries chose excellent films for their awards. >> >> In particular, TAKAHASHI Kensei won the ?Visions? jury award for *Sea*, >> a superb graduation project at Josei International University. To give some >> idea how unprepared he was for fame, his film press notes had no contact >> method and he proved just as difficult to contact before the award as after. >> >> *Sea* - ?? ? even starts with a caption ?graduation work?, in which the >> frame is seen to wobble uncertainly, but it proved a very assured piece of >> story-telling. After a seemingly unconnected seaside glimpse, we see a >> young man working hard at the very bottom of the economy, as a newspaper >> delivery man. There is the odd piece of dialogue as his boss gives curt >> orders, but basically we are seeing a taciturn life being told visually in >> a compelling way. He desperately wants a Sunday evening off but it?s a very >> long time before we begin to find out why, which will involve revisiting >> that seaside scene of ten years before. To do so, we need to go back to the >> years before that where, as a schoolboy, he was pathetically unable to >> resist bullying. But at that seaside scene, a rape victim sees him, >> reasonably so, as a perpetrator. That?s not why he was absent from society >> for eight years, but it?s why that victim also needs to talk. >> >> There is almost no non-diegetic music until the very final scene. This >> single absence of realist sound provides for a 50/50 ending ? in the sense >> that half of the audience are intended to read it one way, and the other >> half another. It was only with the music down in the viewing room, that I >> read the other ending but, I must say, I overwhelmingly prefer my first >> reading, even if Takahashi took 20 takes to get his ?balance?. >> >> On any reading, the film is far removed from the simple rape-revenge >> story that Takahashi first had in mind and shows, I believe, the value of >> his being able to argue and develop his script with the staff and students >> at Josei. The whole film, with multiple locations and even a touch of CGI, >> was made for the princely sum of 800,000 yen. >> >> The ?Visions? jury also gave special mention to *Blue Hour*, the debut >> feature by HAKOTA Y?ko. The japanese title tells more of the set-up, >> *Bur?** aw? ni buttobasu*, in which a TV drama director is bounced by >> her friend into making the long weekend trip home to Ibaraki which she >> usually avoids. Avoiding the sit-com traps, Hakota showed that this formula >> could be done with wit and consistent characterization. >> >> My own favourite in the ?Visions? strand was neither of these fine two >> films but *The Chaplain* (Ky?kaishi), written and directed by SAK? Dai. >> The catalogue described this drama as a kammerspiel, which gives its >> general milieu but there were three important scenes which broaden out >> space and time. Otherwise they are face-to-face pastoral conversations >> initiated by a Christian chaplain with inmates in a detention centre for >> convicts on death row. I found the varied characters totally convincing and >> surprizingly interesting. The chamber drama stood in stark contrast to the >> Brechtian distancing effects employed by ?shima. For example, the execution >> scene has a strongly implied point-of-view. Even the interview room scenes >> are strongly cinematic in the way they are edited to question and support >> testimony There is a total absence of non-diegetic music which allows the >> silences in the acting to tell. >> >> Sak??s death-row convicts are acted by a combination of professional and >> non-professional actors. The chaplain himself was taken by ?SUGI Ren in >> a role much deeper than most he got to play. ?sugi died soon after the film >> was made and had stumped up also as producer. I asked Sak?-san whether >> ?sugi knew his time was up and wished for something to be remembered by. He >> thought not ? ?sugi was apparently his usual jokey self on set. I?m not so >> sure. >> >> The one notable change to the festival was that there was a specific >> prize for documentary films this year. The strand still shared the venue in >> the Naxoshalle with the ?Visions? strand, but each now competed for a >> different prize. Besides some repeats at another cinema, the only other >> venue is the Filmmuseum about 2 kilometres away. The retrospective there >> this year was on the actress WAKAO Ayako. Unusually for me, I only went to >> one film there, partly because they were familiar films, but also because, >> inexplicably, the Filmmuseum persisted with Japan Foundation prints, mostly >> 16mm, even where recent digital restorations had been made and shown, for >> instance, in New York. I concentrated on the documentaries and the >> ?Visions? strand which, by and large, are the non-commercial films. >> >> However, small-hour trains on the night before a holiday gave me the >> chance to see the 189 minute ?The Chrysanthemum and the Guillotine?, set in >> the 1920s. The english title of this film, with its definite articles, >> could be argued to be over-claiming. The lead characters are a woman whose >> stage name is Kiku ? or ?Chrysanthemum? and an anarchist whose nick-name is >> ?Girochin?. If there was a thread pointing at the Chrysanthemum throne, I >> missed it. >> >> What we got were two uneven halves with a valuable stone in the middle. >> The half I much preferred was a story of a woman?s sumo troupe. Although >> the story is fictional, there were, historically, several travelling >> women?s sumo troupes at the time. To live hand-to-mouth, without a home, >> would only draw those with little to lose and this story portrays well the >> precarity of existence for many at this time. Interestingly, the theme of >> performing sportswomen in a ring has recently been taken up in the >> theatre >> >> as a feminist device to foreground historic women?s forgotten stories, so >> the interest seems to go wider than just my male gaze. Whilst the women >> struggle meaningfully with each other and their masters, the anarchists, on >> the other hand, splutter randomly, messily and ? anarchically. In contrast >> to the women, none of these actors manage to make much of any role. >> >> The core of the film is the story of a sumo wrestler of Korean origin who >> struggles against prejudice. She gets to tell of her survival at Asakusa >> after the Great Kanto Earthquake. It needs checking but I heard something >> like, ?Say 15 yen one way and you lived, say it another and were >> slaughtered?. That?s the same weapon of ethnic slaughter as in *Judges* >> 12:6. ? something anyone should consider before fashionably using the word >> ?shibboleth?. >> >> The winner of the *documentary* strand here was *Sending Off*, a study >> by Ian Garton Ash of a local doctor in Fukushima prefecture, KONTA Kaoro, >> who specializes in care for the terminally ill. Dr. Konta was present with >> director Ash, and I could only be envious of a country whose medical >> insurance allowed ordinary people to die at home with such dignity and >> tenderness. >> >> But also showing were many other strong documentaries, including the >> Kinema Junp? #1 bunka eiga, *Okinawa** supai senshi*. ?Supai? is a >> tricky word to translate. Here it relates to the militarily encouraged >> paranoia of the early forties. Alas, some Okinawans were not above settling >> old feuds by denouncing neighbours as ?spies?. The english title, *Boy >> Soldiers: the Secret War in Okinawa* refers to another section of this >> long film, dealing with the exploitation of boy soldiers, intended to be >> post-surrender guerrillas to keep the civilian population alienated. >> Perhaps there were really several films here, but directors MIKAMI Chie and >> ?YA Hanoyo have amassed testimony in quantity and quality, in the nick of >> time. >> >> Somehow, the english title, *Kagura: Troupe on the Beat* had conjured up >> some outreach-focussed, jazzed-up sort of Kagura but I was delighted to >> find it meant nothing like that. ?*Mawari? kagura*, of course, means >> ?beat? in the specialized english meaning of ?why don?t we see policemen on >> the beat?. The ?going round? here is both a biennial tour of the coastal >> villages of Iwate, and the opening procession at each village. The Kuromori >> troupe are a highly skilled group, several of whose members come from the >> tsunami-deluged villages that are visited. Of course, the film also serves >> as a vehicle to show both loss and recovery. So, despite their being a very >> traditional troupe who didn?t even have the women or girls of the villages >> dancing, the personal testimonies we heard, against occasional found >> footage, spoke strongly. *Mawari* was an excellent non-revolutionary >> film. >> >> That doesn?t exhaust the interesting films at Nippon Connection 19, but >> it?s enough for this report. >> >> Roger >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue Jul 16 10:39:59 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 16 Jul 2019 23:39:59 +0900 Subject: [KineJapan] Japanese Transnational Cinema at Waseda Message-ID: Japanese Transnational Cinema Graduate School of International Culture and Communication Studies of Waseda University and Birkbeck College and School of Oriental and African Studies of University of London will host the second international symposium on Japanese Transnational Cinema on Saturday 20th and Sunday 21st. Papers are presented on issues such as the interaction of Japanese and international cinema, the representation of foreigners and foreign culture in Japanese films, the non-unique nature of Japanese cinema, and the transnational network of production, distribution and exhibition. Dates: July 20 and July 21, 2019 Venue: Room 703, Building 11, Waseda University Language: English Open to students, teaching and administrative staff, researchers and the general public Prior registration: Not required Speakers: Mitsuhiro Yoshimoto (Waseda), Masachika Tani (Waseda), Norimasa Morita (Waseda), Martin Centeno (University of London), Lora Martinez (University of London), Aaron Gerow (Yale University), Maria Roberta Novielli (University of Venice), Andreas Becker (Keio), Iris Haukamp (Tokyo University of Foreign Studies) and others Enquiry: Professor Norimasa Morita, Waseda University?norm at waseda.jp Hosts: Graduate School of International Culture and Communication Studies, Waseda University; Top Global University Project; Birkbeck College, University of London; and School of Oriental and African Studies, University of London Supporting Organizations: Daiwa Anglo-Japanese Foundation; Great Britain Sasakawa Foundation https://www.waseda.jp/inst/sgu/news-en/2019/07/15/5661/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From sissu at basicray.org Tue Jul 16 15:36:57 2019 From: sissu at basicray.org (sissu tarka) Date: Tue, 16 Jul 2019 21:36:57 +0200 Subject: [KineJapan] Japanese Transnational Cinema at Waseda In-Reply-To: Message-ID: <20190716213657.Horde.bD7KKXY8MNoxSi2BvAWZaaG@webmail.servus.at> Dear Gerow, This sounds very promising, will the symposium be recorded and made available to a wider public, or at least to KineJapaners? thank you. Verina dr verina gfader artist and researcher The Last Resident[1] Quoting Gerow Aaron via KineJapan : > Japanese Transnational Cinema > > Graduate School of International Culture and Communication Studies of > Waseda University and Birkbeck College and School of Oriental and > African Studies of University of London will host the second > international symposium on Japanese Transnational Cinema on Saturday > 20th and Sunday 21st.? Papers are presented on issues such as the > interaction of Japanese and international cinema, the representation > of foreigners and foreign culture in Japanese films, the non-unique > nature of Japanese cinema, and the transnational network of > production, distribution and exhibition. > > Dates: July 20 and July 21, 2019 > Venue: Room 703, Building 11, Waseda University > Language: English > Open to students, teaching and administrative staff, researchers and > the general public > Prior registration: Not required > Speakers: Mitsuhiro Yoshimoto (Waseda), Masachika Tani (Waseda), > Norimasa Morita (Waseda), Martin Centeno (University of London), Lora > Martinez (University of London), Aaron Gerow (Yale University), Maria > Roberta Novielli (University of Venice), Andreas Becker (Keio),? Iris > Haukamp (Tokyo University of Foreign Studies) and others > Enquiry: Professor Norimasa Morita, Waseda University?norm at waseda.jp > Hosts: Graduate School of International Culture and Communication > Studies, Waseda University; Top Global University Project; Birkbeck > College, University of London; and School of Oriental and African > Studies, University of London > Supporting Organizations: Daiwa Anglo-Japanese Foundation; Great > Britain Sasakawa Foundation Links: ------ [1] http://www.sternberg-press.com/index.php?pageId=1912&l=en&bookId=805&sort= -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed Jul 17 11:26:52 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 18 Jul 2019 00:26:52 +0900 Subject: [KineJapan] Japanese Transnational Cinema at Waseda In-Reply-To: <20190716213657.Horde.bD7KKXY8MNoxSi2BvAWZaaG@webmail.servus.at> References: <20190716213657.Horde.bD7KKXY8MNoxSi2BvAWZaaG@webmail.servus.at> Message-ID: Dear Verina, Thanks for your interest. I am not the coordinator for the event, so I do not know their plans. You can contact them to inquire. Aaron > 2019/07/17 ??4:36?sissu tarka via KineJapan ????: > > Dear Gerow, > > This sounds very promising, will the symposium be recorded and made available to a wider public, or at least to KineJapaners? > > thank you. > Verina > > > dr verina gfader > artist and researcher > The Last Resident -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 18 04:42:10 2019 From: nornes at umich.edu (Markus Nornes) Date: Thu, 18 Jul 2019 10:42:10 +0200 Subject: [KineJapan] Arson attack at Kyoto Animation Message-ID: A 41-year old man walked into Kyoto Animation?s building with a can of gas, sprinkled the first floor and set it on fire. There were 12 fatalities, and over 30 people injured (half seriously). The reason is unclear.... https://www.hollywoodreporter.com/news/multiple-deaths-arson-attack-at-kyoto-animation-anime-studio-1225232 ?Kyoto Animation was founded in 1981, by producer Yoko Hatta and her husband Hideaki, has around 160 employees. It has offices in Tokyo and Kyoto, as well as a subsidiary Animation Do in Osaka, and is behind numerous features and TV Series, including* K-ON!, Violet Evergarden: The Movie* and *A Silent Voice: The Movie*.? Markus -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From bhartzheim at gmail.com Thu Jul 18 05:01:47 2019 From: bhartzheim at gmail.com (Bryan Hartzheim) Date: Thu, 18 Jul 2019 18:01:47 +0900 Subject: [KineJapan] Arson attack at Kyoto Animation In-Reply-To: References: Message-ID: This is nightmarish and sickening. The perp apparently doused employees with gasoline while shouting "pakuri" (what was being ripped off isn't clear, and is probably not important). KyoAni is known for many beloved works, but it is also well-regarded in the industry for having the best working conditions of any major animation studio in Japan, with dozens of talented animators and directors directly salaried by the studio (as opposed to freelance contracts). There were apparently 70 people working in Studio 1 at the time of the attack this morning, and the irony is that a normal "black company" studio would probably had only a fraction of such workers (and a fraction of the casualties) in the building during those hours. Many animators and creators have already gone on Twitter to express their condolences and thoughts regarding the incident, and some have confirmed the safety of some of the more well-known directors such as Naoko Yamada, Tatsuya Ishihara, and Taichi Ishidate. The damage done here to the studio, to the employees and their families, and to the entire anime industry for that matter, is considerable. Bryan Hartzheim Waseda University On Thu, Jul 18, 2019 at 5:42 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > A 41-year old man walked into Kyoto Animation?s building with a can of > gas, sprinkled the first floor and set it on fire. There were 12 > fatalities, and over 30 people injured (half seriously). The reason is > unclear.... > > > https://www.hollywoodreporter.com/news/multiple-deaths-arson-attack-at-kyoto-animation-anime-studio-1225232 > > ?Kyoto Animation was founded in 1981, by producer Yoko Hatta and her > husband Hideaki, has around 160 employees. It has offices in Tokyo and > Kyoto, as well as a subsidiary Animation Do in Osaka, and is behind > numerous features and TV Series, including* K-ON!, Violet Evergarden: The > Movie* and *A Silent Voice: The Movie*.? > > Markus > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From mroberts37 at mail-central.com Thu Jul 18 05:28:19 2019 From: mroberts37 at mail-central.com (Mark Roberts) Date: Thu, 18 Jul 2019 18:28:19 +0900 Subject: [KineJapan] Arson attack at Kyoto Animation In-Reply-To: References: Message-ID: A fundraiser has been started by the distributor Sentai Filmworks: Help KyoAni Heal https://www.gofundme.com/f/help-kyoani-heal M. Downing Roberts UTokyo > On Jul 18, 2019, at 5:42 PM, Markus Nornes via KineJapan wrote: > > A 41-year old man walked into Kyoto Animation?s building with a can of gas, sprinkled the first floor and set it on fire. There were 12 fatalities, and over 30 people injured (half seriously). The reason is unclear.... > > https://www.hollywoodreporter.com/news/multiple-deaths-arson-attack-at-kyoto-animation-anime-studio-1225232 > > ?Kyoto Animation was founded in 1981, by producer Yoko Hatta and her husband Hideaki, has around 160 employees. It has offices in Tokyo and Kyoto, as well as a subsidiary Animation Do in Osaka, and is behind numerous features and TV Series, including K-ON!, Violet Evergarden: The Movie and A Silent Voice: The Movie.? > > Markus > -- > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Jul 19 06:02:28 2019 From: nornes at umich.edu (Markus Nornes) Date: Fri, 19 Jul 2019 12:02:28 +0200 Subject: [KineJapan] Straight Dope on Johnny from MS Message-ID: Mark Schilling writes the straight dope on notorious Johnny Kitamura, who recently passed away. I didn?t read the papers since the death, but I did see several television tributes to the man and all of them were hagiographic cleansings. Mark?s piece is unflinching. ?What the mass media elided, however, were allegations that Kitagawa sexually abused the young male talents in his employ. The first to make such charges, in graphically explicit diaries published in 1988, was a former member of the Four Leaves, a group that Kitagawa launched in 1968 and was his first to achieve chart-topping success. Another former Johnny?s talent made similar claims in a 1996 tell-all book, saying he had witnessed Kitagawa forcing a boy to engage in sex in an agency dormitory. The culmination, however, was a 1999 series of articles in the weekly tabloid Shukan Bunshun that described sexual abuse of ten teenaged male talents. A Parliamentary hearing examined the claims, but Kitagawa denied everything and sued the magazine.? https://variety.com/2019/film/asia/johnny-kitagawa-power-abuse-japanese-media-omerta-1203271575/ The other story here is whether Johnny?s death will lead to a loosening of the grip the agencies have over both their talent and the entertainment business itself. M -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Fri Jul 19 07:14:13 2019 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Fri, 19 Jul 2019 20:14:13 +0900 Subject: [KineJapan] Straight Dope on Johnny from MS In-Reply-To: References: Message-ID: <1EFD8AAA-BDAA-4498-85B9-2B567E5FC6F3@gmail.com> and this is an excellent N?ojaponisme?s thread on twitter on how ?Johnny Kitagawa of Johnny's Jimusho was incredibly detrimental to quality of music in the Japanese music industry over the last four decades?: https://twitter.com/neojaponisme/status/1148766664952934400?s=21 Matteo Boscarol ????? ???? ??????????? - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Jul 19, 2019, at 19:02, Markus Nornes via KineJapan wrote: > > Mark Schilling writes the straight dope on notorious Johnny Kitamura, who recently passed away. I didn?t read the papers since the death, but I did see several television tributes to the man and all of them were hagiographic cleansings. > > Mark?s piece is unflinching. > > ?What the mass media elided, however, were allegations that Kitagawa sexually abused the young male talents in his employ. The first to make such charges, in graphically explicit diaries published in 1988, was a former member of the Four Leaves, a group that Kitagawa launched in 1968 and was his first to achieve chart-topping success. Another former Johnny?s talent made similar claims in a 1996 tell-all book, saying he had witnessed Kitagawa forcing a boy to engage in sex in an agency dormitory. > The culmination, however, was a 1999 series of articles in the weekly tabloid Shukan Bunshun that described sexual abuse of ten teenaged male talents. A Parliamentary hearing examined the claims, but Kitagawa denied everything and sued the magazine.? > https://variety.com/2019/film/asia/johnny-kitagawa-power-abuse-japanese-media-omerta-1203271575/ > > The other story here is whether Johnny?s death will lead to a loosening of the grip the agencies have over both their talent and the entertainment business itself. > > M > > > > > > > -- > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun Jul 21 16:16:57 2019 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 21 Jul 2019 20:16:57 +0000 (UTC) Subject: [KineJapan] Panel on film restoration. References: <1244976617.6339626.1563740217131.ref@mail.yahoo.com> Message-ID: <1244976617.6339626.1563740217131@mail.yahoo.com> Panel on film restoration. Hi, I was intrigued to see this panel at ?Japan Cuts? in New York on Friday on film restoration. https://www.japansociety.org/event/the-current-state-of-film-restoration-in-japan I?d like to hear from somebody who goes as to what issues they cover. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Jul 22 06:04:36 2019 From: nornes at umich.edu (Markus Nornes) Date: Mon, 22 Jul 2019 19:04:36 +0900 Subject: [KineJapan] Arrests of fan subbers! Message-ID: I hadn?t heard this before Ma Ran of Nagoya University told me about it. Incredibly, there have been some arrests of fan subbers here in Japan. Has this ever happened in the states? Is this because they are Chinese??? https://www.sankei.com/west/news/180131/wst1801310100-n1.html The Culture Ministry?s statistics are incredible, and I wonder how they actually tabulated them. ???????????????????????????????????????????????????????????????????????????????????????????????????? Markus -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Jul 25 21:57:04 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 26 Jul 2019 10:57:04 +0900 Subject: [KineJapan] Katsuben! trailer Message-ID: <0A73CBFF-B8A7-4ED0-AE2F-EC36FE7659EF@yale.edu> The first trailer for Suo Masayuki's Katsuben!, a fictional tale of benshi in the silent era, has been released. https://youtu.be/Wj546a5frJE I actually saw it the other week. While there are not a few holes in the story, which relies a bit too much on the mannerism of Suo regulars, it is a fun and entertaining film that in general is not too wrong about the history of the benshi and silent film in Japan. Pure film discourse even makes an appearance! The actors? benshi performances are quite good, in part due to expert coaching by the benshi Kataoka Ichiro and Sakamoto Raiko, both of whom make appearances in the film. The film will be released in December in Japan. Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Jul 25 22:16:40 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 26 Jul 2019 11:16:40 +0900 Subject: [KineJapan] Jujiro with benshi and music Message-ID: Just wanted to let those who will be in Tokyo on August 1 that the 6th edition of Conversations in Silence will take place at Haremame in Daikanyama. We will be showing Kinugasa Teinosuke?s experimental jidaigeki Crossroads (Jujiro, 1928). Kataoka Ichiro will do a benshi performance, and the jazz musician Kikuchi Naruyoshi will DJ music to the film. I will introduce the film and moderate the post-screening discussion. I did a brief write-up on my blog: http://www.aarongerow.com/news/conversations-in-silence-6.html You can go to the Haremame website for more info and to get tickets: http://haremame.com/schedule/67046/ Jujiro is not shown that often, so it should be a special experience! Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From caitlin.casiello at yale.edu Mon Jul 29 08:53:47 2019 From: caitlin.casiello at yale.edu (Caitlin Casiello) Date: Mon, 29 Jul 2019 08:53:47 -0400 Subject: [KineJapan] =?utf-8?q?Call_for_Papers=3A_Kinema_Club_XIX_in_A2?= =?utf-8?q?=E2=80=9420_Years_On?= In-Reply-To: References: Message-ID: On Mon, May 27, 2019 at 10:31 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > *Call for Proposals: Kinema Club XIX A2?20 Years On* > > > > *Place: University of Michigan, Ann Arbor* > > *Dates: November 1-3, 2019* > > *Deadline for Proposals: June 30, 2019* > > *Organizer: Markus Nornes *(nornes at umich.edu) > > > > In 1999, Kinema Club members met in Ann Arbor for their first gathering to > talk about how Japanese film studies developed, where it was, and where we > should aim for moving forward. This fall we will meet once again to take > stock of the field 20 years on and discuss our bright future. In the spirit > of the original Kinema Club, we will discuss our past precisely to forge a > collective path ahead. > > > > 1) Silence=Sound (Michael Raine & Daisuke Miyao) > > 2) Theories Histories (Aaron Gerow) > > 3) Media+ (Stephanie DeBoer & Yuki Nakayama) > > 4) Animating (Christine Marran & Tom Lamarre) > > 5) Imperium (Kate Taylor-Jones & Irhe Sohn) > > 6) Embodied ?Desired (Jennifer Coates & Sharon Hayashi) > > 7) Possible Futures?[and Pedagogies] (Alex Zahlten & Chika Kinoshita) > > 8) ??*Onward* (Anne McKnight & Markus Nornes) > > > > *XIX A2 will take a novel form based entirely on discussion.*There will > be no papers delivered. We invite *phantom papers, *proposals for topics > of discussion under the rubrics above and led by the listed scholars. > > > > While there will be no presentations or speeches allowed; this Kinema Club > will be a precious opportunity for dialogue. The discussions will last 90 > minutes, will be consecutive and not simultaneous. They will be kickstarted > by free-format, pre-circulated position papers, *which**may be listed on > people?s CVs as any other conference paper.*These will be collected three > weeks before the gathering, and can be of any length. Two weeks before, we > will distribute the entire collection. At UM, discussions will be led by > the colleagues above, but everyone will freely participate. Again, *no > presentations allowed. * > > > > Additionally,*we are soliciting two graduate students*to act as social > media secretaries and blog the discussions as we go along. They will be > paid for their efforts. Contact Markus if you are interested in this role. > > > *Please send a proposal to Markus Nornes (nornes at umich.edu > ), with a position paper title and a short, one-paragraph > abstract that proposes a topic of discussion by June 30, 2019. * > > > > +++++++++++++++++++++++++++++++++++++++++++++++++++ > > > > *Some historical background?* > > > > Younger scholars and students may not be aware of Kinema Club?s origin > story (a full version is on our website: > https://kinemaclub.org/about-us/history). We coalesced in the early > 1990s, mostly graduate students interested in Japanese cinema and vaguely > aware there were like-minded people out there. Somewhere. > > > > As we found each other, we shared some of the same practical problems, > starting with the paucity of bibliographic information on film. Our first > collaborative effort was to split up major film journals to copy and share > the tables of contents; new people could become ?members? by copying a new > journal and adding it to the packet. Eventually it was a couple inches > thick. > > > > Along the way, the Japanese bibliographer at OSU, Maureen Donovan, > encouraged us to go digital and exploit this new thing called the internet > to expand our collaboration. We gave ourselves the name Kinema Club?after a > Taisho era movie theater?and went online in January 1995. > > > > Four years later, we met in person at a workshop on the campus of > University of Michigan. The idea was to get together and talk about how > Japanese film studies came about. Ask what is *was.*And think about where > we might take it from there. This was all happening at an interesting > moment. Japanese film had been a space for the discipline of film studies > to work out many basic theoretical issues over the years, thanks to the > work of stellar scholars like No?l Burch, Stephen Heath, Dudley Andrew, > David Desser, Kristin Thompson, Maureen Turim, Robin Wood, Peter Lehman, > Dana Polan, Scott Nygren, Philip Rosen, David Bordwell, Paul Willemen, > Edward Branigan and others. Just as Kinema Club appeared as if by nature, > the discipline of film studies was pushing Japanese film to the margins > while Japanese studies, broadly construed, opened new spaces for it. > > > > Mitsuhiro Yoshimoto and Markus Nornes organized the first Kinema Club > workshop on this morphing disciplinary landscape to take stock of the > situation and chart a course into an unknown future. You can find the > original announcement and a summary of the meeting on the Kinema Club > website (https://kinemaclub.org/conference/kinema-club-workshop). After > the workshop was over, we concluded, > > > > We are, in a certain sense, ?euphoric.? We face multiple possibilities and > that?s good. We don?t mourn the passing of that old field and its sense of > institutional comfort. And despite the fact that it has left us groping to > comprehend the consequences for our lives as teachers, intellectuals and as > intellectual workers, we sense something very interesting on the horizon in > a decade or so. The senior scholars who have already done a lot of research > on Japanese film will be publishing the best work of their careers. Many > newly arriving people will have published books and secured tenure. We will > have read and engaged each other?s work. It will not configure itself in a > discipline, but we will have a much easier time talking to each other. > > > > Twenty years after this first meeting, Kinema Club has gathered 18 times > and taken many different forms in just as many far-flung places. This fall, > let us gather again to look into the rear-view mirror as we barrel toward > KCXXXVI in 2039, 20 years on from now! > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Caitlin Casiello Ph.D. Student Film & Media Studies and East Asian Languages & Literatures Yale University -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Wed Jul 31 06:32:23 2019 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 31 Jul 2019 10:32:23 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?Yamagata_=E2=80=94_Aichi?= In-Reply-To: References: Message-ID: <1563286529.3991910.1564569143682@mail.yahoo.com> Just to say that, although I had got 6th August from the website as the last day for hotel reservations, when I printed out the form, it said today, 31st July.Matsumoto-san confirmed by email that it's not a package - you don't have to use the overnight bus.See some of you there, hopefully,Roger On Tuesday, 9 July 2019, 14:04:09 BST, Markus Nornes via KineJapan wrote: Yamagata International Documentary Film Festival just announced and the Aichi Triennale announced their lineups.? Aichi's list is pretty interesting (https://aichitriennale.jp/news/2019/003415.html). A few films that have been around, like Toda Hikaru's Love and Law. Two Reifenstahl films (!?), some kind of collection of Aichi interviews from Company Matsuo (unclear if it includes all the sex), and the two Japanese films from Cannes, Kuzoku's Tenzo and the colorful experimental short Grand Bouquet.? ?????????????????????77??2017??? ?????????????????????142??2017??? ?????????????????105??2017?? ???????????A Day in the Aichi????????????????2019???? ????????????????????113??2018??? ???????????????75??2018??? ????????????????105??2017??? ????????????????????????????????????138??1938??? ???????????????????????????????????97??1938??? ??????????????94??2017??? ????????????????????77??2018??? ??????????-TENZO-?????????62??2019??? ????????Grand Bouquet?????????15??2019??? I'd heard rumors that the Yamagata competition (https://www.yidff.jp/2019/program/19p1-e.html)?was going to have a lot of long films. Indeed it does. It's one of the admirable things about Yamagata. Length doesn't seem to factor into selection for their competition. So this time around, they've got Anand Patwardhan's new film clocking in a 240 minutes and Wang Bing's Dead Souls at 495 minutes?over 8 hours long. They make Wiseman's Monrovia feel short at 2 hours, 20+ minutes. I noticed they list Dead Souls as a Swiss, French co-production; I guess that's one way to get around the new censorship law in China....but I note that Zhang Menqi's new film is included, most definitely not with the Dragon Seal, and it is listed as a Chinese film. Interesting.? I was thrilled to see Makino Takashi included in the competition. Looks great. They'll also have sidebars on 311 (again), films about film (again), Yamagata and film (again).........they really need to mix things up.? But the original programming includes sidebars on Iran, Oceana, new Japanese works, and a north Indian archives, and a reevaluation of 1930s Japanese documentary.? Hint for those thinking of attending. There is a medical conference overlapping with the festival and it has really sucked up the prime location hotel rooms. I've had a bunch of people asking me about this. Thankfully, the festival will be announcing a package tour that includes Shinkansen and hotel. The price should be decent and the hotel should be central. I'll forward information when it's announced. Even better: maybe the YIDFF folks on KineJapan could post this themselves? YIDFF competition list follows... Markus +++++++++++++++++++++++++++++++++++++++ - Absence - INDIA / 2018 / 80 min Director:?Ekta Mittal - Cachada?The Opportunity - EL SALVADOR / 2019 / 81 min Director:?Marl?n Vi?ayo - The Crosses - CHILE / 2018 / 80 min Directors:?Teresa Arredondo, Carlos V?squez M?ndez - Dead Souls - FRANCE, SWITZERLAND / 2018 / 495 min Director:?Wang Bing - Did You Wonder Who Fired the Gun? - USA / 2017 / 90 min Director:?Travis Wilkerson - In Our Paradise - FRANCE / 2019 / 76 min Director:?Claudia Marschal - Living the Light?Robby M?ller - THE NETHERLANDS / 2018 / 86 min Director:?Claire Pijman - Memento Stella - JAPAN, HONG KONG / 2018 / 60 min Director:?Makino Takashi - Midnight Traveler - USA, QATAR, CANADA, UK / 2019 / 87 min Director:?Hassan Fazili - Monrovia, Indiana - USA / 2018 / 143 min Director:?Frederick Wiseman - Reason - INDIA / 2018 / 240 min Director:?Anand Patwardhan - Self-Portrait: Window in 47 KM - CHINA / 2019 / 110 min Director:?Zhang Mengqi - Transnistra - SWEDEN, DENMARK, BELGIUM / 2019 / 93 min Director:?Anna Eborn - Your Turn - BRAZIL / 2019 / 93 min Director:?Eliza Capai - Yukiko - FRANCE / 2018 / 70 min Director:?Young Sun Noh _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Wed Jul 31 08:11:16 2019 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Wed, 31 Jul 2019 15:11:16 +0300 Subject: [KineJapan] =?utf-8?q?Yamagata_=E2=80=94_Aichi?= In-Reply-To: <1563286529.3991910.1564569143682@mail.yahoo.com> References: <1563286529.3991910.1564569143682@mail.yahoo.com> Message-ID: What website? Reservation for what? Eija ke 31. hein?k. 2019 klo 13.32 Roger Macy via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > Just to say that, although I had got 6th August from the website as the > last day for hotel reservations, when I printed out the form, it said > today, 31st July. > Matsumoto-san confirmed by email that it's not a package - you don't have > to use the overnight bus. > See some of you there, hopefully, > Roger > > On Tuesday, 9 July 2019, 14:04:09 BST, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Yamagata International Documentary Film Festival just announced and the > Aichi Triennale announced their lineups. > > Aichi's list is pretty interesting ( > https://aichitriennale.jp/news/2019/003415.html). A few films that have > been around, like Toda Hikaru's Love and Law. Two Reifenstahl films (!?), > some kind of collection of Aichi interviews from Company Matsuo (unclear if > it includes all the sex), and the two Japanese films from Cannes, Kuzoku's > Tenzo and the colorful experimental short Grand Bouquet. > > ????????????????? 77? 2017??? > ????????????????? 142? 2017??? > ????????????? 105? 2017?? > ????????A Day in the Aichi???????? ?????? 2019??? > ???????????????? 113? 2018??? > ??????????? 75? 2018??? > ???????????? 105? 2017??? > ???????????????????????????????? 138? 1938??? > ??????????????????????????????? 97? 1938??? > ?????????? 94? 2017??? > ???????????????? 77? 2018??? > ???????-TENZO-???????? 62? 2019??? > ?????Grand Bouquet???????? 15? 2019??? > > I'd heard rumors that the Yamagata competition ( > https://www.yidff.jp/2019/program/19p1-e.html) was going to have a lot of > long films. Indeed it does. It's one of the admirable things about > Yamagata. Length doesn't seem to factor into selection for their > competition. So this time around, they've got Anand Patwardhan's new film > clocking in a 240 minutes and Wang Bing's Dead Souls at 495 minutes?over 8 > hours long. They make Wiseman's Monrovia feel short at 2 hours, 20+ > minutes. I noticed they list Dead Souls as a Swiss, French co-production; I > guess that's one way to get around the new censorship law in China....but I > note that Zhang Menqi's new film is included, most definitely not with the > Dragon Seal, and it is listed as a Chinese film. Interesting. > > I was thrilled to see Makino Takashi included in the competition. Looks > great. They'll also have sidebars on 311 (again), films about film (again), > Yamagata and film (again).........they really need to mix things up. > > But the original programming includes sidebars on Iran, Oceana, new > Japanese works, and a north Indian archives, and a reevaluation of 1930s > Japanese documentary. > > Hint for those thinking of attending. There is a medical conference > overlapping with the festival and it has really sucked up the prime > location hotel rooms. I've had a bunch of people asking me about this. > Thankfully, the festival will be announcing a package tour that includes > Shinkansen and hotel. The price should be decent and the hotel should be > central. I'll forward information when it's announced. Even better: maybe > the YIDFF folks on KineJapan could post this themselves? > > YIDFF competition list follows... > > Markus > > +++++++++++++++++++++++++++++++++++++++ > > *Absence*INDIA / 2018 / 80 min > *Director:* Ekta Mittal > > ------------------------------ > [image: -]*Cachada?The Opportunity*EL SALVADOR / 2019 / 81 min > *Director:* Marl?n Vi?ayo > > ------------------------------ > [image: -]*The Crosses*CHILE / 2018 / 80 min > *Directors:* Teresa Arredondo, Carlos V?squez M?ndez > > ------------------------------ > [image: -]*Dead Souls*FRANCE, SWITZERLAND / 2018 / 495 min > *Director:* Wang Bing > > ------------------------------ > [image: -]*Did You Wonder Who Fired the Gun?*USA / 2017 / 90 min > *Director:* Travis Wilkerson > > ------------------------------ > [image: -]*In Our Paradise*FRANCE / 2019 / 76 min > *Director:* Claudia Marschal > > ------------------------------ > [image: -]*Living the Light?Robby M?ller*THE NETHERLANDS / 2018 / 86 min > *Director:* Claire Pijman > > ------------------------------ > [image: -]*Memento Stella*JAPAN, HONG KONG / 2018 / 60 min > *Director:* Makino Takashi > > ------------------------------ > [image: -]*Midnight Traveler*USA, QATAR, CANADA, UK / 2019 / 87 min > *Director:* Hassan Fazili > > ------------------------------ > [image: -]*Monrovia, Indiana*USA / 2018 / 143 min > *Director:* Frederick Wiseman > > ------------------------------ > [image: -]*Reason*INDIA / 2018 / 240 min > *Director:* Anand Patwardhan > > ------------------------------ > [image: -]*Self-Portrait: Window in 47 KM*CHINA / 2019 / 110 min > *Director:* Zhang Mengqi > > ------------------------------ > [image: -]*Transnistra*SWEDEN, DENMARK, BELGIUM / 2019 / 93 min > *Director:* Anna Eborn > > ------------------------------ > [image: -]*Your Turn*BRAZIL / 2019 / 93 min > *Director:* Eliza Capai > > ------------------------------ > [image: -]*Yukiko*FRANCE / 2018 / 70 min > *Director:* Young Sun Noh > > > > > _______________________________________________ > 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From jmthfrsa at gmail.com Wed Jul 31 14:01:44 2019 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Wed, 31 Jul 2019 20:01:44 +0200 Subject: [KineJapan] =?utf-8?q?Call_for_Papers=3A_Kinema_Club_XIX_in_A2?= =?utf-8?q?=E2=80=9420_Years_On?= In-Reply-To: References: Message-ID: Dear All Like a lot of people who are be unable to join you I would be very pleased to hear the complete talks. Mathieu Capel suggested youtube Why not ? Best Regards Jacline Moriceau Le lun. 29 juil. 2019 ? 14:54, Caitlin Casiello via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > > > On Mon, May 27, 2019 at 10:31 AM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> *Call for Proposals: Kinema Club XIX A2?20 Years On* >> >> >> >> *Place: University of Michigan, Ann Arbor* >> >> *Dates: November 1-3, 2019* >> >> *Deadline for Proposals: June 30, 2019* >> >> *Organizer: Markus Nornes *(nornes at umich.edu) >> >> >> >> In 1999, Kinema Club members met in Ann Arbor for their first gathering >> to talk about how Japanese film studies developed, where it was, and where >> we should aim for moving forward. This fall we will meet once again to take >> stock of the field 20 years on and discuss our bright future. In the spirit >> of the original Kinema Club, we will discuss our past precisely to forge a >> collective path ahead. >> >> >> >> 1) Silence=Sound (Michael Raine & Daisuke Miyao) >> >> 2) Theories Histories (Aaron Gerow) >> >> 3) Media+ (Stephanie DeBoer & Yuki Nakayama) >> >> 4) Animating (Christine Marran & Tom Lamarre) >> >> 5) Imperium (Kate Taylor-Jones & Irhe Sohn) >> >> 6) Embodied ?Desired (Jennifer Coates & Sharon Hayashi) >> >> 7) Possible Futures?[and Pedagogies] (Alex Zahlten & Chika Kinoshita) >> >> 8) ??*Onward* (Anne McKnight & Markus Nornes) >> >> >> >> *XIX A2 will take a novel form based entirely on discussion.*There will >> be no papers delivered. We invite *phantom papers, *proposals for topics >> of discussion under the rubrics above and led by the listed scholars. >> >> >> >> While there will be no presentations or speeches allowed; this Kinema >> Club will be a precious opportunity for dialogue. The discussions will last >> 90 minutes, will be consecutive and not simultaneous. They will be >> kickstarted by free-format, pre-circulated position papers, *which**may >> be listed on people?s CVs as any other conference paper.*These will be >> collected three weeks before the gathering, and can be of any length. Two >> weeks before, we will distribute the entire collection. At UM, discussions >> will be led by the colleagues above, but everyone will freely participate. >> Again, *no presentations allowed. * >> >> >> >> Additionally,*we are soliciting two graduate students*to act as social >> media secretaries and blog the discussions as we go along. They will be >> paid for their efforts. Contact Markus if you are interested in this role. >> >> >> *Please send a proposal to Markus Nornes (nornes at umich.edu >> ), with a position paper title and a short, one-paragraph >> abstract that proposes a topic of discussion by June 30, 2019. * >> >> >> >> +++++++++++++++++++++++++++++++++++++++++++++++++++ >> >> >> >> *Some historical background?* >> >> >> >> Younger scholars and students may not be aware of Kinema Club?s origin >> story (a full version is on our website: >> https://kinemaclub.org/about-us/history). We coalesced in the early >> 1990s, mostly graduate students interested in Japanese cinema and vaguely >> aware there were like-minded people out there. Somewhere. >> >> >> >> As we found each other, we shared some of the same practical problems, >> starting with the paucity of bibliographic information on film. Our first >> collaborative effort was to split up major film journals to copy and share >> the tables of contents; new people could become ?members? by copying a new >> journal and adding it to the packet. Eventually it was a couple inches >> thick. >> >> >> >> Along the way, the Japanese bibliographer at OSU, Maureen Donovan, >> encouraged us to go digital and exploit this new thing called the internet >> to expand our collaboration. We gave ourselves the name Kinema Club?after a >> Taisho era movie theater?and went online in January 1995. >> >> >> >> Four years later, we met in person at a workshop on the campus of >> University of Michigan. The idea was to get together and talk about how >> Japanese film studies came about. Ask what is *was.*And think about >> where we might take it from there. This was all happening at an interesting >> moment. Japanese film had been a space for the discipline of film studies >> to work out many basic theoretical issues over the years, thanks to the >> work of stellar scholars like No?l Burch, Stephen Heath, Dudley Andrew, >> David Desser, Kristin Thompson, Maureen Turim, Robin Wood, Peter Lehman, >> Dana Polan, Scott Nygren, Philip Rosen, David Bordwell, Paul Willemen, >> Edward Branigan and others. Just as Kinema Club appeared as if by nature, >> the discipline of film studies was pushing Japanese film to the margins >> while Japanese studies, broadly construed, opened new spaces for it. >> >> >> >> Mitsuhiro Yoshimoto and Markus Nornes organized the first Kinema Club >> workshop on this morphing disciplinary landscape to take stock of the >> situation and chart a course into an unknown future. You can find the >> original announcement and a summary of the meeting on the Kinema Club >> website (https://kinemaclub.org/conference/kinema-club-workshop). After >> the workshop was over, we concluded, >> >> >> >> We are, in a certain sense, ?euphoric.? We face multiple possibilities >> and that?s good. We don?t mourn the passing of that old field and its sense >> of institutional comfort. And despite the fact that it has left us groping >> to comprehend the consequences for our lives as teachers, intellectuals and >> as intellectual workers, we sense something very interesting on the horizon >> in a decade or so. The senior scholars who have already done a lot of >> research on Japanese film will be publishing the best work of their >> careers. Many newly arriving people will have published books and secured >> tenure. We will have read and engaged each other?s work. It will not >> configure itself in a discipline, but we will have a much easier time >> talking to each other. >> >> >> >> Twenty years after this first meeting, Kinema Club has gathered 18 times >> and taken many different forms in just as many far-flung places. This fall, >> let us gather again to look into the rear-view mirror as we barrel toward >> KCXXXVI in 2039, 20 years on from now! >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > -- > Caitlin Casiello > Ph.D. Student > Film & Media Studies and East Asian Languages & Literatures > Yale University > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: