[KineJapan] Feminist World-Building in Japanese Cinema/Building Feminist Worlds in Japanese Cinema at UCSD, May 2-3

[Miyao, Daisuke]

Dear all,


I am delighted to announce an upcoming symposium that Kim Icreverzi and I are organizing at UCSD:

Feminist World-Building in Japanese Cinema/Building Feminist Worlds in Japanese Cinema on May 2 and 3, 2019.

We are looking forward to welcoming many of you!


Best,

Daisuke


Daisuke Miyao

Professor

Hajime Mori Chair in Japanese Language and Literature

Director of the Japanese Studies Program

Director of Doctoral Studies, Department of Literature

University of California, San Diego


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Feminist World-Building in Japanese Cinema / Building Feminist Worlds in Japanese Cinema


University of California, San Diego | May 2-3, 2019


Across the production, criticism and scholarship of Japanese cinema, there remains startlingly little feminist work. We might attribute this to who controls the means of cinematic production in the Japanese film industry, to Japan’s starkly gendered division of labor, to the limitations on film content that these structural conditions reproduce, to the flows that gender film audiences, or to the systems that assign value with the academy, privileging certain narratives, actors, voices, etc. Whatever the calculus, in Japanese cinema as elsewhere, we have arrived at a moment of what Sara Ahmed recently described as “feminist snap,” that breaking point when “she[/we/you/I] just can’t take it anymore” and when feminist work seems more necessary than ever. Interested as much in film practice as film criticism, theory and scholarship, we ask: what are feminisms in the context of Japanese cinema? What, now, can feminist knowledges help us address or even rectify in Japanese cinema? What might they be insufficient to address? What prompts a split between the study of gender and sexuality in Japanese cinema and a feminist politic? What forms of intersectionality, transnationality, and comparison does a feminist take on Japanese cinema necessitate? We invite you to join us in an exercise of "creative" and "affirmative world-building" (Ahmed) in, through, and with Japanese cinema.


Organized by Kim Icreverzi and Daisuke Miyao


Thursday, May 2, 2019



4:00-5:45pm SCREENING 1:



Body Trouble: Otoko ga onna ni naru byoki (Sachi Hamano, 2015, 92min)



6:15-8:15pm SCREENING 2:



Yukiko san no ashioto (Sachi Hamano, 2019, 112min) U.S. Premiere!



8:15-8:45pm Q&A with Sachi Hamano (Director) and Kuninori Yamazaki (Screenwriter)



Friday, May 3, 2019



9:30-9:45am WELCOME & INTRODUCTION



Kim Icreverzi and Daisuke Miyao



9:45-11:30am PANEL 1: Feminist Authorship out of Gender Trouble



Ayako Saito, “When Actresses Direct: Female Authorship Reconsidered”



Ayako Kano, “Finding Feminist Paradoxes in Early Japanese Cinema”



Colleen Laird, “Gender Trouble and Gendered Directors in Contemporary Japanese Cinema”



12:30-2:30pm PANEL 2: Dissident Perspectives: Transformative Critique



Nina Cornyetz, “Sex and Power in Japanese Cinema”



Ryan Cook, “The Melodramatic Household: Japanese Cinema and Queer Family”



Keiji Kunigami, “Gesture/Image: Race, Reproduction, and the Limits of Cinema”



Dawn-Elissa Fischer, “Representing the Unseen: Black, Femme, Animated”



2:45-4:45pm PANEL 3: Experiments in Feminist Media Ecology



Anne McKnight, “Butterflies and Smog: Mid-century Female Directors, Realism and Experiment”



Tomiko Yoda, “Prince is Dead, We Have Killed Him: Revolutionary Girl Hits the Big Screen”


Chika Kinoshita, “Scripting Unwanted Pregnancy in Post-Occupation Japan: Mizuki Yoko and the Rise of Women’s Public Sphere”


Christine Marran, “Free Indirect Disclosure and Animal Images in the Films of Soni Kum”

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