From dm6 at soas.ac.uk Fri May 3 07:35:42 2019 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Fri, 3 May 2019 12:35:42 +0100 Subject: [KineJapan] Persistently Postwar Message-ID: Dear Kinejapan members, A bit of shameless self publicity on our part, finally our (Guarn?, Lozano-M?ndez and Martinez) coedited volume, Persistently Postwar, Media and the Politics of Memory, is out in hardback. See: https://www.berghahnbooks.com/title/GuarnePersistently While the hardback is expensive, the ebook is affordable. We hope you enjoy it and perhaps find it useful. Yours, Lola -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: From wct1 at columbia.edu Sun May 5 13:08:47 2019 From: wct1 at columbia.edu (William C. Thompson) Date: Sun, 5 May 2019 13:08:47 -0400 Subject: [KineJapan] Ryusuke Hamaguchi Retrospective in NY Message-ID: Kinejapan Friends, For those of us with access to New York, the Metrograph on Manhattan's Lower East Side, east of Chinatown, will present a seven film retrospective of Ryusuke Hamaguchi's films, including several that will have their first New York screenings. Most films are currently scheduled for just one screening, between this Friday, May 10th, and May 17th, but the Metrograph schedules are generally flexible enough so some of the titles may be re-screened later. http://metrograph.com/series/series/219/ryusuke-hamaguchi Bill Thompson -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon May 6 00:59:15 2019 From: nornes at umich.edu (Markus Nornes) Date: Mon, 6 May 2019 13:59:15 +0900 Subject: [KineJapan] Reiwa Destroyed Pink Film Message-ID: So last night was the final Pink Taisho, the pink film awards. It was the 31st edition, meaning it was roughly bound by the Heisei era; needless to say, no one has mentioned this in all the silly hoopla around the start of the new era. There were still nearly 40 pink films made last year. But they were all from Okura, so it's not much of an awards competition (interestingly enough, this reveals how these award shows are as much about competition between companies as between films or filmmakers). Here is their page announcing the event's demise, along with the competition films. http://pg-pinkfilm.com/news/31pinkfes.html I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on hand. I told him about the award show and its announced end. He could care less. It says as much as Adachi as an artist as it does the heterogeneity and historical transformations of pink. I know at least one colleague from KineJapan was there. Waiting for a report from the ground.......... 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 eija.niskanen at gmail.com Wed May 8 05:36:15 2019 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Wed, 8 May 2019 11:36:15 +0200 Subject: [KineJapan] Asian doc film fests modeled after YIDFF Message-ID: Hi! I think I read somewhere ( but cannot remember where) that some Asian documentary film festivals were influenced/modeled by Yamagata YIDFF. Can anyone remember the reference or can you think of a festival born because of inspiration and contacts by YIDFF? Thanks! Eija -- Eija Niskanen -------------- next part -------------- An HTML attachment was scrubbed... URL: From annekmcknight at gmail.com Wed May 8 22:22:38 2019 From: annekmcknight at gmail.com (Anne McKnight) Date: Wed, 8 May 2019 19:22:38 -0700 Subject: [KineJapan] Japanese lit/film/visual culture job @ UC Riverside, 2019~20 Message-ID: Hello everyone~ Pardon the cross-posting? Our wonderful Instructor is moving on, and UCR Comp Lit has a 6-course VAP (Visiting Assistant Prof) position in Japanese lit & Visual Culture fields for 2019-20. Feel free to PM me with any questions. Students are really game & interesting. (Courses were established with the former instructor in mind.) Should have PhD in hand when school starts. The more official and pleasing-to-the-eye version of the ad is in the PDF file attached. Please feel free to ping me with any questions! Anne ~~~~~~~~~~~~~~~~~~~~~ Associate Professor, Dept of Comparative Literature and Languages *Mailing*: 2401 HMNSS Building, UC Riverside, Riverside CA, 92521 USA *Office & Office Hours*: 2508 HMNSS Building, T/Th 3:40~4:30 + by appointment *email*: anne.mcknight at ucr.edu *Department of Comparative Literature and Languages * *UNIVERSITY OF CALIFORNIA, RIVERSIDE 2019-2020 * *Academic Year Position*: Visiting Assistant Professor in Japanese and Comparative Literature Starting Date: The appointment will be for one year beginning July 1, 2019. *Salary*: Based on 100% annual salary of $60,000 (pending final budget approval). Appointment is eligible for renewal depending on need, funding and performance. *Qualifications*: Minimum requirements are a Ph.D. in Japanese Literature, Comparative Literature, or a related field. Priority will be given to candidates with experience and success in teaching Japanese Literature and Comparative Literature at an American university. UCR is a world-class research university with an exceptionally diverse undergraduate student body. Its mission is explicitly linked to providing routes to educational success for underrepresented and first-generation college students. A commitment to this mission is a preferred qualification. *Duties*: Duties will consist in the instruction of 6 courses as follows, alongside meeting with and mentoring undergraduate and graduate students as necessary. *Fall 2019:* JPN 22, ?Introduction to Japanese Film? JPN 152K, ?Themes in Modern Japanese Literature: Dreams and Other Virtual Worlds? *Winter 2020:*JPN 34, ?Introduction to Classical Japanese Literature? CPLT 277, ?Graduate Seminar in Comparative Literature? *Spring 2020:*JPN 153G, ?Themes in Early Japanese Literature: The Culture of the Floating World? JPN 154, ?Themes in the Folklore and Popular Culture of Japan? *Application Procedure:*Please provide cover letter, CV, teaching statement, statement of contributions to diversity, sample syllabus or syllabi, teaching evaluations and 3 letters of recommendation. Materials should be uploaded using UCR?s on-line application system: https://aprecruit.ucr.edu/apply/JPF1099 Letters of recommendation must be confidential. Please use the APRecruit system to have your recommenders upload them directly. Applicants who use Interfolio should use the feature that allows letters to be uploaded directly into AP Recruit. Applicants can input an Interfolio-generated email address in place of their letter writer's email address. Interfolio refers to this as ?Online Application Deliveries?. The following link at Interfolio shows how to set up the feature: http://product-help.interfolio.com/?/266289-confidential-le? online-application-systems. Review of applications will begin May 30, 2019 and will continue until the position is filled. To ensure full consideration, applications and supporting material should be received by May 30, 2019. The University of California is an Equal Opportunity / Affirmative Action Employer with a strong institutional commitment to the achievement of excellence and diversity among its faculty and staff. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, age, disability, protected veteran status, or any other characteristic protected by law. Department Contact person ? Prof. Anne McKnight: Anne.McKnight at ucr.edu) -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: job ad--VAP_UCR_2019.pdf Type: application/pdf Size: 528930 bytes Desc: not available URL: From nornes at umich.edu Thu May 9 00:55:42 2019 From: nornes at umich.edu (Markus Nornes) Date: Thu, 9 May 2019 13:55:42 +0900 Subject: [KineJapan] Asian doc film fests modeled after YIDFF In-Reply-To: References: Message-ID: I think you can consider Jeonju, Taiwan, DMZ, maybe Mumbai (I think it started around the same time) and mainland Chinese festivals. But to talk about the degree of influence or inspiration on any of these festivals, you need to ask the people that were running it back when they started. 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 Wed, May 8, 2019 at 6:36 PM Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi! > I think I read somewhere ( but cannot remember where) that some Asian > documentary film festivals were influenced/modeled by Yamagata YIDFF. Can > anyone remember the reference or can you think of a festival born because > of inspiration and contacts by YIDFF? > Thanks! > Eija > > -- > Eija Niskanen > > _______________________________________________ > 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 May 9 07:23:34 2019 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 9 May 2019 11:23:34 +0000 (UTC) Subject: [KineJapan] Fw: Sheffield Doc/Fest programme announcement, 2019, including a New/Japan focus In-Reply-To: References: Message-ID: <1343506676.10595398.1557401014966@mail.yahoo.com> Hi,Sheffield Docfest this year has a 'New/Japan focus'. I'll paste below the relevant part of the press release. I'm not sure whether Markus and Kazuhiro Soda would have chosen to put their Michigan film under that, but there it is. As I write, the schedule looks like a work-in-progress. I would expect many of the films to have two slots.Roger Sheffield Doc/Fest 2019 country focus strand, New/Japan, supported by DaiwaFoundation and Sasakawa Foundation?showcases a new wave of stories and images from Japanese filmmakers,from the intimate and familial lens to the abstract and subversive. Inartist-filmmaker Makino Takashi?spractice the abstract is drawn out of the real through the layering of images,flickers of light and the perpetual movement of dots and grains, as shown in MementoStella (UK premiere), which combines up to 200 layers at anyone time, redefining screen space and feels deeper the closer audiences focustheir eyes. Shot by Kazuhiro Soda, MarkusNornes and Terri Sarris against the backdrop of the 2016 election and the riseof Donald Trump, The Big House (UK premiere) presents a microcosm of America atthis Michigan stadium, by showing everything but the game. In Norie(UK premiere) artist-filmmaker YukiKawamura embarks on a road-trip with his father to talk to the people whoknew his late mother. Science fiction and desire collide when an Americanresearcher meets a Japanese translator in A Tiny Place Is Hard to Touch (UKpremiere) directed by artist-filmmaker Shelly Silver. ? Other shorts in New/Japan are: Chiemi Shimada?s Chiyo (World premiere),warm and sensuous 16mm portrait of her grandmother, Chiyo, sharing dreams andreality from her home in the Japanese suburbs; Rei Hayama?s The Pearl of Tailorbird (Worldpremiere), originally a multi sound and visual installation, these short-formvideos are anchored by a haunting soundscape in which Hayama imitates thespeech of various local birds in her own voice; Mountain Plain Mountain (UKpremiere), a behind-the-scenes observation of Ban?ei, a rare kind of drafthorse race that takes place only in Obihiro, Japan, directed by Yu Araki andDaniel Jacoby. ----- Forwarded message ----- From: Sarah Harvey To: Sarah Harvey Cc: Oli Gots ; Ania Ostrowska Sent: Thursday, 9 May 2019, 10:20:09 BSTSubject: Sheffield Doc/Fest programme announcement, 2019, including a New/Japan focus Hello from the Sheffield Doc/Fest press office We?re attaching here the press release announcing the 2019 programme of Sheffield Doc/Fest which takes place 6-11 June, which this year includes a New/Japan focus. Please feel free to talk about the line-up across your social media platforms using?@sheffdocfest | #sheffdocfest?-?as well as your writing and reporting outlets. You will find image links at the end of the release and a link to the trailer at the top. If you haven?t already applied for accreditation you can do that here:?https://sheffdocfest.com/articles/684-press-accreditation-registration-now-open Please let be in touch with us (Oli and Ania cc?d in this email) with any queries. We look forward to seeing you at Doc/Fest all best wishesSarah, Oli, Ania Sarah HarveySarah Harvey Publicity t: +44 (0) 207 732 7790m: +44 (0) 7958 597426 e:?sarah at sarahharveypublicity.co.uk tw: @SarahHarveyPR www.sarahharveypublicity.co.uk -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Programme launch 9 MAY.docx Type: application/vnd.openxmlformats-officedocument.wordprocessingml.document Size: 175289 bytes Desc: not available URL: From nornes at umich.edu Thu May 9 08:43:19 2019 From: nornes at umich.edu (Markus Nornes) Date: Thu, 9 May 2019 21:43:19 +0900 Subject: [KineJapan] Fw: Sheffield Doc/Fest programme announcement, 2019, including a New/Japan focus In-Reply-To: <1343506676.10595398.1557401014966@mail.yahoo.com> References: <1343506676.10595398.1557401014966@mail.yahoo.com> Message-ID: The Big House is most definitely a co-production! And it?s very much a Soda film. Markus On Thu, May 9, 2019 at 8:23 PM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi, > Sheffield Docfest this year has a 'New/Japan focus'. I'll paste below the > relevant part of the press release. I'm not sure whether Markus and > Kazuhiro Soda would have chosen to put their Michigan film under that, but > there it is. As I write, the schedule looks like a work-in-progress. I > would expect many of the films to have two slots. > Roger > > Sheffield Doc/Fest 2019 country focus strand, *New/Japan, *supported by Daiwa > Foundation and Sasakawa Foundation showcases a new wave of stories and > images from Japanese filmmakers, from the intimate and familial lens to the > abstract and subversive. In artist-filmmaker *Makino Takashi?*s practice > the abstract is drawn out of the real through the layering of images, > flickers of light and the perpetual movement of dots and grains, as shown > in *Memento Stella *(UK premiere), which combines up to 200 layers at any > one time, redefining screen space and feels deeper the closer audiences > focus their eyes. Shot by *Kazuhiro Soda, *Markus Nornes and Terri Sarris > against the backdrop of the 2016 election and the rise of Donald Trump, *The > Big House *(UK premiere) presents a microcosm of America at this Michigan > stadium, by showing everything but the game. In *Norie *(UK premiere) > artist-filmmaker *Yuki Kawamura* embarks on a road-trip with his father > to talk to the people who knew his late mother. Science fiction and desire > collide when an American researcher meets a Japanese translator in *A > Tiny Place Is Hard to Touch *(UK premiere) directed by artist-filmmaker > Shelly Silver. > > > > Other shorts in New/Japan are: Chiemi Shimada?s *Chiyo *(World premiere) > *,* warm and sensuous 16mm portrait of her grandmother, Chiyo, sharing > dreams and reality from her home in the Japanese suburbs; Rei Hayama?s* > The Pearl of Tailorbird *(World premiere), originally a multi sound and > visual installation, these short-form videos are anchored by a haunting > soundscape in which Hayama imitates the speech of various local birds in > her own voice; *Mountain Plain Mountain *(UK premiere), a > behind-the-scenes observation of Ban?ei, a rare kind of draft horse race > that takes place only in Obihiro, Japan, directed by Yu Araki and Daniel > Jacoby. > > > ----- Forwarded message ----- > *From:* Sarah Harvey > *To:* Sarah Harvey > *Cc:* Oli Gots ; Ania Ostrowska < > ania at sarahharveypublicity.co.uk> > *Sent:* Thursday, 9 May 2019, 10:20:09 BST > *Subject:* Sheffield Doc/Fest programme announcement, 2019, including a > New/Japan focus > > > Hello from the Sheffield Doc/Fest press office > > We?re attaching here the press release announcing the 2019 programme of > Sheffield Doc/Fest which takes place 6-11 June, which this year includes a > New/Japan focus. > > Please feel free to talk about the line-up across your social media > platforms using *@sheffdocfest | #sheffdocfest - *as well as your writing > and reporting outlets. You will find image links at the end of the release > and a link to the trailer at the top. > > If you haven?t already applied for accreditation you can do that here: > https://sheffdocfest.com/articles/684-press-accreditation-registration-now-open > > Please let be in touch with us (Oli and Ania cc?d in this email) with any > queries. > > We look forward to seeing you at Doc/Fest > > all best wishes > Sarah, Oli, Ania > > > > *Sarah Harvey* > > *Sarah Harvey Publicity *t: +44 (0) 207 732 7790 > m: +44 (0) 7958 597426 > e: sarah at sarahharveypublicity.co.uk > tw: @SarahHarveyPR > www.sarahharveypublicity.co.uk > > _______________________________________________ > 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 sissu at basicray.org Sat May 11 08:49:18 2019 From: sissu at basicray.org (sissu tarka) Date: Sat, 11 May 2019 14:49:18 +0200 Subject: [KineJapan] Matsumoto essays on neo-documentarism and ................... In-Reply-To: Message-ID: <20190511144918.Horde.uALdxL9PLi5Cotk-cWBADmg@webmail.servus.at> dear kinejapaners, I am interested in writings on Toshio Matsumoto's neo-documentarism, does anyone on the list have an electronic version of the most essential essay on that, and / or related writings by him; or thereafter? Was Matsumoto in that respect also influential on landscape film and landscape theory (1960-70s Japanese political cinema)? Also, can someone perhaps help to source abstract animation-experimental film work by the youngish Japanese experimental film maker Makino Takashi, which hovers in between abstract and figurative? Lastly, does anyone have some potential references to 'Dust' or 'Sand/desert' Films? Both feature (as the wonderful 'Woman in the Dunes directed by?y Hiroshi Teshigahara (1964)?as well as anime? Aaaaaaany help much appreciated. Thank you. Verina dr verina gfader artist and researcher Animate Assembly[1] Cloud Chamber[2] Links: ------ [1] http://art.gold.ac.uk/animate/ [2] https://antipyrine.dk/products/verina-gfader-cloud-chamber -------------- next part -------------- An HTML attachment was scrubbed... URL: From marion at nipponconnection.com Sun May 12 15:01:26 2019 From: marion at nipponconnection.com (Marion Klomfass) Date: Sun, 12 May 2019 21:01:26 +0200 Subject: [KineJapan] 19th Nippon Connection Film Festival in Frankfurt / Germany In-Reply-To: <20190511144918.Horde.uALdxL9PLi5Cotk-cWBADmg@webmail.servus.at> References: <20190511144918.Horde.uALdxL9PLi5Cotk-cWBADmg@webmail.servus.at> Message-ID: <4cad9b33-332b-63af-8cc6-e1d34afdec56@nipponconnection.com> * Dear KineJapan subscribers, * The 19th edition of the Japanese Film Festival Nippon Connectionwill take place in Frankfurt am Main, Germany from May 28 to June 2, 2019. The program comprises more than 100 short and feature films, most of them shown as German, European, international, or world premieres. The festival will open with Akiko Oku?scomedy Marriage Hunting Beauty. Other film highlights include Sho Miyake?ssubtle drama And Your Bird Can Sing, the epic period piece The Chrysanthemum And The Guillotineby Takahisa Zeze, as well as a special screening of Macoto Tezka?scult classic The Legend Of The Stardust Brothersin a restored version. For the complete line-up and timetable, please visit the festival?s website:www.nipponconnection.com Numerous filmmakers and artists from Japan will present their works in person. The guest list includes directors Ryuichi Hiroki, Junji Sakamoto, Toshiaki Toyoda, and Nobuhiro Yamashita, among others. As this year?s guest of honor, director and actor Shinya Tsukamotowill receive the Nippon Honor Award. The festival will showcase the German premiere of his latest film Killingand two of his classics, Tetsuo: The Iron Manand Tokyo Fist. He will give some insight into his work and reflect upon his career in a film talk with Tom Mes. The film program will also have a special focus directed at the topic of /Outlaws and Outsiders/. With the Japanese society having a strong collectivist imprint, many films from Japan tell the stories of people who don?t fit in with the accepted norms or refuse to fulfil expectations dictated by custom and tradition. This includes sexual minorities as well as juvenile delinquents, illegal immigrants, or people with psychological disorders. The topic will be taken up in film talks, Q&A sessions, and a panel discussion moderated by Luk van Haute. This year?s retrospective, organized in cooperation with the Japan Foundation, pays homage to one of the most outstanding actresses from Japan. Under the title /Ayako Wakao ? Magnificent Icon of Japanese Cinema/, eight films in 35mm and 16mm format represent the impressive repertoire of the radiant screen queen Ayako Wakao, who collaborated with directors as Yasujiro Ozu, Kon Ichikawa, Yuzo Kawashima, and Yasuzo Masumura. A diverse supporting programwill include concerts, performances, and workshops. Film-related lectures will be given by Tom Mes(University of Leiden): The Endless Road Of Lone Wolf And Cub, Alexander Zahlten(Harvard University): Alternative Histories Of Japanese Film: How The 1970s Changed Everything, Roland Domenig(Meiji Gakuin University Tokyo): Movie Theaters In Japan ?Past And Present, and Ilan Nguyen(Tokyo University of the Arts): Remembering Isao Takahata: A Personal View On Post-War Japan?s Most Influential Animation Director. I?m looking forward to seeing you in Frankfurt! * Best, Marion Klomfass Festival director Nippon Connection ** * * 19th Japanese Film Festival May 28 ? June 2, 2019 Frankfurt am Main, Germany Office: Nippon Connection e.V.,?c/o Atelierfrankfurt, Raum 5.08 Schwedlerstra?e 1-5, 60314 Frankfurt am Main, Germany Mobile: +49 177 467 11 41 Phone: +49 69 847 765 65, Fax: +49 69 847 765 66 Marion at NipponConnection.com www.NipponConnection.com ** Program Survey(as of May 4, 2019) NIPPON CINEMA And Your Bird Can Sing(Kimi no tori wa utaeru) by Sho Miyake, J 2018 Another World (Hansekai) by Junji Sakamoto, J 2018, EP Asako I & II(Netemo sametemo) by Ryusuke Hamaguchi, J 2018, GP The Chrysanthemum And The Guillotine(Kiku to girochin) by Takahisa Zeze, J 2018, GP Dare To Stop Us(Tomerareru ka, oretachi o) by Kazuya Shiraishi, J 2018, GP Dawn Wind In My Poncho(Poncho ni yoake no kaze haramasete) by Satoru Hirohara, J 2017, EP Fly Me To The Saitama(Tonde Saitama) by Hideki Takeuchi, J 2019, GP Hard-Core by Nobuhiro Yamashita, J 2018, GP Inuyashikiby Shinsuke Sato J 2018, GP It's Boring Here, Pick Me Up (Koko wa taikutsu mukae ni kite) by Ryuichi Hiroki, J 2018, EP jam by SABU, J 2018, GP Killing (Zan,) by Shinya Tsukamoto, J 2018, GP Love At Least (Ikiteru dake de, ai) by Kosai Sekine, J 2018, GP Lying To Mom (Suzukike no uso) by Katsumi Nojiri, J 2018, GP Marriage Hunting Beauty (Bijin ga konkatsu shite mitara) by Akiko Oku, J 2018, GP The Miracle Of Crybaby Shottan (Nakimushi Shottan no kiseki) by Toshiaki Toyoda, J 2018, GP Ramen Shop(Kazoku no reshipi) by Eric Khoo, SGP/J/F 2018 Room Launderingby Kenji Katagiri, J 2018, GPThicker Than Water(Kenen) by Keisuke Yoshida, J 2018, GP We Are Little Zombies by Makoto Nagahisa, J 2019 Special Screening: Tetsuo: The Iron Man(Tetsuo) by Shinya Tsukamoto, J 1989 Special Screening: Tokyo Fistby Shinya Tsukamoto, J 1995 Special Screening: The Legend Of The Stardust Brothers (Hoshikuzu kyodai no densetsu) by Macoto Tezka, J 1985 NIPPON ANIMATION Liz And The Blue Bird(Rizu to aoi tori) by Naoko Yamada, J 2018, GP Okko?s Inn (Wakaokami wa shogakusei!)by Kitaro Kosaka, J 2018, GP Penguin Highway by Hiroyasu Ishida, J 2018, GP Hiroyasu Ishida: Animation Shorts Transience ? The Best of Recent Indie Animation Tokyo University Of The Arts: Animation Shorts Nippon Filmfr?hst?ck: Mirai (Mirai no mirai) by Mamoru Hosoda, J 2018 NIPPON VISIONS Ahum (Aun) by Yu Kajino, J 2018, IP Blue Hour (Buru awa ni buttobasu) by Yuko Hakota, J 2019, EP The Call Of Zon (Zon kara no messeji) by Takuji Suzuki, J 2018, IP The Chaplain(Kyokaishi) by Dai Sako, J 2018, IP Complicityvon Kei Chikaura, J/CHN 2018 Jesus (Boku wa Iesusama ga kirai) by Hiroshi Okuyama, J 2018, GP Life Finds A Way (Futsu wa hashiridasu) by Hirobumi Watanabe, J 2018, IP Melancholic by Seiji Tanaka, J 2018, GP Sea (Kaibatsu) by Kensei Takashi, J 2018, IP She Is Alone (Kanojo wa hitori) by Natsuki Nakagawa, J 2018, IP Tourism by Daisuke Miyazaki, J/SGP 2018, EP Who Knows About My Life (Yotei wa mitei) by Teppei Isobe, J 2018, IP Special Screening: Memento Stellaby Takashi Makino, J/HK 2018, GP JVTA Meets PIA Film Festival: Shorts, IP Nippon Connection Shorts Ryuichi SAKAMOTO: async Short Film Competition NIPPON DOCS Boy Soldiers: The Secret War In Okinawa(Okinawa supai senshi) by Chie Mikami & Hanayo Oya, J 2018, EP From All Corners(Tabi suru danboru) by Ryusuke Okajima, J 2018, EP I Go Gaga, My Dear(Bokemasukara yoroshiku onegaishimasu.) by Naoko Nobutomo, J 2018, IP KAGURA Troupe On The Beat (Mawari kagura) by Kano Endo & Mirai Osawa, J 2017, GP Portraits Of The Rainbowby Ayumi Nakagawa, J 2018, GP Sending Off (Omiokuri ~Sending Off~) by Ian Thomas Ash, J 2019, WP Shinjuku Tigerby Yoshinori Sato, J 2019, IP Tower Of The Sun(Taiyo no to) by Kosai Sekine J 2018, IP NHK World-Japan Special Screenings: 10 Years With Hayao Miyazaki. Episode 1: Ponyo Is Hereby Kaku Arakawa, J 2019 The Pianist From Syriaby Kaori Hizume, J 2018 NIPPON RETRO An Actor?s Revenge (Yukinojo henge) by Kon Ichikawa, J 1963 The Blue Sky Maiden ?(Aozora musume) by Yasuzo Masumura, J 1957Elegant Beast (Shitoyakana kedamono) by Yuzo Kawashima, J 1962 Floating Weeds (Ukikusa) by Yasujiro Ozu, J 1959 The Goddess of Mercy(Manji) by Yasuzo Masumura, J 1964 The Red Angel (Akai tenshi) by Yasuzo Masumura, J 1966 Seisaku?s Wife(Seisaku no tsuma) by Yasuzo Masumura, J 1965 Women Are Born Twice (Onna wa nido umareru)by Yuzo Kawashima, J 1961 GP: German Premiere / EP: European Premiere /IP: International Premiere / WP: World Premiere* -------------- next part -------------- An HTML attachment was scrubbed... URL: From reavolution at gmail.com Tue May 14 05:27:06 2019 From: reavolution at gmail.com (Rea Amit) Date: Tue, 14 May 2019 04:27:06 -0500 Subject: [KineJapan] Kyo Machiko Message-ID: News outlets in Japan report that Kyo Machiko, arguably the greyest actress of the 1950s has died yesterday at 95. Her work is obviously well-known to everyone here, but her wider recognition was achieved probably thanks to her roles in films such as Rashomon, Ugetsu, and Floating Weeds. She was less active after the postwar golden age days, but her place in the history of Japanese cinema is secured for eternity. I am sure many other list-members would have more to add. Best, Rea From linda.ehrlich at gmail.com Tue May 14 07:00:27 2019 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Tue, 14 May 2019 07:00:27 -0400 Subject: [KineJapan] Kyo Machiko In-Reply-To: References: Message-ID: <5896607D-B561-429A-BA1E-AF1F11837570@gmail.com> Very sad news. I recall when I interviewed Miyagawa Kazuo years ago for my dissertation research, he jokingly told me ?in terms of Ugetsu, only the ghost is still alive.? Kyo Machiko gave us many dynamic performances. Sent from my iPhone > On May 14, 2019, at 5:27 AM, Rea Amit via KineJapan wrote: > > News outlets in Japan report that Kyo Machiko, arguably the greyest > actress of the 1950s has died yesterday at 95. Her work is obviously > well-known to everyone here, but her wider recognition was achieved > probably thanks to her roles in films such as Rashomon, Ugetsu, and > Floating Weeds. > > She was less active after the postwar golden age days, but her place > in the history of Japanese cinema is secured for eternity. I am sure > many other list-members would have more to add. > > Best, > Rea > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan From mekerpan2 at gmail.com Tue May 14 10:05:54 2019 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Tue, 14 May 2019 10:05:54 -0400 Subject: [KineJapan] Kyo Machiko In-Reply-To: <5896607D-B561-429A-BA1E-AF1F11837570@gmail.com> References: <5896607D-B561-429A-BA1E-AF1F11837570@gmail.com> Message-ID: It appears that Kyo worked in television well into the 1980s, is anyone here familiar with what she did then? She was a delight to watch in virtually everything she did. Michael Kerpan Roslindale, MA On Tue, May 14, 2019 at 7:00 AM Linda Ehrlich via KineJapan < kinejapan at mailman.yale.edu> wrote: > Very sad news. I recall when I interviewed Miyagawa Kazuo years ago for my > dissertation research, he jokingly told me ?in terms of Ugetsu, only the > ghost is still alive.? > > Kyo Machiko gave us many dynamic performances. > > Sent from my iPhone > > > On May 14, 2019, at 5:27 AM, Rea Amit via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > > News outlets in Japan report that Kyo Machiko, arguably the greyest > > actress of the 1950s has died yesterday at 95. Her work is obviously > > well-known to everyone here, but her wider recognition was achieved > > probably thanks to her roles in films such as Rashomon, Ugetsu, and > > Floating Weeds. > > > > She was less active after the postwar golden age days, but her place > > in the history of Japanese cinema is secured for eternity. I am sure > > many other list-members would have more to add. > > > > Best, > > Rea > > _______________________________________________ > > 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 margherita.long at uci.edu Tue May 14 23:44:45 2019 From: margherita.long at uci.edu (Margherita R. Long) Date: Wed, 15 May 2019 03:44:45 +0000 Subject: [KineJapan] 2-course job in japanese studies including one possible film course, fall 2019, UCI Message-ID: Dear Colleagues, With apologies for cross-posting, UC Irvine is hiring for a 2-course position in fall 2019. Please email me directly with any quesitons. Best, Mimi Long Margherita Long Associate Professor Department of East Asian Studies 470 Humanities Instructional Building University of California, Irvine 92697-6000 http://www.faculty.uci.edu/profile.cfm?faculty_id=6157 FALL 2019 2-COURSE TEACHING POSITION UNIVERSITY OF CALIFORNIA, IRVINE, Irvine, CA 92697-6000. The Department of East Asian Studies invites applications to teach two courses in Japanese Studies during the fall quarter 2019, appointment to begin 9/23/2019-12/13/2019, salary of $6,842.25 per course. Discipline is open to Japanese literature, cinema, theater, visual studies, or any Japanese Studies that emphasizes textual analysis. A Ph.D. is required. Courses include 1) Fourth-year Japanese, ?Introduction to Reading,? usually taught in Japanese using canonical short stories, after students have completed the 3rd year Tobira series and/or returned from study in Japan and 2) an upper-division Japanese cultural studies course in line with the candidate?s expertise and teaching interests. The department will begin reviewing applications 6/6/2019. Applications should be submitted electronically at https://recruit.ap.uci.edu/JPF05302. Candidates should submit 1) a cover letter, 2) proposed course syllabus for one upper-division course (syllabus for fourth-year course optional), 3) course evaluations 4) a current CV, and 5) the names and email addresses of two recommenders, from whom we will request letters after an initial screening. The University of California, Irvine is an Equal Opportunity/Affirmative Action Employer committed to excellence through diversity. All qualified applicants will receive consideration for employment without regard to race, color, religion, sex, national origin, disability, age, protected veteran status, or other protected categories covered by the UC nondiscrimination policy. Please direct questions about the electronic submission procedure to EAS Department Manager Michelle Hu (mahu at uci.edu) and any other questions about the search to Committee Chair Margherita Long (margherita.long at uci.edu). To learn more about the Department, visit www.humanities.uci.edu/eastasian/. -------------- next part -------------- An HTML attachment was scrubbed... URL: From m.centeno at bbk.ac.uk Wed May 15 15:30:33 2019 From: m.centeno at bbk.ac.uk (Marcos Pablo Centeno Martin) Date: Wed, 15 May 2019 19:30:33 +0000 Subject: [KineJapan] Japanese Transnational Cinema Seminar - London 23 - 24 May Message-ID: <702A7C7C9701834CB3C438515EBE6C890939A253@mbdc-ex-mbx01.birkbeck.ac.uk> Dear Kinejapan members, A seminar on "Japanese Transnational Cinema" on 23 and 24 May at Birkbeck, University of London. The event is free but please book your seat here: https://www.eventbrite.co.uk/e/japanese-transnational-cinema-tickets-59050962017 Programme copied bellow: ?Japanese Transnational Cinema? This seminar on ?Japanese Transnational Cinema? proposes a new methodology, attempting to challenge this old paradigm by highlighting the limitations of studying Japanese film as a cinematic phenomenon confined to its national borders. Papers seek innovative analytical approaches aimed at interrogating the cultural complexities of Japanese film production, illustrating to what extent Japanese cinema should also be assessed through its transnational dimension PROGRAMME. 23 MAY 9.30-10 Registration 10 ? 10.15 Introduction. Marcos Centeno, Nori Morita, Akane Kawakami Panel 1.Transnationality in non-fiction. Chair: Marcos Centeno 10.15-10.55 Hideaki Fujiki (Nagoya) Global Imagination of Ontological Reality by Transnational Radioactive Documentaries 10.55-11.35 Kerstin Fooken (Birkbeck) Inabata and the Lumi?res ? Exploring the Transnational Foundations of Cinema in Japan 11.35-11.50 Coffee break Panel 2: Zainichi Cinema: Korean authors in Japan. Chair: Griseldis Kirsch (SOAS) 11.50-12.20 Nori Morita (Waseda) Japanese National Cinema Unsettled: Zainichi Films since the 1980 12.20-13.00 Hyunseon Lee (SOAS) "Our Homeland" - A Zainichi Film Transcending Japanese and Korean Culture on the Silver Screen 13-14 Lunch Panel 3: Transnational aesthetics and modes of representation. Chair: Kerstin Fooken (Birkbeck) 14-14.40 Syada Dastagir (Birkbeck) Idealising India through the Tokyo Trials: transnational co production and nationalist narratives 14.40-15.20 Adam Bingham (SOAS) Genre by Any Other Name 15.20-15.35 Coffee break Panel 4. From Japan to Latin America. Alternative Cinematic Experiences. Chair: Mari-Paz Balibrea (Birkbeck) 15.35-16.15 Marcos Centeno (Birkbeck) >From Africa to Latin America: Transnationality in Susumu Hani?s theories and cinematic experiences. 16.15.-16.55 Alejandra Armendariz (Universidad Rey Juan Carlos) Cinema, Revolution and Transnational Co-Productions between Japan and Cuba 24 May Panel 5. Transnational gender identities. Chair: Irene G?nzalez-L?pez (Kingston) 10.00-10.40 Kinoshita Chika (Kyoto) Transnational Appreciation as a Feminist Tactics: The 1930s Girls? School Culture 10.40-11.20 Lois Barnett (SOAS) 'The Modern Boy and the Screen: Media Representation of Young Urban Men Wearing Western Style Clothing in 1920s and 1930s Japan. 11.20-11.35 Coffee break Panel 6. Chair: Influences from Western literary forms. Chair: Marcos Centeno (Birkbeck) 11.35-12.05 Kenta Kato (Waseda) Disciples of Oscar Wilde: Effeminate Characters in Japanese Gendai-geki Films 12.05-12.45 Lola Martinez (SOAS/University of Oxford) Transnational or Transcultural? Kurosawa?s Shakespeare Adaptations 12.45-14 Lunch Panel 7. Chair: Anime and the transnational. Chair: Kerstin Fooken (Birkbeck) 2-2.40 Alice Teodorescu (Independent Scholar) When monsters collide: the transcultural vampire and its representations in Japanese animation 2.40-15.20 Laurence Green (SOAS) Soundtracking a new ?Japaneseness? - Musical aesthetic and aspiration in Japan?s economic bubble 15.20-15.30 Coffee break Panel 8: Japanese-Korean interactions. Chair: Nori Morita (Waseda) 15.30-16.10 Till Weingartner (University College Cork) Return Ticket to Pyongyang: Transnational Aspects in the Films of Yang Yonghi 16.10-16.50 Jinhee Choi (King?s College London) Home is Where the Kitchen is: Little Forest (2014, 2018) 16.50-17.00 Closing remarks 19.00 Speakers? dinner. Organising committee: Marcos Centeno, Kerstin Fooken, Griseldis Kirsch, Norimasa Morita, Alejandra Armendariz, Syada Dastagir, Lois Barnet, Laurence Green. We are deeply grateful to DAIWA Anglo-Japanese Foundation and the Great Britain SASAKAWA Foundation for their support to this project. This is part of the 2019 Birkbeck Arts Week. Full list of events can be found in the link below. http://www.bbk.ac.uk/annual-events/arts-week/arts-week-2019 Marcos --- Marcos Centeno PhD, FHEA Lecturer in Japanese Studies Japan Exchange Coordinator Japanese Programme Director Department of Cultures and Languages School of Arts Birkbeck, University of London From aaron.gerow at yale.edu Thu May 16 15:32:05 2019 From: aaron.gerow at yale.edu (Aaron Gerow) Date: Thu, 16 May 2019 15:32:05 -0400 Subject: [KineJapan] Fwd: H-Japan: Haukamp on Bogue, 'Apocalypse Then: American and Japanese Atomic Cinema, 1951-1967' [review] References: <5cdd2df4.1c69fb81.3248d.29f6SMTPIN_ADDED_MISSING@mx.google.com> Message-ID: <85A875F5-C485-48EA-AB7E-1CAD935D7ECF@yale.edu> > > Haukamp on Bogue, 'Apocalypse Then: American and Japanese Atomic Cinema, 1951-1967' [review] > > by H-Net Reviews > Mike Bogue. Apocalypse Then: American and Japanese Atomic Cinema, 1951-1967. Jefferson: McFarland, 2017. Illustrations. 316 pp. $19.99 (e-book), ISBN 978-1-4766-2900-1; $39.95 (paper), ISBN 978-1-4766-6841-3. > > Reviewed by Iris Haukamp (Tokyo University of Foreign Studies) Published on H-Japan (May, 2019) Commissioned by Martha Chaiklin > > Printable Version: http://www.h-net.org/reviews/showpdf.php?id=53561 > A giant mutant is about to throw a school bus into an abyss, Godzilla attacks a radio tower, tentacles and mushroom clouds are hovering over the Hollywood sign: the cover art of Mike Bogue?s Apocalypse Then: American and Japanese Atomic Cinema, 1951-1967 successfully captures the fascination of the films covered on the following three hundred pages. Bogue, a prolific writer of articles on and reviews of monster and science fiction films, tackles the discrepancies in representations of the nuclear threat in US and Japanese genre films of the early Cold War. This time period, according to Bogue and Allen A. Debus, who provides the foreword, constituted the high point of (cinematic) interest in the devastation connoted with atomic power, which was overshadowed subsequently by the Vietnam War, calmed by the possibilities of rapprochement between the US and the Soviet Union, and eventually silenced by a ?nuclear apathy? caused by the conviction that, if a nuclear war ever happened, all would be lost anyway (p. 283). > > In his preface and introduction, Bogue frames the book within his own childhood in America of the 1950s and 60s, at the peak of Cold War anxiety, and his fascination with these genre films, constituted by and constituent of his matter-of-fact conviction that ?a major nuclear war would occur by 1970? (p. 3). Richly illustrated with amazing and amusing stills from many relatively unknown films, posters, and PR material, the book is structured into three topical parts, intriguingly titled ?Mutants? (humanoid), ?Monsters? (non-humanoid), and ?Mushroom Clouds? (serious treatment of nuclear war). Each part consists of a section dealing with selected American films, providing extensive cast and crew lists, a plot summary, often a discussion of the production background, and Bogue?s analyses of the film within the Cold War context. This is followed by a similar section on Japanese atomic kaij? (?monster?) films and a conclusion that compares and contrasts the meanings brought to the screen through these creatures and events on the two sides of the Pacific. Bogue ultimately argues that, in the 1950s, when the genre emerged and generic conventions were formed, there was a marked difference between its vernacular permutations. American films generally ended with the threat being averted by the authorities; often the creature is killed by the very nuclear power that had created it, clearly reflecting the ideology of atomic power being a necessary means to contain Communism. Japan, on the other hand, is characterized by a distrust?understandably so given the country?s direct experience of the bombs?in the possibility of neutralizing its power. Godzilla returns despite all efforts in the franchise?s first installment (1954), in which the only weapon able to destroy the creature is subsequently destroyed by its creator, due to a deep distrust in humanity?s potential to use it responsibly. From the 1960s, however, the genres began to converge, demonstrating fear and fatalism regarding the potential of nuclear power to usher in the end of the world, with films such as Dr. Strangelove (1964) approaching the negative attitude of the Japanese films. > > Apocalypse Then is an intriguing read, fueled by Bogue?s in-depth knowledge of the genre and his engaging writing style. For instance, his matter-of-fact statement that ?unlike their American counterparts of the same era, Japan?s atomic age movies never leave the viewer with the optimistic feeling that ?Gosh darn it, we can lick this atomic thing yet!? Instead, they leave the viewer with the pessimistic notion that gosh darn it, this atomic thing will lick us yet? is a refreshing take on film and cultural studies and conveys the 1950s zeitgeist (p. 87). And this is where the book really shines; Bogue?s love for and knowledge of the genre comes through clearly and not only makes it enjoyable to read but also hits home to readers of a different generation the omnipresence of the atomic thread in the early Cold War period. > > At the same time, in terms of scope, the book is tilted toward the US. ?Mutants? covers twenty-six American and only two Japanese films, ?Monsters? fourteen American versus eight Japanese works, and ?Mushroom Clouds? deals with twelve films from the United States and only four Japanese ones. Overall, sixty-one detailed analyses of American films stand against fourteen Japanese films. While this is explained in terms of differing production rates, the more problematic issue at hand is that all Japanese films are brought into the US context regarding their reception or remake by American companies?which is an exciting topic in itself?whereas the US films stand on their own, despite many of them having been released in Japan. Integrating their reception into the analysis would have made for a more balanced discussion but was certainly complicated by a relative lack of relevant source material in English. Often, the sections dealing with Japanese films use illustrations from related US films or remakes, likely due to the restrictive stance on copyrighted material in Japan, but again resulting in an American point of view. The inclusion of Japanese-language material is beyond the scope of this book, but it does result in a bias that makes the book less interesting, perhaps, for readers interested in the Japanese side. By the same token, the selection of references sometimes limits the analytical sections. Concerning Godzilla as a metaphor for Japan, Bogue argues that ?just as Godzilla is an atomic distortion of the former animal, perhaps postwar Japan is a distortion of its former self, having embraced the Western mindset to the possible detriment of its cultural past? (p. 171). This interpretation of Japan and the giant lizard-creature as both villain and victim is not new, and it holds a problematic discursive heritage. In fact, if Godzilla attacks because its lair was destroyed by the American nuclear tests that (by implication) had injured the crew of the Lucky Dragon Number Five (Daigo Fukury?), his lashing out because he had been victimized by a Western military force threatening his survival mirrors the postwar discourse on Japanese victimhood as well as the wartime reasoning for military expansion. Furthermore, as Chon Noriega has argued already in 1987, Godzilla was awakened, not created, by nuclear power.[1] Not only does this differentiate this prehistoric creature from American nuclear mutants and monsters, but it also opens an entirely different can of worms concerning postwar trauma, as also explored by the essays in Matthew Edwards?s anthology The Atomic Bomb in Japanese Cinema (2015). Noriega?s sociohistorical reading of Godzilla contains many of Bogue?s main points, such as the differences in attitudes toward the possibility of containing the nuclear threat, toward the bomb as a solution to the problem it created, and toward the official authorities? capabilities of protecting their citizens. The ?impersonal? nature of American creatures as reflected in the lack of names (they are ?It? Them,? ?The Giant Crab?) starkly contrasts with the Japanese monsters with their names and personalities (Gojira, Mosura, etc.) related to the objective versus subjective experience of being victimized by nuclear power, a statement also made by Noriega regarding the monsters being inserted into Japanese mythology as a traumatic entity to deal with through re-representation.[2] In this context, it would have been instructive to include into the argument the actual ban on references to the H-bomb and its implications in Japanese film under and following the occupation. Despite a lack of reference to Noriega?s article, Apocalypse Then?s theoretical underpinnings in terms of two distinctly different ways of dealing with the nuclear power in genre films have been laid before. Bogue, however, widens the scope toward American films and closely observes this trend in the many individual films covered in his book-length study. > > However, while the title suggests a discussion of films dealing with the nuclear threat in general, non-genre and non-narrative films, such as Record of a Living Being (Ikimono no kiroku, 1955, directed by Kurosawa Akira) or Shind? Kaneto?s semi-documentary Children of Hiroshima (Genbaku no ko, 1952), which is only briefly mentioned toward the end together with Sekigawa Hideo?s 1953 Hiroshima, are not covered. The title appears to be a questionable marketing decision, also due to its (unexplained) reference to an entirely different genre and the political context of the Vietnam War. I would also favor a rewrite of the back blurb describing Japan as ?the only [country] to have suffered [the bomb?s] devastation.? Former inhabitants of the Bikini Atoll, as well as civilians and members of the military contaminated by the tests on US soil, would certainly agree to disagree. > > Despite these points of criticism, I did enjoy reading the book. Apocalypse Then is directed at wide audiences, but for somebody not much conversant in the American side of the atomic monster realm, the book provides much information. Its comparative approach also offers food for thought regarding Japanese films and their context. Within its scope, I would have liked to see both sides being treated more equally, but what the book does very well is to convey the strangely titillating fascination with the impending doom of the third, nuclear, world war. As Bogue shows in his conclusion, these fears were rekindled in the 1980s by frictions between the Soviet and US governments, resulting in a number of films depicting a frightening ?post aftermath realism.? Briefly shifting the geographical focus, growing up in West Germany, at the Cold War border and not too far away from Chernobyl, I recall being traumatized as a child by reading the post-apocalyptic ?children?s book? The Cloud by Gudrun Pausewang (Die Wolke, 1987) at school and?unwisely?watching Jimmy Murakami?s animated nuclear disaster film When the Wind Blows(1987) one rainy afternoon, one year after the Chernobyl disaster. The sales of Pausewang?s book surged in Japan after the T?hoku Triple Disaster of 2011. As Bogue (and North Korea) reminds us, regardless of the relative lack of recent genre films, the nuclear threat is not going away. Looking back at the boom years of cinematic discourse on the dangers and possibilities of atomic power during its early stage and thinking about what it meant in two radically different contexts, Apocalypse Then prompts us to question our own ?nuclear apathy.? > > Notes > > [1]. Chon Noriega, ?Godzilla and the Japanese Nightmare: When ?Them!? Is US,? Cinema Journal 27 (1987): 63-77. > > [2]. Ibid., 68. > > Citation: Iris Haukamp. Review of Bogue, Mike, Apocalypse Then: American and Japanese Atomic Cinema, 1951-1967. H-Japan, H-Net Reviews. May, 2019. URL: http://www.h-net.org/reviews/showrev.php?id=53561 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 United States License . > Read more or reply > Back to top > Please help us keep H-Net free and accessible. $25 from each of our subscribers would fund H-Net for two years. Click here to make a tax-deductible donation online. > > Contact the Help Desk: help at mail.h-net.org . > Manage notification settings by visiting My Profile > Notifications on the Commons . > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri May 17 22:58:29 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 17 May 2019 22:58:29 -0400 Subject: [KineJapan] Fwd: two announcements on H-Film References: <5cd530bd.1c69fb81.d72a0.86dfSMTPIN_ADDED_MISSING@mx.google.com> Message-ID: I noticed two announcements on H-Film of pertinence to this list: > CFP: GENDER, MEDIA AND JAPAN?S IMPERIAL SUCCESSION > by Alison Tokita > Your network editor has reposted this from H-Announce . The byline reflects the original authorship. > > > International Symposium, November 4th, 2019 > > GENDER, MEDIA AND JAPAN?S IMPERIAL SUCCESSION > > Japanese Studies Centre, Monash University > Melbourne, Australia > > 2019 is a highly significant year for Japan, marking the beginning of the Reiwa era, and offering a new definition of the ?postwar?. The Heisei Emperor Akihito on April 30 abdicated in favour of his son Crown Prince Naruhito, who will be formally enthroned as Emperor in November. This changeover opens the possibility for change in the role of the Emperor, change within Japanese society, and change for Japan?s international relations. > > This symposium aims to explore > the nature of the Japanese and international media coverage of the reign change and accompanying rituals > changing Japanese attitudes to the Emperor system > the significance of the rituals surrounding the accession and enthronement and how that significance has changed in this fifth enthronement in the modern era > the recent law excluding female succession and the impact of this exclusion on the status and morale of Japanese women, and how it reflects the status quo of Japanese women?s position > the reactions of other countries to this momentous changeover, particularly those of China and Korea > the extent to which the imperial succession provides a chance to reassess Australia-Japan relations > > Papers are invited that address any of these themes, or other topics relating to the significance of the imperial accession. > > Confirmed speakers > Professor John Breen, International Research Centre for Japanese Studies, Kyoto, whose topic ?Ritual Interventions: Emperor-making in Meiji, Taisho and Showa Japan? will offer a historical perspective on the rituals and politics of the imperial succession. > Professor Ayuu Ishida, Momoyama Gakuin University, Osaka, will argue that Japanese news reports on the imperial succession cannot be understood without regard to a gender perspective. She will analyse Japanese media coverage of the ongoing imperial succession controversy to reveal stereotypes surrounding women fulfilling public roles. > > To submit a proposal > We invite abstracts of approximately 250-300 words (MS-Word format) which should be sent by email to the Project Convenor: > Alison.Tokita at monash.edu > > We would like to receive abstracts by July 15, 2019. Acceptance will be confirmed by July 31, and the Symposium program will be finalized by August 15. > > Contact Info: > Alison Tokita > Adjunct Researcher > Japanese Studies Centre > Monash University > Clayton, Australia 3800 > Contact Email: > alison.tokita at monash.edu > URL: > http://artsonline.monash.edu.au/jsc/ > Asian Cinema 30.1 is now available > by Tessa Mathieson > Intellect is excited to announce that Asian Cinema 30.1 is now available! For more information about the issue, click here >> https://www.ingentaconnect.com/content/intellect/ac/2019/00000030/00000001 > > Aims/Scope > > Asian Cinema is a peer-reviewed seminal journal, which was published from 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema has been published by Intellect as part of our film studies journal portfolio. The journal currently publishes a variety of scholarly material ? including research articles, interviews, book and film reviews and bibliographies ? on all forms and aspects of Asian cinema. The journal?s broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of film studies in general. > > Issue 30.1 > > Articles > > Passionate agendas: Melodrama in the work of Yoshimura Kozaburo > Earl Jackson > > It?s tough being a humanist: Yo-ji Yamada, the cynical company man > Kenta Kato > > Kurosawa?s Rashomon, re-viewed > R. J. Cardullo > > Resisting age-ratings in China: The ongoing prehistory of film classification > Liam Grealy, Catherine Driscoll, Bin Wang and Yongchun Fu > > From affective space to performative depth: Spatial aesthetics in 3-D wuxia films Flying Swords of Dragon Gate (2010) and Sword Master (2016) > Zeng Li > > Translocal female subjectivity: Notes on Ann Hui?s The Golden Era > Zeng Hong > > Asghar Farhadi?s nuanced feminism: Gender and marriage in Farhadi?s films from Dancing in the Dust to A Separation > > Mostafa Abedinifard > > The first screenings of Lumi?re films in China: Conjectures and new findings > Sheldon Lu > > Making the most of an MOOC on Asian film: Hong Kong Cinema Through a Global Lens: A Massive Open Online Course at the University of Hong Kong > Gina Marchetti, Aaron Han Joon MagnanPark and Stacilee Ford > > Review > > Dialectics of the Goddess in Japanese Audiovisual Culture, Lorenzo J. Torres Hortelano (ed.) (2018) Marcos P. Centeno Mart?n > > > For more information about the journal and calls for papers, click here >> https://www.intellectbooks.com/asian-cinema > -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Fri May 17 23:13:41 2019 From: earljac at gmail.com (Earl Jackson) Date: Sat, 18 May 2019 11:13:41 +0800 Subject: [KineJapan] Fwd: two announcements on H-Film In-Reply-To: References: <5cd530bd.1c69fb81.d72a0.86dfSMTPIN_ADDED_MISSING@mx.google.com> Message-ID: Thank you, Aaron - I didn't know the issue was out yet! best ej Earl Jackson Professor Chair, Foreign Languages and Literatures National Chiao Tung University Associate Professor, Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute On Sat, May 18, 2019 at 10:58 AM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > I noticed two announcements on H-Film of pertinence to this list: > > CFP: GENDER, MEDIA AND JAPAN?S IMPERIAL SUCCESSION > > by Alison Tokita > > Your network editor has reposted this from H-Announce > . > The byline reflects the original authorship. > > International Symposium, November 4th, 2019 > > > GENDER, MEDIA AND JAPAN?S IMPERIAL SUCCESSION > > > Japanese Studies Centre, Monash University > Melbourne, Australia > > > 2019 is a highly significant year for Japan, marking the beginning of the > Reiwa era, and offering a new definition of the ?postwar?. The Heisei > Emperor Akihito on April 30 abdicated in favour of his son Crown Prince > Naruhito, who will be formally enthroned as Emperor in November. This > changeover opens the possibility for change in the role of the Emperor, > change within Japanese society, and change for Japan?s international > relations. > > > This symposium aims to explore > > - the nature of the Japanese and international media coverage of the > reign change and accompanying rituals > - changing Japanese attitudes to the Emperor system > - the significance of the rituals surrounding the accession and > enthronement and how that significance has changed in this fifth > enthronement in the modern era > - the recent law excluding female succession and the impact of this > exclusion on the status and morale of Japanese women, and how it reflects > the status quo of Japanese women?s position > - the reactions of other countries to this momentous changeover, > particularly those of China and Korea > - the extent to which the imperial succession provides a chance to > reassess Australia-Japan relations > > > Papers are invited that address any of these themes, or other topics > relating to the significance of the imperial accession. > > > *Confirmed speakers* > *Professor John Breen*, International Research Centre for Japanese > Studies, Kyoto, whose topic ?Ritual Interventions: Emperor-making in > Meiji, Taisho and Showa Japan? will offer a historical perspective on the > rituals and politics of the imperial succession. > *Professor Ayuu Ishida*, Momoyama Gakuin University, Osaka, will argue > that Japanese news reports on the imperial succession cannot be understood > without regard to a gender perspective. She will analyse Japanese media > coverage of the ongoing imperial succession controversy to reveal > stereotypes surrounding women fulfilling public roles. > > > *To submit a proposal* > We invite abstracts of approximately 250-300 words (MS-Word format) which > should be sent by email to the Project Convenor: > Alison.Tokita at monash.edu > > > We would like to receive abstracts by July 15, 2019. Acceptance will be > confirmed by July 31, and the Symposium program will be finalized by August > 15. > > > Contact Info: > Alison Tokita > Adjunct Researcher > Japanese Studies Centre > Monash University > Clayton, Australia 3800 > Contact Email: > alison.tokita at monash.edu > URL: > http://artsonline.monash.edu.au/jsc/ > > > > Asian Cinema 30.1 is now available > > by Tessa Mathieson > > Intellect is excited to announce that *Asian Cinema *30.1 is now > available! For more information about the issue, click here >> > https://www.ingentaconnect.com/content/intellect/ac/2019/00000030/00000001 > > *Aims/Scope* > > *Asian Cinema* is a peer-reviewed seminal journal, which was published > from 1995 by the Asian Cinema Studies Society under the stewardship of > Professor John Lent. From 2012 *Asian Cinema* has been published by > Intellect as part of our film studies journal portfolio. The journal > currently publishes a variety of scholarly material ? including research > articles, interviews, book and film reviews and bibliographies ? on all > forms and aspects of Asian cinema. The journal?s broad aim is to advance > understanding and knowledge of the rich traditions of the various Asian > cinemas, thereby making an invaluable contribution to the field of film > studies in general. > > *Issue 30.1* > > *Articles* > > Passionate agendas: Melodrama in the work of Yoshimura Kozaburo > Earl Jackson > > It?s tough being a humanist: Yo-ji Yamada, the cynical company man > Kenta Kato > > Kurosawa?s Rashomon, re-viewed > R. J. Cardullo > > Resisting age-ratings in China: The ongoing prehistory of film > classification > Liam Grealy, Catherine Driscoll, Bin Wang and Yongchun Fu > > From affective space to performative depth: Spatial aesthetics in 3-D > wuxia films *Flying Swords of Dragon Gate* (2010) and *Sword Master * > (2016) > Zeng Li > > Translocal female subjectivity: Notes on Ann Hui?s *The Golden Era* > Zeng Hong > > Asghar Farhadi?s nuanced feminism: Gender and marriage in Farhadi?s films > from *Dancing in the Dust* to *A Separation* > > Mostafa Abedinifard > > The first screenings of Lumi?re films in China: Conjectures and new > findings > Sheldon Lu > > Making the most of an MOOC on Asian film: Hong Kong Cinema Through a > Global Lens: A Massive Open Online Course at the University of Hong Kong > Gina Marchetti, Aaron Han Joon MagnanPark and Stacilee Ford > > *Review* > > Dialectics of the Goddess in Japanese Audiovisual Culture, Lorenzo J. > Torres Hortelano (ed.) (2018) Marcos P. Centeno Mart?n > > > For more information about the journal and calls for papers, click here >> > https://www.intellectbooks.com/asian-cinema > > > > > _______________________________________________ > 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.niskanen at gmail.com Mon May 20 00:25:34 2019 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Mon, 20 May 2019 07:25:34 +0300 Subject: [KineJapan] buyable streaming films for Japanese cinema Message-ID: I have been trying to google Japanese films viewable legally over the internet (by paying). Can you list anything you can find? Eija Niskanen +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From linda.ehrlich at gmail.com Thu May 23 08:33:04 2019 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Thu, 23 May 2019 08:33:04 -0400 Subject: [KineJapan] new essay in FRAMEWORK Message-ID: <65C5A7A8-CE49-488E-9630-DF3C5488DBBD@gmail.com> https://www.frameworknow.com/copy-of-vol-59 Please see the new issue of FRAMEWORK: The Journal of Cinema and Media 60:1 (Spring 2019) for my new essay about the films of KORE-EDA Hirokazu. Thanks, Linda Ehrlich linda.ehrlich at gmail.com braidednarrative.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Thu May 23 18:38:11 2019 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 23 May 2019 22:38:11 +0000 (UTC) Subject: [KineJapan] A short report from the Far East Film Festival, 2019. References: <1620776687.8435349.1558651091245.ref@mail.yahoo.com> Message-ID: <1620776687.8435349.1558651091245@mail.yahoo.com> A short report from the Far EastFilm Festival, 2019. Japanese films did not find thelimelight this year at the Far East Film Festival. Films from other East Asiancountries picked up the awards; and the retrospective, that run concurrently inanother location this year, was on Korean films. But, for those not in touchwith recent releases in Japan,the light that it shone rendered some strong contrasts. Before reporting, I should mentiontwo footnotes about the awards announcements. Firstly, since Oliver Chan?sfeature debut, Still Human, has two of her characters watching andlistening to a Japanese pink film in their Hong Kongpublic housing apartment, I can cheat and mention a well-deserved audienceaward-winner. It?s a cantonese film with a strong mix of spanish. Chan gets atleast six languages spoken in her winning debut, which convinced all the way. Secondly, the FEFF press releasementioned that ?readers of Mymovies.it? had chosen as their best film, FlyMe to the Saitama, the latest film of TAKEUCHI Hideki ? he of Thermae Romae. I could find nomention of this on Mymovies website, which I greet with some relief.? Perhaps both of them left early whilst therewas some genuine comedy in a grotesquely privileged school. Later, the filmleaves that behind for a heroic march on Tokyoby strictly all-Japanese massed ranks from Saitama and Chiba?in 19xx?, fuelled on a victimhood - a fake grievance about provincials needingpasses. It?s a past, from a weak framingstory in which characters look nostalgically back to something that looks verymuch like our present. Except that those whose access to Japanese IDs isactually restricted, foreign faces, are absent from both time frames. We shouldnot be unduly worried about this choice: the website voters of Friulimight not have been thinking of the March on Rome(1922) ? I?ve seen it covered in museums elsewhere in Italybut not in these parts. But now for some more rewarding Japanesefilms in this festival of ?popular film?. After the Hong Kongomnibus film Ten Years was shown at FEFF a few years ago, producers fromother industries in the region also sought to speculate on conditions ten yearshence. Under the Koreeda name as producer, five directors of Ten Years Japanall make something of their 19 minutes. The film has already got some notice infestivals, so I?ll just add that its health must owe something to the competitionand questioning at the script stage. Japanese independent film has, in my view,suffered relative to Europe and elsewhere, in the dearthof support at the script stages. So I hope ?Ten Years Japan? really does pointto the future, and that many of those unsuccessful this time get otheropportunities to develop a script. Melancholic is the debutfeature by Tanaka Seiji where, as is so often the case outside the productioncommittees for commercial films, a filmmaker has to self-nurture their script. Thecharacters are nicely drawn and it is particularly well, and subtly, acted fora ?situation? drama. For a while, I thought it would bite at moral choice andits everyday evasion. I know that others admire this film but, for me, if thepolitical is personal, it can?t also be metaphorical. Having finally caught Tomerareruka oretachi o = Dare to Stop Us here, I wonderwhether the objections in some quarters to the film directed by Shiraishi Kazua,is in the pronoun of the title, oretachi = ?us?. The film is not really onWakamatsu Pro, but a biopic on Yoshizumi Megumi who worked there. I agree with Mark Schilling that Kadowaki Mugi, (previouslyin Close-knit,), makes her character ?funny, likeable,dark and unknowable? in amilieu populated by young men, apart from some uncentred porn stars.? The script of Inoue Jun?ichi is smart andtender. The one-line lead-ins to the films at FEFF did the Japaneseentries no favour - I thought ?quirky? had past its sell-by date a long wayback.? But I also nearly missed the?Feel-good tea ceremony film?, until I noticed some of the names involved. Nichi nichi kore k?jitsu = Every Day aGood Day is one of the last films to castKiki Kirin. She is the master who sets the scene in all possible ways, but thefilm centres on her student, played by Kuroki Haru. Kuroki?s character, Noriko,passes in the film from a 20-year-old student to a seasoned 40-year old. Indeveloping from an awkward and timid young woman to someone much more mature,Kuroki somehow moulded her body undetectably, convincing me here as an actorfar more than for her Berlin award-winning role a few years back. ?Noriko? was a name not much given to girls, even in the70s, and director ?mori Tatsushi picks up on this, even though the film isbased on an autobiographical piece by Morishita Noriko. No omiai are staged orelided in this story ? her relationships are very much the lived-in,hit-and-miss versions of the current age. Nor does her father stare wistfullyupon her parting ? the gaze is centred from her, in a life-to-death scene, andjust before that, in a frame-grab, which I?ll leave you with. No prizes for whatand who is invoked here, but I thought it a nice way to remember Kiki Kirin. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Nichi nichi kore k?jitsu~ 'So, Noriko ...'.JPG Type: image/jpeg Size: 123279 bytes Desc: not available URL: From nornes at umich.edu Thu May 23 19:47:34 2019 From: nornes at umich.edu (Markus Nornes) Date: Fri, 24 May 2019 08:47:34 +0900 Subject: [KineJapan] A short report from the Far East Film Festival, 2019. In-Reply-To: <1620776687.8435349.1558651091245@mail.yahoo.com> References: <1620776687.8435349.1558651091245.ref@mail.yahoo.com> <1620776687.8435349.1558651091245@mail.yahoo.com> Message-ID: Thanks Roger. This is great! ?M On Fri, May 24, 2019 at 7:40 AM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > *A short report from the **Far East** Film Festival, 2019*. > > Japanese films did not find the limelight this year at the Far East Film > Festival. Films from other East Asian countries picked up the awards; and > the retrospective, that run concurrently in another location this year, was > on Korean films. But, for those not in touch with recent releases in Japan, > the light that it shone rendered some strong contrasts. > > Before reporting, I should mention two footnotes about the awards > announcements. Firstly, since Oliver Chan?s feature debut, *Still Human*, > has two of her characters watching and listening to a Japanese pink film in > their Hong Kong public housing apartment, I can cheat and mention a > well-deserved audience award-winner. It?s a cantonese film with a strong > mix of spanish. Chan gets at least six languages spoken in her winning > debut, which convinced all the way. > > Secondly, the FEFF press release mentioned that ?readers of Mymovies.it? > had chosen as their best film, *Fly Me to the Saitama*, the latest film > of TAKEUCHI Hideki ? he of *Thermae Romae*. I could find no mention of > this on *Mymovies* website, which I greet with some relief. Perhaps both > of them left early whilst there was some genuine comedy in a grotesquely > privileged school. Later, the film leaves that behind for a heroic march on > Tokyo by strictly all-Japanese massed ranks from Saitama and Chiba ?in > 19xx?, fuelled on a victimhood - a fake grievance about provincials needing > passes. > > It?s a past, from a weak framing story in which characters look > nostalgically back to something that looks very much like our present. > Except that those whose access to Japanese IDs is actually restricted, > foreign faces, are absent from both time frames. We should not be unduly > worried about this choice: the website voters of Friuli might not have been > thinking of the March on Rome (1922) ? I?ve seen it covered in museums > elsewhere in Italy but not in these parts. > > But now for some more rewarding Japanese films in this festival of > ?popular film?. After the Hong Kong omnibus film *Ten Years* was shown at > FEFF a few years ago, producers from other industries in the region also > sought to speculate on conditions ten years hence. Under the Koreeda name > as producer, five directors of *Ten Years Japan* all make something of > their 19 minutes. The film has already got some notice in festivals, so > I?ll just add that its health must owe something to the competition and > questioning at the script stage. Japanese independent film has, in my view, > suffered relative to Europe and elsewhere, in the dearth of support at the > script stages. So I hope ?Ten Years Japan? really does point to the future, > and that many of those unsuccessful this time get other opportunities to > develop a script. > > *Melancholic* is the debut feature by Tanaka Seiji where, as is so often > the case outside the production committees for commercial films, a > filmmaker has to self-nurture their script. The characters are nicely drawn > and it is particularly well, and subtly, acted for a ?situation? drama. For > a while, I thought it would bite at moral choice and its everyday evasion. > I know that others admire this film but, for me, if the political is > personal, it can?t also be metaphorical. > > Having finally caught *Tomerareruka oretachi o* = *Dare to Stop Us* here, > I wonder whether the objections in some quarters to the film directed by > Shiraishi Kazua, is in the pronoun of the title, oretachi = ?us?. The film > is not really on Wakamatsu Pro, but a biopic on Yoshizumi Megumi who worked > there. I agree with Mark Schilling that Kadowaki Mugi, (previously in > *Close-knit*,), makes her character ?funny, likeable, dark and unknowable? > in a milieu populated by young men, apart from some uncentred porn stars. > The script of Inoue Jun?ichi is smart and tender. > > The one-line lead-ins to the films at FEFF did the Japanese entries no > favour - I thought ?quirky? had past its sell-by date a long way back. But > I also nearly missed the ?Feel-good tea ceremony film?, until I noticed > some of the names involved. *Nichi nichi kore k?jitsu* = *Every Day a > Good Day* is one of the last films to cast Kiki Kirin. She is the master > who sets the scene in all possible ways, but the film centres on her > student, played by Kuroki Haru. Kuroki?s character, Noriko, passes in the > film from a 20-year-old student to a seasoned 40-year old. In developing > from an awkward and timid young woman to someone much more mature, Kuroki > somehow moulded her body undetectably, convincing me here as an actor far > more than for her Berlin award-winning role a few years back. > > ?Noriko? was a name not much given to girls, even in the 70s, and director > ?mori Tatsushi picks up on this, even though the film is based on an > autobiographical piece by Morishita Noriko. No omiai are staged or elided > in this story ? her relationships are very much the lived-in, hit-and-miss > versions of the current age. Nor does her father stare wistfully upon her > parting ? the gaze is centred from her, in a life-to-death scene, and just > before that, in a frame-grab, which I?ll leave you with. No prizes for what > and who is invoked here, but I thought it a nice way to remember Kiki Kirin. > > 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 maiku at umich.edu Fri May 24 11:49:02 2019 From: maiku at umich.edu (M Arnold) Date: Sat, 25 May 2019 00:49:02 +0900 Subject: [KineJapan] Reiwa Destroyed Pink Film In-Reply-To: References: Message-ID: Markus (who already knows) and everyone - I was there at the last Pink Taisho. Due to some financial difficulties (an unreliable job market, a couple years of low to no pay, and zero research funds... ouch!), I hadn?t been able to come to Japan for a very long time. When I heard that this May's event at Ueno Okura would be the "last" Pink Taisho, I squeezed my savings and raised my credit card limit to pay for a private trip to see it all go down. I'm hoping to stay long enough to study a few of the new digital pink movies and viddy the other adult cinemas still open around Tokyo and Osaka, budget and energy permitting. I arrived in Tokyo a couple of days before the event. It was good timing. The Laputa Asagaya cinema is currently running a late-night series of 35mm prints of Shintoho films--the third chapter of what they?re calling the "Last Film Show." Currently, this cozy art cinema west from Shinjuku on the Chuo line is the only place in the region where people can watch Pink films on film. I have to confirm with the Shintoho folks if this is actually the last time they?re going to lend out 35mm prints. The night before the Pink Taisho, I attended a screening of the scary, surreal, and very cinematic "Renzoku Bokan" (1983; I think I translated it as ?Serial Violent Rape? in my dissertation), directed by Takita Yojiro, who twenty-six years later won an Academy Award. The small Laputa was over capacity, with a healthy mix of male and female viewers, and many cinephiles. I arrived right before start time and was given a folding chair to sit in along the wall. My companion for the trip (a close friend and rock?n?roller who has done soundtrack work on several pink films in the past) ended up with a zabuton on a step in the aisle. The print was a little worn, with some scratches at the beginning and end of the reels, but it was in overall very good condition. The movie was followed by a thirty-minute talk with actor Hotaro Yukijiro (who plays the adult cinema manager in the story) and veteran pink actor/director Ikejima Yutaka (who didn't have a role in this particular title, but acted in a number of Takita?s other early films). At the end of the talk, Ikejima plugged the next day's Pink Taisho event, describing the atmosphere of the pink cinema the same way he usually does at non-adult-cinema pink screenings. I'm quoting and paraphrasing from memory here, but this is mostly accurate: "Pink cinemas are usually seen as really scary places. Sure enough, if you walk into one on a regular day, you will get attention. The other customers aren't there to watch a movie. They're looking for a hookup. When you go into a pink cinema, you're signaling that you want to take part in that environment. You have to know what you're getting into. If you enter alone, whoever you are, someone will probably hit on you within minutes. If you go as a single lady, you'll immediately attract admirers. If you go as a couple, people will gather around to watch, expecting you two to put on a show. But don't worry! Tomorrow's Pink Taisho event at the Ueno Okura will be different! The perverts know to stay away during the Awards or when cast and crew visit a theater for a new film release event. I am certain that nobody will try to grope you if you attend the Pink Taisho tomorrow." Ikejima might be the only pink person I know who speaks openly about what actually happens in pink cinemas. In the past I would occasionally bump into him on weekday afternoons at regular screenings in some of the (now closed) Tokyo theaters. During his advertisement for the Taisho, he repeated an anecdote about how he once entered a pink cinema on a regular day with an actress, and was soon touched by one of the other patrons. When that person realized who Ikejima was, he apologized profusely for being so forward, praised the director and actress?s work, and then went off to do other things. Ikejima repeatedly made the point that the Pink Taisho is a special day, and that normal people are welcome and would surely be left alone. The awards presentation was held mid-afternoon on Sunday, May 5. There were several rounds of movie screenings before and after the event. I arrived about an hour before the scheduled kickoff time, and the seats were already completely filled, with very little standing room left. (After it all ended, I bumped into an old friend and film fan who told me that the seats had been completely packed all day long, from that morning, long before the awards even started.) When the ceremony got rolling, I managed to squeeze into a standing spot behind the back row and watch the presentation--a long string of announcements and awards for cast and crew in recent Okura Pictures movies that I hadn't seen. OP is the only company still producing Pink, at a pace of 36 ?straight? films plus two ?gay? films each year. They?re all shot digital now, with mostly synch sound, often with squishy stories about lonely virgins and clumsy anti-socialites trying to find love. From the short amount of footage I watched, I momentarily tried to imagine the new movies along the rules of classical Pink Film screenwriting, cinematography, and editing. Honestly, they don?t really look or sound like pink movies anymore. But maybe that?s just my own projection, since the movies themselves didn?t matter that much to begin with. After an hour or so, I got tired of grumpy, pushy fans trying to elbow me out of the way so they could take a snapshot of their favorite performer--it was definitely not the kind of gentle tactile invitation one gets in a normal day at a pink cinema--and retreated to the lobby, to wait with various bored staff, cast, and crew members. Some of the faces I hoped to see didn?t appear. Ever since Shintoho and other companies stopped producing years ago, and the Pink Taisho essentially turned into the Okura Taisho, most pink pros who aren?t receiving awards or don?t have active business with Okura don?t bother attending. Ikejima had been only partly right. His assurance that the "perverts" would completely avoid the Awards turned out to be an overstatement. Several regulars were standing and sitting there right next to me, in the lobby, a few all dressed up in their Sunday best, chatting with the cinema staff and patiently waiting for the crowds of "Fans" to disappear so they could get back to the scheduled business of not-movie-watching in, on, and around the seats in the auditorium. I gave some ?long time, no see? greetings to actors and directors and had short conversations with folks who were, like me I suspect, not interested in sitting (standing?) through a ceremony like this anymore. After two and a half hours of awards and speeches, when the last presentation ended, the vast majority of customers quickly poured out of the auditorium and left the venue. I waited around after the show, rubbed shoulders with other people I recognized but didn't have direct invitations to talk to, and then slowly floated back to my monthly apartment. It felt strangely anti-climactic. I returned to the Ueno Okura the next Friday afternoon to see what was really up. The very clean, still new-ish Ueno cinema is more or less what I expected. There were twenty-five or thirty customers inside; retirement age people in plaid shirts and beige slacks, thirtysomethings in shorts and t-shirts, a few businessmen in suits, and a handful of others in dresses and high heels. Many sleeping, several making out, at best one or two masturbating (completely out of synch with the sex scenes, though), and four or five constantly walking around the floor looking for a partner. I?m sure I was the only one there semi-seriously watching the movies. The program I caught had one old Shintoho Pink and two new digital OP movies. Someone at the Taisho told me that the Okura had recently upgraded to blu-ray projection. The OP movies looked like they were shown in 720p. The Shintoho movie was at best DVD resolution, and an old video transfer, with occasional interlacing and combing problems. A trailer for a forthcoming OP release played between the second and third feature. I was a little surprised that it had both Japanese and English credits at the end. (OP used to have a YouTube page with trailers for their digital movies, but I can?t seem to find it now.) The sound throughout the program was loud and clear. I haven?t paid the premium ticket charge to sit in the balcony at the new Ueno Okura yet, and I haven?t returned to the neighboring Tokusen Gekijo theater that shows 500 yen single features on this trip. Last time I walked into the Tokusen, years ago, there was no place to sit, and I kept getting goosed wherever I stood, so I ended up circling the auditorium floor trying to avoid my followers. That only attracted more attention. One particularly persistent guy came up to me at one point and flirted, ?Hey, I saw you in one of these movies a while back. That was you, wasn?t it?? I lied and said I had no idea what he was talking about, and then left. Maybe I need to give that place another shot. Two days after Ueno, I visited the Cine Roman in Ikebukuro. There were at least thirty people in the seats, and only a few couples were fooling around near me. But this was also a special occasion. The Cine Roman was doing a series of celebrated Nikkatsu Roman Porno movies (triple features with one RP and two Xces pink movies). Most of the people were there to watch--to actually watch!--the Kumashiro Tatsumi/Uchida Yuya Roman Porno playing that day (on blu-ray), and the majority of the audience immediately disappeared when that one finished. Only a handful remained for the ugly SD video transfer of the old Xces movie that played next, and those people were either sleeping, cruising, or moaning. The Koonza in Yokohama, which I entered earlier this week, is another world. I?ve been there several times in the past. I thought a Wednesday afternoon would be relatively quiet, but it was shockingly busy. It reminded me of the crazy scene I saw in Osaka's Shinsekai six or seven years ago. The Koonza has two screens (the ?gay? theater 1 and ?normal? theater 2), with different programs running, different ticket prices, and completely segregated audiences. One of the reasons it was so busy on a weekday might be that, aside from the busy Ueno screens and the occasionally movie-oriented Ikebukuro, all of the other greater Tokyo-area cinemas are gone. The Koonza 1 is also the only remaining gay pink screen in the Kanto area. There are still three other gay pink screens open in Osaka, Fukuoka, and Hiroshima. I caught the tail end of the first movie in theater 1?s double feature. It was an aging Hamano Sachi feature, written as always by her partner (himself a pink director) Yamazaki Kuninori, with Nakamitsu Seiji, Yoshiyuki Yumi, and other actors I couldn't identify. I arrived in time to see the last scenes, but had to play it cool when other customers creeped up behind me to see if I was looking for action. I couldn?t focus on the picture. After I said ?no, thanks? several times (quite strongly to one poor fellow, who then pouted and sneered every time he passed me as he continued to cycle around the floor) the other people left me alone. I was able to get a better look at the second movie; an old Tomomatsu Naoyuki flick called ?Wagamama Sensation? that, like some of Tomomatsu?s more recent work, plays wildly with film style. It was a story about an experimental theater troupe that was littered with jump cuts, full of handheld and undercranked shots, shot I think on a mix of film and video, and decorated with questionably diegetic screens-within-screens. The sound was really low in the Koonza 1, so I?m not sure how much of the story I got, but that?s definitely one movie I?ll go back to. As always, most of the regular crew and cast members in these movies work(ed) fluently in both gay and straight pink films. There was even a different, straight Hamano-Yamazaki film playing on screen 2 that same night, but I didn?t catch that part of the program. The man at the counter gave me a very puzzled look when I walked back up to buy a ticket for the other show (only 500 yen at the end of the day). While pink cast and crew mix freely between gay and straight films, the audiences at the Koonza do not. Theater 2 had, in some ways, a much more diverse (and slightly older, on average) group of customers. This ?normal? auditorium was also very active. I had to squeeze my way past a big crowd of people, some dressed, some not quite so dressed, who were fooling around just inside the doors to the auditorium. A number of other people and couples were in the seats, but the majority of customers that night--a group of twenty people or so--were standing behind the back row, getting busy. I won?t go into detail about what they were doing. You can all probably imagine. But from the conversations and other utterances I heard, I can say that it sounded fully consensual and pleasurable. There was one grandpa-aged customer who, after finishing what seemed like exhausting activities with a person in a dress, sighed, laughed out loud, and then thanked his partner profusely. ?That was amazing! Thank you so much! I hope you come back another time so we can meet again.? I don?t remember much about the last movie of the day, ?Tsundere musume: okute na hatsutaiken,? directed by someone I didn?t recognize. It was another recent digital OP. The theater mostly emptied out after the big party in the back of auditorium 2 ended. One Lady quietly walked up to me ten minutes before closing time and asked if I wanted to ?do it.? I said ?no, thank you? and she peacefully retreated. Adult cinemas in Japan are not necessarily or essentially abusive or exploitative environments at all, but they do take a bit of training to navigate. I was the last customer in the Koonza when the lights came up at 9 p.m. I said my thanks to the manager and walked out. They closed the shutters behind me. And then I had a long train ride back to Tokyo to think. Markus wondered if pink film is finally gone. The pink ?film? is, in some ways, dead and buried. But I don?t think pink is. Reiwa didn't kill pink. At least not yet. The new, post-celluloid movies are definitely something else, in form and in content. But not in function. There are definitely fewer adult cinemas in Japan than there were five or ten years ago--around thirty in total now--and as far as I can tell, so far, the communities and audiences at those theaters have not changed. I suppose we could phrase it as another soft/hard distinction; not so much between soft-core and hard-core, since pink is almost always soft-core, but between the software and hardware of the adult film industry in Japan. Outside of occasional special screenings and events that attract ?fans,? nobody is watching the movie. I try my best, and am constantly being reminded that the movie is the least interesting thing happening in the room. The movies are changing, but the space remains the same. One last note. I?ve also spent a few days with Sano Kazuhiro. Thankfully, Sano-san appears to be relatively healthy at the moment. I was able to convince him to show me his recent return to feature directing, ?But Only Love.? Despite the murky image and audio mix problems on the sample DVD we watched, it is a good movie, with sharp cinematography, a sincere script, and occasional flashes of the kinds of psychedelic montage that made Sano?s earlier adventures so visually interesting. It was much better, in my opinion, than Sano?s last film for Shintoho twenty years ago. In fact, But Only Love felt more Pink than the recent, very melodramatic, brightly-lit Okura videos. I believe Sano originally wrote this with the intention of distributing it as a pink film. Some years ago he talked about a project to make the ?last? pink film on film, and even thought of shooting on 8mm for a while, but that fell apart. Despite its digital format, this new one certainly feels like it fills that role. I?ve talked to Sano about the possibility of subtitling it--that is, I am currently begging him to let me subtitle it--but there is no commercial video release yet, in Japan or anywhere. I might have other stories to tell, but perhaps I?ll save them for another post. Reiwa did not destroy pink film. Happy New Era, everyone! Michael Arnold On Mon, May 6, 2019 at 1:59 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: So last night was the final Pink Taisho, the pink film awards. It was the 31st edition, meaning it was roughly bound by the Heisei era; needless to say, no one has mentioned this in all the silly hoopla around the start of the new era. There were still nearly 40 pink films made last year. But they were all from Okura, so it's not much of an awards competition (interestingly enough, this reveals how these award shows are as much about competition between companies as between films or filmmakers). Here is their page announcing the event's demise, along with the competition films. http://pg-pinkfilm.com/news/31pinkfes.html I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on hand. I told him about the award show and its announced end. He could care less. It says as much as Adachi as an artist as it does the heterogeneity and historical transformations of pink. I know at least one colleague from KineJapan was there. Waiting for a report from the ground.......... 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 On Mon, May 6, 2019 at 1:59 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > > So last night was the final Pink Taisho, the pink film awards. It was the > 31st edition, meaning it was roughly bound by the Heisei era; needless to > say, no one has mentioned this in all the silly hoopla around the start of > the new era. There were still nearly 40 pink films made last year. But they > were all from Okura, so it's not much of an awards competition > (interestingly enough, this reveals how these award shows are as much about > competition between companies as between films or filmmakers). Here is > their page announcing the event's demise, along with the competition films. > > http://pg-pinkfilm.com/news/31pinkfes.html > > I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on > hand. I told him about the award show and its announced end. He could care > less. It says as much as Adachi as an artist as it does the heterogeneity > and historical transformations of pink. > > I know at least one colleague from KineJapan was there. Waiting for a > report from the ground.......... > > 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 May 24 22:58:41 2019 From: nornes at umich.edu (Markus Nornes) Date: Sat, 25 May 2019 11:58:41 +0900 Subject: [KineJapan] Reiwa Destroyed Pink Film In-Reply-To: References: Message-ID: Thanks Mike, that was fascinating. Sounds like book material... So with this "final Pink Taisho" thing, what is Okura thinking? Announcing the end of something they are still in the business of doing? You really should subtitle Sano's film. I'd think there'd be interest in certain regions of the film festival circuit. 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 Sat, May 25, 2019 at 12:49 AM M Arnold via KineJapan < kinejapan at mailman.yale.edu> wrote: > Markus (who already knows) and everyone - > > I was there at the last Pink Taisho. Due to some financial difficulties > (an unreliable job market, a couple years of low to no pay, and zero > research funds... ouch!), I hadn?t been able to come to Japan for a very > long time. When I heard that this May's event at Ueno Okura would be the > "last" Pink Taisho, I squeezed my savings and raised my credit card limit > to pay for a private trip to see it all go down. I'm hoping to stay long > enough to study a few of the new digital pink movies and viddy the other > adult cinemas still open around Tokyo and Osaka, budget and energy > permitting. > > I arrived in Tokyo a couple of days before the event. It was good timing. > The Laputa Asagaya cinema is currently running a late-night series of 35mm > prints of Shintoho films--the third chapter of what they?re calling the > "Last Film Show." Currently, this cozy art cinema west from Shinjuku on the > Chuo line is the only place in the region where people can watch Pink films > on film. I have to confirm with the Shintoho folks if this is actually the > last time they?re going to lend out 35mm prints. > > The night before the Pink Taisho, I attended a screening of the scary, > surreal, and very cinematic "Renzoku Bokan" (1983; I think I translated it > as ?Serial Violent Rape? in my dissertation), directed by Takita Yojiro, > who twenty-six years later won an Academy Award. The small Laputa was over > capacity, with a healthy mix of male and female viewers, and many > cinephiles. I arrived right before start time and was given a folding chair > to sit in along the wall. My companion for the trip (a close friend and > rock?n?roller who has done soundtrack work on several pink films in the > past) ended up with a zabuton on a step in the aisle. > > The print was a little worn, with some scratches at the beginning and end > of the reels, but it was in overall very good condition. The movie was > followed by a thirty-minute talk with actor Hotaro Yukijiro (who plays the > adult cinema manager in the story) and veteran pink actor/director Ikejima > Yutaka (who didn't have a role in this particular title, but acted in a > number of Takita?s other early films). At the end of the talk, Ikejima > plugged the next day's Pink Taisho event, describing the atmosphere of the > pink cinema the same way he usually does at non-adult-cinema pink > screenings. I'm quoting and paraphrasing from memory here, but this is > mostly accurate: > > "Pink cinemas are usually seen as really scary places. Sure enough, if you > walk into one on a regular day, you will get attention. The other customers > aren't there to watch a movie. They're looking for a hookup. When you go > into a pink cinema, you're signaling that you want to take part in that > environment. You have to know what you're getting into. If you enter alone, > whoever you are, someone will probably hit on you within minutes. If you go > as a single lady, you'll immediately attract admirers. If you go as a > couple, people will gather around to watch, expecting you two to put on a > show. But don't worry! Tomorrow's Pink Taisho event at the Ueno Okura will > be different! The perverts know to stay away during the Awards or when cast > and crew visit a theater for a new film release event. I am certain that > nobody will try to grope you if you attend the Pink Taisho tomorrow." > > Ikejima might be the only pink person I know who speaks openly about what > actually happens in pink cinemas. In the past I would occasionally bump > into him on weekday afternoons at regular screenings in some of the (now > closed) Tokyo theaters. During his advertisement for the Taisho, he > repeated an anecdote about how he once entered a pink cinema on a regular > day with an actress, and was soon touched by one of the other patrons. When > that person realized who Ikejima was, he apologized profusely for being so > forward, praised the director and actress?s work, and then went off to do > other things. Ikejima repeatedly made the point that the Pink Taisho is a > special day, and that normal people are welcome and would surely be left > alone. > > The awards presentation was held mid-afternoon on Sunday, May 5. There > were several rounds of movie screenings before and after the event. I > arrived about an hour before the scheduled kickoff time, and the seats were > already completely filled, with very little standing room left. (After it > all ended, I bumped into an old friend and film fan who told me that the > seats had been completely packed all day long, from that morning, long > before the awards even started.) > > When the ceremony got rolling, I managed to squeeze into a standing spot > behind the back row and watch the presentation--a long string of > announcements and awards for cast and crew in recent Okura Pictures movies > that I hadn't seen. OP is the only company still producing Pink, at a pace > of 36 ?straight? films plus two ?gay? films each year. They?re all shot > digital now, with mostly synch sound, often with squishy stories about > lonely virgins and clumsy anti-socialites trying to find love. From the > short amount of footage I watched, I momentarily tried to imagine the new > movies along the rules of classical Pink Film screenwriting, > cinematography, and editing. Honestly, they don?t really look or sound like > pink movies anymore. But maybe that?s just my own projection, since the > movies themselves didn?t matter that much to begin with. > > After an hour or so, I got tired of grumpy, pushy fans trying to elbow me > out of the way so they could take a snapshot of their favorite > performer--it was definitely not the kind of gentle tactile invitation one > gets in a normal day at a pink cinema--and retreated to the lobby, to wait > with various bored staff, cast, and crew members. Some of the faces I hoped > to see didn?t appear. Ever since Shintoho and other companies stopped > producing years ago, and the Pink Taisho essentially turned into the Okura > Taisho, most pink pros who aren?t receiving awards or don?t have active > business with Okura don?t bother attending. > > Ikejima had been only partly right. His assurance that the "perverts" > would completely avoid the Awards turned out to be an overstatement. > Several regulars were standing and sitting there right next to me, in the > lobby, a few all dressed up in their Sunday best, chatting with the cinema > staff and patiently waiting for the crowds of "Fans" to disappear so they > could get back to the scheduled business of not-movie-watching in, on, and > around the seats in the auditorium. > > I gave some ?long time, no see? greetings to actors and directors and had > short conversations with folks who were, like me I suspect, not interested > in sitting (standing?) through a ceremony like this anymore. After two and > a half hours of awards and speeches, when the last presentation ended, the > vast majority of customers quickly poured out of the auditorium and left > the venue. I waited around after the show, rubbed shoulders with other > people I recognized but didn't have direct invitations to talk to, and then > slowly floated back to my monthly apartment. It felt strangely > anti-climactic. > > I returned to the Ueno Okura the next Friday afternoon to see what was > really up. The very clean, still new-ish Ueno cinema is more or less what I > expected. There were twenty-five or thirty customers inside; retirement age > people in plaid shirts and beige slacks, thirtysomethings in shorts and > t-shirts, a few businessmen in suits, and a handful of others in dresses > and high heels. Many sleeping, several making out, at best one or two > masturbating (completely out of synch with the sex scenes, though), and > four or five constantly walking around the floor looking for a partner. I?m > sure I was the only one there semi-seriously watching the movies. > > The program I caught had one old Shintoho Pink and two new digital OP > movies. Someone at the Taisho told me that the Okura had recently upgraded > to blu-ray projection. The OP movies looked like they were shown in 720p. > The Shintoho movie was at best DVD resolution, and an old video transfer, > with occasional interlacing and combing problems. A trailer for a > forthcoming OP release played between the second and third feature. I was a > little surprised that it had both Japanese and English credits at the end. > (OP used to have a YouTube page with trailers for their digital movies, but > I can?t seem to find it now.) The sound throughout the program was loud and > clear. > > I haven?t paid the premium ticket charge to sit in the balcony at the new > Ueno Okura yet, and I haven?t returned to the neighboring Tokusen Gekijo > theater that shows 500 yen single features on this trip. Last time I walked > into the Tokusen, years ago, there was no place to sit, and I kept getting > goosed wherever I stood, so I ended up circling the auditorium floor trying > to avoid my followers. That only attracted more attention. One particularly > persistent guy came up to me at one point and flirted, ?Hey, I saw you in > one of these movies a while back. That was you, wasn?t it?? I lied and said > I had no idea what he was talking about, and then left. Maybe I need to > give that place another shot. > > Two days after Ueno, I visited the Cine Roman in Ikebukuro. There were at > least thirty people in the seats, and only a few couples were fooling > around near me. But this was also a special occasion. The Cine Roman was > doing a series of celebrated Nikkatsu Roman Porno movies (triple features > with one RP and two Xces pink movies). Most of the people were there to > watch--to actually watch!--the Kumashiro Tatsumi/Uchida Yuya Roman Porno > playing that day (on blu-ray), and the majority of the audience immediately > disappeared when that one finished. Only a handful remained for the ugly SD > video transfer of the old Xces movie that played next, and those people > were either sleeping, cruising, or moaning. > > The Koonza in Yokohama, which I entered earlier this week, is another > world. I?ve been there several times in the past. I thought a Wednesday > afternoon would be relatively quiet, but it was shockingly busy. It > reminded me of the crazy scene I saw in Osaka's Shinsekai six or seven > years ago. The Koonza has two screens (the ?gay? theater 1 and ?normal? > theater 2), with different programs running, different ticket prices, and > completely segregated audiences. One of the reasons it was so busy on a > weekday might be that, aside from the busy Ueno screens and the > occasionally movie-oriented Ikebukuro, all of the other greater Tokyo-area > cinemas are gone. The Koonza 1 is also the only remaining gay pink screen > in the Kanto area. There are still three other gay pink screens open in > Osaka, Fukuoka, and Hiroshima. > > I caught the tail end of the first movie in theater 1?s double feature. It > was an aging Hamano Sachi feature, written as always by her partner > (himself a pink director) Yamazaki Kuninori, with Nakamitsu Seiji, > Yoshiyuki Yumi, and other actors I couldn't identify. I arrived in time to > see the last scenes, but had to play it cool when other customers creeped > up behind me to see if I was looking for action. I couldn?t focus on the > picture. After I said ?no, thanks? several times (quite strongly to one > poor fellow, who then pouted and sneered every time he passed me as he > continued to cycle around the floor) the other people left me alone. > > I was able to get a better look at the second movie; an old Tomomatsu > Naoyuki flick called ?Wagamama Sensation? that, like some of Tomomatsu?s > more recent work, plays wildly with film style. It was a story about an > experimental theater troupe that was littered with jump cuts, full of > handheld and undercranked shots, shot I think on a mix of film and video, > and decorated with questionably diegetic screens-within-screens. The sound > was really low in the Koonza 1, so I?m not sure how much of the story I > got, but that?s definitely one movie I?ll go back to. As always, most of > the regular crew and cast members in these movies work(ed) fluently in both > gay and straight pink films. There was even a different, straight > Hamano-Yamazaki film playing on screen 2 that same night, but I didn?t > catch that part of the program. > > The man at the counter gave me a very puzzled look when I walked back up > to buy a ticket for the other show (only 500 yen at the end of the day). > While pink cast and crew mix freely between gay and straight films, the > audiences at the Koonza do not. Theater 2 had, in some ways, a much more > diverse (and slightly older, on average) group of customers. This ?normal? > auditorium was also very active. I had to squeeze my way past a big crowd > of people, some dressed, some not quite so dressed, who were fooling around > just inside the doors to the auditorium. A number of other people and > couples were in the seats, but the majority of customers that night--a > group of twenty people or so--were standing behind the back row, getting > busy. > > I won?t go into detail about what they were doing. You can all probably > imagine. But from the conversations and other utterances I heard, I can say > that it sounded fully consensual and pleasurable. There was one > grandpa-aged customer who, after finishing what seemed like exhausting > activities with a person in a dress, sighed, laughed out loud, and then > thanked his partner profusely. ?That was amazing! Thank you so much! I hope > you come back another time so we can meet again.? > > I don?t remember much about the last movie of the day, ?Tsundere musume: > okute na hatsutaiken,? directed by someone I didn?t recognize. It was > another recent digital OP. The theater mostly emptied out after the big > party in the back of auditorium 2 ended. One Lady quietly walked up to me > ten minutes before closing time and asked if I wanted to ?do it.? I said > ?no, thank you? and she peacefully retreated. Adult cinemas in Japan are > not necessarily or essentially abusive or exploitative environments at all, > but they do take a bit of training to navigate. I was the last customer in > the Koonza when the lights came up at 9 p.m. I said my thanks to the > manager and walked out. They closed the shutters behind me. And then I had > a long train ride back to Tokyo to think. > > Markus wondered if pink film is finally gone. The pink ?film? is, in some > ways, dead and buried. But I don?t think pink is. Reiwa didn't kill pink. > At least not yet. The new, post-celluloid movies are definitely something > else, in form and in content. But not in function. There are definitely > fewer adult cinemas in Japan than there were five or ten years ago--around > thirty in total now--and as far as I can tell, so far, the communities and > audiences at those theaters have not changed. I suppose we could phrase it > as another soft/hard distinction; not so much between soft-core and > hard-core, since pink is almost always soft-core, but between the software > and hardware of the adult film industry in Japan. Outside of occasional > special screenings and events that attract ?fans,? nobody is watching the > movie. I try my best, and am constantly being reminded that the movie is > the least interesting thing happening in the room. The movies are changing, > but the space remains the same. > > One last note. I?ve also spent a few days with Sano Kazuhiro. Thankfully, > Sano-san appears to be relatively healthy at the moment. I was able to > convince him to show me his recent return to feature directing, ?But Only > Love.? Despite the murky image and audio mix problems on the sample DVD we > watched, it is a good movie, with sharp cinematography, a sincere script, > and occasional flashes of the kinds of psychedelic montage that made Sano?s > earlier adventures so visually interesting. It was much better, in my > opinion, than Sano?s last film for Shintoho twenty years ago. In fact, But > Only Love felt more Pink than the recent, very melodramatic, brightly-lit > Okura videos. I believe Sano originally wrote this with the intention of > distributing it as a pink film. Some years ago he talked about a project to > make the ?last? pink film on film, and even thought of shooting on 8mm for > a while, but that fell apart. Despite its digital format, this new one > certainly feels like it fills that role. I?ve talked to Sano about the > possibility of subtitling it--that is, I am currently begging him to let me > subtitle it--but there is no commercial video release yet, in Japan or > anywhere. > > I might have other stories to tell, but perhaps I?ll save them for another > post. > > Reiwa did not destroy pink film. Happy New Era, everyone! > > Michael Arnold > > > > > On Mon, May 6, 2019 at 1:59 PM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > So last night was the final Pink Taisho, the pink film awards. It was the > 31st edition, meaning it was roughly bound by the Heisei era; needless to > say, no one has mentioned this in all the silly hoopla around the start of > the new era. There were still nearly 40 pink films made last year. But they > were all from Okura, so it's not much of an awards competition > (interestingly enough, this reveals how these award shows are as much about > competition between companies as between films or filmmakers). Here is > their page announcing the event's demise, along with the competition films. > > http://pg-pinkfilm.com/news/31pinkfes.html > > I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on > hand. I told him about the award show and its announced end. He could care > less. It says as much as Adachi as an artist as it does the heterogeneity > and historical transformations of pink. > > I know at least one colleague from KineJapan was there. Waiting for a > report from the ground.......... > > 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 > > On Mon, May 6, 2019 at 1:59 PM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> >> So last night was the final Pink Taisho, the pink film awards. It was the >> 31st edition, meaning it was roughly bound by the Heisei era; needless to >> say, no one has mentioned this in all the silly hoopla around the start of >> the new era. There were still nearly 40 pink films made last year. But they >> were all from Okura, so it's not much of an awards competition >> (interestingly enough, this reveals how these award shows are as much about >> competition between companies as between films or filmmakers). Here is >> their page announcing the event's demise, along with the competition films. >> >> http://pg-pinkfilm.com/news/31pinkfes.html >> >> I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on >> hand. I told him about the award show and its announced end. He could care >> less. It says as much as Adachi as an artist as it does the heterogeneity >> and historical transformations of pink. >> >> I know at least one colleague from KineJapan was there. Waiting for a >> report from the ground.......... >> >> 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 >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From maiku at umich.edu Sun May 26 12:09:27 2019 From: maiku at umich.edu (M Arnold) Date: Mon, 27 May 2019 01:09:27 +0900 Subject: [KineJapan] Reiwa Destroyed Pink Film In-Reply-To: References: Message-ID: Markus, and others who contacted me off list - Thank you very much for your feedback! I'll see if I can talk to some more OP people to get an idea of their future plans. I attended a screening of Sato Osamu's 2007 Shintoho film "Dorei" at Laputa tonight. No talk event afterwards, and there were only about 15 people in the roughly 50-seat auditorium. I had a long chat with Shintoho producer, screenwriter, and director Fukuhara Akira afterwards. A few of these prints are going to play at the Kobe Eiga Shiryokan starting late June, but this does appear to be the last time Shintoho will distribute 35mm. They've already given their prints to the Film Center and have moved into a smaller office in Tokyo. Fukuhara-san told me that there are only three pink cinemas still showing film, in Sapporo, Kanazawa, and Miyazaki. Best, Michael Arnold 2019?5?25?(?) ??11:59 Markus Nornes via KineJapan < kinejapan at mailman.yale.edu>: > Thanks Mike, that was fascinating. Sounds like book material... > > So with this "final Pink Taisho" thing, what is Okura thinking? Announcing > the end of something they are still in the business of doing? > > You really should subtitle Sano's film. I'd think there'd be interest in > certain regions of the film festival circuit. > > 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 Sat, May 25, 2019 at 12:49 AM M Arnold via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Markus (who already knows) and everyone - >> >> I was there at the last Pink Taisho. Due to some financial difficulties >> (an unreliable job market, a couple years of low to no pay, and zero >> research funds... ouch!), I hadn?t been able to come to Japan for a very >> long time. When I heard that this May's event at Ueno Okura would be the >> "last" Pink Taisho, I squeezed my savings and raised my credit card limit >> to pay for a private trip to see it all go down. I'm hoping to stay long >> enough to study a few of the new digital pink movies and viddy the other >> adult cinemas still open around Tokyo and Osaka, budget and energy >> permitting. >> >> I arrived in Tokyo a couple of days before the event. It was good timing. >> The Laputa Asagaya cinema is currently running a late-night series of 35mm >> prints of Shintoho films--the third chapter of what they?re calling the >> "Last Film Show." Currently, this cozy art cinema west from Shinjuku on the >> Chuo line is the only place in the region where people can watch Pink films >> on film. I have to confirm with the Shintoho folks if this is actually the >> last time they?re going to lend out 35mm prints. >> >> The night before the Pink Taisho, I attended a screening of the scary, >> surreal, and very cinematic "Renzoku Bokan" (1983; I think I translated it >> as ?Serial Violent Rape? in my dissertation), directed by Takita Yojiro, >> who twenty-six years later won an Academy Award. The small Laputa was over >> capacity, with a healthy mix of male and female viewers, and many >> cinephiles. I arrived right before start time and was given a folding chair >> to sit in along the wall. My companion for the trip (a close friend and >> rock?n?roller who has done soundtrack work on several pink films in the >> past) ended up with a zabuton on a step in the aisle. >> >> The print was a little worn, with some scratches at the beginning and end >> of the reels, but it was in overall very good condition. The movie was >> followed by a thirty-minute talk with actor Hotaro Yukijiro (who plays the >> adult cinema manager in the story) and veteran pink actor/director Ikejima >> Yutaka (who didn't have a role in this particular title, but acted in a >> number of Takita?s other early films). At the end of the talk, Ikejima >> plugged the next day's Pink Taisho event, describing the atmosphere of the >> pink cinema the same way he usually does at non-adult-cinema pink >> screenings. I'm quoting and paraphrasing from memory here, but this is >> mostly accurate: >> >> "Pink cinemas are usually seen as really scary places. Sure enough, if >> you walk into one on a regular day, you will get attention. The other >> customers aren't there to watch a movie. They're looking for a hookup. When >> you go into a pink cinema, you're signaling that you want to take part in >> that environment. You have to know what you're getting into. If you enter >> alone, whoever you are, someone will probably hit on you within minutes. If >> you go as a single lady, you'll immediately attract admirers. If you go as >> a couple, people will gather around to watch, expecting you two to put on a >> show. But don't worry! Tomorrow's Pink Taisho event at the Ueno Okura will >> be different! The perverts know to stay away during the Awards or when cast >> and crew visit a theater for a new film release event. I am certain that >> nobody will try to grope you if you attend the Pink Taisho tomorrow." >> >> Ikejima might be the only pink person I know who speaks openly about what >> actually happens in pink cinemas. In the past I would occasionally bump >> into him on weekday afternoons at regular screenings in some of the (now >> closed) Tokyo theaters. During his advertisement for the Taisho, he >> repeated an anecdote about how he once entered a pink cinema on a regular >> day with an actress, and was soon touched by one of the other patrons. When >> that person realized who Ikejima was, he apologized profusely for being so >> forward, praised the director and actress?s work, and then went off to do >> other things. Ikejima repeatedly made the point that the Pink Taisho is a >> special day, and that normal people are welcome and would surely be left >> alone. >> >> The awards presentation was held mid-afternoon on Sunday, May 5. There >> were several rounds of movie screenings before and after the event. I >> arrived about an hour before the scheduled kickoff time, and the seats were >> already completely filled, with very little standing room left. (After it >> all ended, I bumped into an old friend and film fan who told me that the >> seats had been completely packed all day long, from that morning, long >> before the awards even started.) >> >> When the ceremony got rolling, I managed to squeeze into a standing spot >> behind the back row and watch the presentation--a long string of >> announcements and awards for cast and crew in recent Okura Pictures movies >> that I hadn't seen. OP is the only company still producing Pink, at a pace >> of 36 ?straight? films plus two ?gay? films each year. They?re all shot >> digital now, with mostly synch sound, often with squishy stories about >> lonely virgins and clumsy anti-socialites trying to find love. From the >> short amount of footage I watched, I momentarily tried to imagine the new >> movies along the rules of classical Pink Film screenwriting, >> cinematography, and editing. Honestly, they don?t really look or sound like >> pink movies anymore. But maybe that?s just my own projection, since the >> movies themselves didn?t matter that much to begin with. >> >> After an hour or so, I got tired of grumpy, pushy fans trying to elbow me >> out of the way so they could take a snapshot of their favorite >> performer--it was definitely not the kind of gentle tactile invitation one >> gets in a normal day at a pink cinema--and retreated to the lobby, to wait >> with various bored staff, cast, and crew members. Some of the faces I hoped >> to see didn?t appear. Ever since Shintoho and other companies stopped >> producing years ago, and the Pink Taisho essentially turned into the Okura >> Taisho, most pink pros who aren?t receiving awards or don?t have active >> business with Okura don?t bother attending. >> >> Ikejima had been only partly right. His assurance that the "perverts" >> would completely avoid the Awards turned out to be an overstatement. >> Several regulars were standing and sitting there right next to me, in the >> lobby, a few all dressed up in their Sunday best, chatting with the cinema >> staff and patiently waiting for the crowds of "Fans" to disappear so they >> could get back to the scheduled business of not-movie-watching in, on, and >> around the seats in the auditorium. >> >> I gave some ?long time, no see? greetings to actors and directors and had >> short conversations with folks who were, like me I suspect, not interested >> in sitting (standing?) through a ceremony like this anymore. After two and >> a half hours of awards and speeches, when the last presentation ended, the >> vast majority of customers quickly poured out of the auditorium and left >> the venue. I waited around after the show, rubbed shoulders with other >> people I recognized but didn't have direct invitations to talk to, and then >> slowly floated back to my monthly apartment. It felt strangely >> anti-climactic. >> >> I returned to the Ueno Okura the next Friday afternoon to see what was >> really up. The very clean, still new-ish Ueno cinema is more or less what I >> expected. There were twenty-five or thirty customers inside; retirement age >> people in plaid shirts and beige slacks, thirtysomethings in shorts and >> t-shirts, a few businessmen in suits, and a handful of others in dresses >> and high heels. Many sleeping, several making out, at best one or two >> masturbating (completely out of synch with the sex scenes, though), and >> four or five constantly walking around the floor looking for a partner. I?m >> sure I was the only one there semi-seriously watching the movies. >> >> The program I caught had one old Shintoho Pink and two new digital OP >> movies. Someone at the Taisho told me that the Okura had recently upgraded >> to blu-ray projection. The OP movies looked like they were shown in 720p. >> The Shintoho movie was at best DVD resolution, and an old video transfer, >> with occasional interlacing and combing problems. A trailer for a >> forthcoming OP release played between the second and third feature. I was a >> little surprised that it had both Japanese and English credits at the end. >> (OP used to have a YouTube page with trailers for their digital movies, but >> I can?t seem to find it now.) The sound throughout the program was loud and >> clear. >> >> I haven?t paid the premium ticket charge to sit in the balcony at the new >> Ueno Okura yet, and I haven?t returned to the neighboring Tokusen Gekijo >> theater that shows 500 yen single features on this trip. Last time I walked >> into the Tokusen, years ago, there was no place to sit, and I kept getting >> goosed wherever I stood, so I ended up circling the auditorium floor trying >> to avoid my followers. That only attracted more attention. One particularly >> persistent guy came up to me at one point and flirted, ?Hey, I saw you in >> one of these movies a while back. That was you, wasn?t it?? I lied and said >> I had no idea what he was talking about, and then left. Maybe I need to >> give that place another shot. >> >> Two days after Ueno, I visited the Cine Roman in Ikebukuro. There were at >> least thirty people in the seats, and only a few couples were fooling >> around near me. But this was also a special occasion. The Cine Roman was >> doing a series of celebrated Nikkatsu Roman Porno movies (triple features >> with one RP and two Xces pink movies). Most of the people were there to >> watch--to actually watch!--the Kumashiro Tatsumi/Uchida Yuya Roman Porno >> playing that day (on blu-ray), and the majority of the audience immediately >> disappeared when that one finished. Only a handful remained for the ugly SD >> video transfer of the old Xces movie that played next, and those people >> were either sleeping, cruising, or moaning. >> >> The Koonza in Yokohama, which I entered earlier this week, is another >> world. I?ve been there several times in the past. I thought a Wednesday >> afternoon would be relatively quiet, but it was shockingly busy. It >> reminded me of the crazy scene I saw in Osaka's Shinsekai six or seven >> years ago. The Koonza has two screens (the ?gay? theater 1 and ?normal? >> theater 2), with different programs running, different ticket prices, and >> completely segregated audiences. One of the reasons it was so busy on a >> weekday might be that, aside from the busy Ueno screens and the >> occasionally movie-oriented Ikebukuro, all of the other greater Tokyo-area >> cinemas are gone. The Koonza 1 is also the only remaining gay pink screen >> in the Kanto area. There are still three other gay pink screens open in >> Osaka, Fukuoka, and Hiroshima. >> >> I caught the tail end of the first movie in theater 1?s double feature. >> It was an aging Hamano Sachi feature, written as always by her partner >> (himself a pink director) Yamazaki Kuninori, with Nakamitsu Seiji, >> Yoshiyuki Yumi, and other actors I couldn't identify. I arrived in time to >> see the last scenes, but had to play it cool when other customers creeped >> up behind me to see if I was looking for action. I couldn?t focus on the >> picture. After I said ?no, thanks? several times (quite strongly to one >> poor fellow, who then pouted and sneered every time he passed me as he >> continued to cycle around the floor) the other people left me alone. >> >> I was able to get a better look at the second movie; an old Tomomatsu >> Naoyuki flick called ?Wagamama Sensation? that, like some of Tomomatsu?s >> more recent work, plays wildly with film style. It was a story about an >> experimental theater troupe that was littered with jump cuts, full of >> handheld and undercranked shots, shot I think on a mix of film and video, >> and decorated with questionably diegetic screens-within-screens. The sound >> was really low in the Koonza 1, so I?m not sure how much of the story I >> got, but that?s definitely one movie I?ll go back to. As always, most of >> the regular crew and cast members in these movies work(ed) fluently in both >> gay and straight pink films. There was even a different, straight >> Hamano-Yamazaki film playing on screen 2 that same night, but I didn?t >> catch that part of the program. >> >> The man at the counter gave me a very puzzled look when I walked back up >> to buy a ticket for the other show (only 500 yen at the end of the day). >> While pink cast and crew mix freely between gay and straight films, the >> audiences at the Koonza do not. Theater 2 had, in some ways, a much more >> diverse (and slightly older, on average) group of customers. This ?normal? >> auditorium was also very active. I had to squeeze my way past a big crowd >> of people, some dressed, some not quite so dressed, who were fooling around >> just inside the doors to the auditorium. A number of other people and >> couples were in the seats, but the majority of customers that night--a >> group of twenty people or so--were standing behind the back row, getting >> busy. >> >> I won?t go into detail about what they were doing. You can all probably >> imagine. But from the conversations and other utterances I heard, I can say >> that it sounded fully consensual and pleasurable. There was one >> grandpa-aged customer who, after finishing what seemed like exhausting >> activities with a person in a dress, sighed, laughed out loud, and then >> thanked his partner profusely. ?That was amazing! Thank you so much! I hope >> you come back another time so we can meet again.? >> >> I don?t remember much about the last movie of the day, ?Tsundere musume: >> okute na hatsutaiken,? directed by someone I didn?t recognize. It was >> another recent digital OP. The theater mostly emptied out after the big >> party in the back of auditorium 2 ended. One Lady quietly walked up to me >> ten minutes before closing time and asked if I wanted to ?do it.? I said >> ?no, thank you? and she peacefully retreated. Adult cinemas in Japan are >> not necessarily or essentially abusive or exploitative environments at all, >> but they do take a bit of training to navigate. I was the last customer in >> the Koonza when the lights came up at 9 p.m. I said my thanks to the >> manager and walked out. They closed the shutters behind me. And then I had >> a long train ride back to Tokyo to think. >> >> Markus wondered if pink film is finally gone. The pink ?film? is, in some >> ways, dead and buried. But I don?t think pink is. Reiwa didn't kill pink. >> At least not yet. The new, post-celluloid movies are definitely something >> else, in form and in content. But not in function. There are definitely >> fewer adult cinemas in Japan than there were five or ten years ago--around >> thirty in total now--and as far as I can tell, so far, the communities and >> audiences at those theaters have not changed. I suppose we could phrase it >> as another soft/hard distinction; not so much between soft-core and >> hard-core, since pink is almost always soft-core, but between the software >> and hardware of the adult film industry in Japan. Outside of occasional >> special screenings and events that attract ?fans,? nobody is watching the >> movie. I try my best, and am constantly being reminded that the movie is >> the least interesting thing happening in the room. The movies are changing, >> but the space remains the same. >> >> One last note. I?ve also spent a few days with Sano Kazuhiro. Thankfully, >> Sano-san appears to be relatively healthy at the moment. I was able to >> convince him to show me his recent return to feature directing, ?But Only >> Love.? Despite the murky image and audio mix problems on the sample DVD we >> watched, it is a good movie, with sharp cinematography, a sincere script, >> and occasional flashes of the kinds of psychedelic montage that made Sano?s >> earlier adventures so visually interesting. It was much better, in my >> opinion, than Sano?s last film for Shintoho twenty years ago. In fact, But >> Only Love felt more Pink than the recent, very melodramatic, brightly-lit >> Okura videos. I believe Sano originally wrote this with the intention of >> distributing it as a pink film. Some years ago he talked about a project to >> make the ?last? pink film on film, and even thought of shooting on 8mm for >> a while, but that fell apart. Despite its digital format, this new one >> certainly feels like it fills that role. I?ve talked to Sano about the >> possibility of subtitling it--that is, I am currently begging him to let me >> subtitle it--but there is no commercial video release yet, in Japan or >> anywhere. >> >> I might have other stories to tell, but perhaps I?ll save them for >> another post. >> >> Reiwa did not destroy pink film. Happy New Era, everyone! >> >> Michael Arnold >> >> >> >> >> On Mon, May 6, 2019 at 1:59 PM Markus Nornes via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >> So last night was the final Pink Taisho, the pink film awards. It was the >> 31st edition, meaning it was roughly bound by the Heisei era; needless to >> say, no one has mentioned this in all the silly hoopla around the start of >> the new era. There were still nearly 40 pink films made last year. But they >> were all from Okura, so it's not much of an awards competition >> (interestingly enough, this reveals how these award shows are as much about >> competition between companies as between films or filmmakers). Here is >> their page announcing the event's demise, along with the competition films. >> >> http://pg-pinkfilm.com/news/31pinkfes.html >> >> I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on >> hand. I told him about the award show and its announced end. He could care >> less. It says as much as Adachi as an artist as it does the heterogeneity >> and historical transformations of pink. >> >> I know at least one colleague from KineJapan was there. Waiting for a >> report from the ground.......... >> >> 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 >> >> On Mon, May 6, 2019 at 1:59 PM Markus Nornes via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> >>> So last night was the final Pink Taisho, the pink film awards. It was >>> the 31st edition, meaning it was roughly bound by the Heisei era; needless >>> to say, no one has mentioned this in all the silly hoopla around the start >>> of the new era. There were still nearly 40 pink films made last year. But >>> they were all from Okura, so it's not much of an awards competition >>> (interestingly enough, this reveals how these award shows are as much about >>> competition between companies as between films or filmmakers). Here is >>> their page announcing the event's demise, along with the competition films. >>> >>> http://pg-pinkfilm.com/news/31pinkfes.html >>> >>> I couldn't go. I was throwing a Cinco de Mayo party. Adachi Masao was on >>> hand. I told him about the award show and its announced end. He could care >>> less. It says as much as Adachi as an artist as it does the heterogeneity >>> and historical transformations of pink. >>> >>> I know at least one colleague from KineJapan was there. Waiting for a >>> report from the ground.......... >>> >>> 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 >>> >> _______________________________________________ >> 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 Sun May 26 19:14:30 2019 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 26 May 2019 19:14:30 -0400 Subject: [KineJapan] Furuhata Yasuo Message-ID: <4DD5125D-B3F8-4130-A530-8C58783E227C@yale.edu> The film director Furuhata Yasuo died on the 20th at the age of 84. He started out at Toei in the late sixties with mostly yakuza films, including films in the Abashiri bangaichi series, but he is most known for his films with Takakura Ken from the eighties on, such as Station, Poppoya, and Hotaru. He won the Japan Academy Prize for best director for Poppoya. He also directed many TV dramas, including several editions of the "Akai" series with Yamaguchi Momoe. https://www.japantimes.co.jp/news/2019/05/26/national/japanese-film-director-yasuo-furuhata-dies-age-84/#.XOsbj3t7lZo https://www.daily.co.jp/gossip/2019/05/26/0012368112.shtml Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Director of Graduate Studies, Film and Media Studies Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From mekerpan2 at gmail.com Sun May 26 20:09:39 2019 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Sun, 26 May 2019 20:09:39 -0400 Subject: [KineJapan] Furuhata Yasuo In-Reply-To: <4DD5125D-B3F8-4130-A530-8C58783E227C@yale.edu> References: <4DD5125D-B3F8-4130-A530-8C58783E227C@yale.edu> Message-ID: As I recall he also directed the Japanese segments of Zhang Yimou's Journey of 1000 Miles. On Sun, May 26, 2019, 19:14 Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > The film director Furuhata Yasuo died on the 20th at the age of 84. He > started out at Toei in the late sixties with mostly yakuza films, including > films in the Abashiri bangaichi series, but he is most known for his films > with Takakura Ken from the eighties on, such as Station, Poppoya, and > Hotaru. He won the Japan Academy Prize for best director for Poppoya. He > also directed many TV dramas, including several editions of the "Akai" > series with Yamaguchi Momoe. > > > https://www.japantimes.co.jp/news/2019/05/26/national/japanese-film-director-yasuo-furuhata-dies-age-84/#.XOsbj3t7lZo > https://www.daily.co.jp/gossip/2019/05/26/0012368112.shtml > > > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Director of Graduate Studies, Film and Media Studies > Yale University > 143 Elm Street, Room 210 > PO Box 208324 > New Haven, CT 06520-8324 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon May 27 10:30:39 2019 From: nornes at umich.edu (Markus Nornes) Date: Mon, 27 May 2019 23:30:39 +0900 Subject: [KineJapan] =?utf-8?q?Call_for_Papers=3A_Kinema_Club_XIX_in_A2?= =?utf-8?q?=E2=80=9420_Years_On?= Message-ID: *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! -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Kinema Club Workshop.pdf Type: application/pdf Size: 63370 bytes Desc: not available URL: From lorenzojavier.torres.hortelano at urjc.es Mon May 27 10:38:47 2019 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Mon, 27 May 2019 14:38:47 +0000 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: Congratulations on this anniversary Mark and Aaron, and all Kinejapaners. And thanks, you have given us 20 more good years of research life! Best, [cid:image002.jpg at 01D510A2.88DF0040] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es | www.urjc.es | Lorenzo Torres Academia.edu ________________________________ De: KineJapan en nombre de Markus Nornes via KineJapan Enviado: Monday, May 27, 2019 4:30:39 PM Para: Japanese Cinema Discussion Forum Cc: Markus Nornes Asunto: [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On 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, whichmay 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 studentsto 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! -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: 9F8A71A9DCAD4AB598BA7778FDF949B5.jpg Type: image/jpeg Size: 27431 bytes Desc: 9F8A71A9DCAD4AB598BA7778FDF949B5.jpg URL: From jasper_sharp at hotmail.com Mon May 27 18:29:49 2019 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Mon, 27 May 2019 22:29:49 +0000 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: Is this one of those things where only people with universities financing them are going to attend and shape the discussion? 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 Markus Nornes via KineJapan Sent: 27 May 2019 14:30 To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On 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, whichmay 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 studentsto 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! -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon May 27 19:47:27 2019 From: nornes at umich.edu (Markus Nornes) Date: Tue, 28 May 2019 08:47:27 +0900 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: It is definitely a thing where one of the _important_topics_of_discussion will be how people with universities financing them?-and countries that finance universities?-shape the discussion. One of the virtues of Kinema Club and it?s spirit is that we can create a space for this kind of serious reflection without a $50k budget that goes mainly to senior, name-brand scholars. I wish I had a budget to invite everyone. But I do think I can provide food and coffee. And for those short on funds who could use a couch to crash on, let?s talk off list. Markus On Tue, May 28, 2019 at 7:30 AM Jasper Sharp via KineJapan < kinejapan at mailman.yale.edu> wrote: > Is this one of those things where only people with universities financing > them are going to attend and shape the discussion? > > > *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 > Markus Nornes via KineJapan > *Sent:* 27 May 2019 14:30 > *To:* Japanese Cinema Discussion Forum > *Cc:* Markus Nornes > *Subject:* [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On > > > *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 > -- --- *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 mathieucapel at gmail.com Tue May 28 03:00:51 2019 From: mathieucapel at gmail.com (Mathieu Capel) Date: Tue, 28 May 2019 16:00:51 +0900 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 Markus, dear Kinejapaners, Blogging the discussions sounds pretty cool, but why not a full rendition on youtube for instance ? The discussion format should perfectly fit in that kind of media... or does "social media" already includes that as well ? I guess that a lot of people (including me) who might be unable to make it to Michigan next november, although Japanese film studies' future means quite a lot for their own, shall be pleased to hear the full stories. Best regards, Mathieu Capel Tokyo Le mar. 28 mai 2019 ? 08:47, Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > It is definitely a thing where one of the _important_topics_of_discussion > will be how people with universities financing them?-and countries that > finance universities?-shape the discussion. > > One of the virtues of Kinema Club and it?s spirit is that we can create a > space for this kind of serious reflection without a $50k budget that goes > mainly to senior, name-brand scholars. > > I wish I had a budget to invite everyone. But I do think I can provide > food and coffee. And for those short on funds who could use a couch to > crash on, let?s talk off list. > > Markus > > > > > > > > > On Tue, May 28, 2019 at 7:30 AM Jasper Sharp via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Is this one of those things where only people with universities financing >> them are going to attend and shape the discussion? >> >> >> *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 >> Markus Nornes via KineJapan >> *Sent:* 27 May 2019 14:30 >> *To:* Japanese Cinema Discussion Forum >> *Cc:* Markus Nornes >> *Subject:* [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On >> >> >> *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 >> > -- > --- > > *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 jonathanmarkhall at gmail.com Tue May 28 03:09:17 2019 From: jonathanmarkhall at gmail.com (Jonathan M. Hall) Date: Tue, 28 May 2019 03:09:17 -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: Dear All, I think Jasper was suggesting something else, namely a proactive and productive shaping of discourse by people not operating from positions of institutional privilege?however that be defined. Meta-critical analysis is not by default transformative. It might be useful to identify what that has been in the past and imagine what that might look like in the future. I bet the organizers are open to that too. I always admire Jasper?s idealism, though I often disagree with what he says. Balancing With best wishes, Jonathan University of Leeds (Spring 2019) On Mon, May 27, 2019 at 19:47 Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > It is definitely a thing where one of the _important_topics_of_discussion > will be how people with universities financing them?-and countries that > finance universities?-shape the discussion. > > One of the virtues of Kinema Club and it?s spirit is that we can create a > space for this kind of serious reflection without a $50k budget that goes > mainly to senior, name-brand scholars. > > I wish I had a budget to invite everyone. But I do think I can provide > food and coffee. And for those short on funds who could use a couch to > crash on, let?s talk off list. > > Markus > > > > > > > > > On Tue, May 28, 2019 at 7:30 AM Jasper Sharp via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Is this one of those things where only people with universities financing >> them are going to attend and shape the discussion? >> >> >> *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 >> Markus Nornes via KineJapan >> *Sent:* 27 May 2019 14:30 >> *To:* Japanese Cinema Discussion Forum >> *Cc:* Markus Nornes >> *Subject:* [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On >> >> >> *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 >> > -- > --- > > *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 jasper_sharp at hotmail.com Tue May 28 12:20:29 2019 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 28 May 2019 16:20:29 +0000 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: Indeed, I was referring to a proactive and productive shaping of discourse by people not operating from positions of institutional privilege ("institutional privilege" I would define as receiving a monthly living wage from those that employ them, regardless of their performance). I assume that this subject might come up within the discussions of what at the conference, but paradoxically without the input of those who fall under the category of operating outside of institutional privilege. But as Marcus really pointed out, the conference is about "how people with universities financing them?-and countries that finance universities?-shape the discussion" - by which I understand academics talking to other academics about academic discourses within academic institutions. Sadly I have little left in the way of idealism when it comes to how the academic industry works, and actually whether you agree with what I say or not in this context is not hugely relevant as I can't afford to be present to say it anyway. 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 Jonathan M. Hall via KineJapan Sent: 28 May 2019 07:09 To: Japanese Cinema Discussion Forum Cc: Jonathan M. Hall Subject: Re: [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On Dear All, I think Jasper was suggesting something else, namely a proactive and productive shaping of discourse by people not operating from positions of institutional privilege?however that be defined. Meta-critical analysis is not by default transformative. It might be useful to identify what that has been in the past and imagine what that might look like in the future. I bet the organizers are open to that too. I always admire Jasper?s idealism, though I often disagree with what he says. Balancing With best wishes, Jonathan University of Leeds (Spring 2019) On Mon, May 27, 2019 at 19:47 Markus Nornes via KineJapan > wrote: It is definitely a thing where one of the _important_topics_of_discussion will be how people with universities financing them?-and countries that finance universities?-shape the discussion. One of the virtues of Kinema Club and it?s spirit is that we can create a space for this kind of serious reflection without a $50k budget that goes mainly to senior, name-brand scholars. I wish I had a budget to invite everyone. But I do think I can provide food and coffee. And for those short on funds who could use a couch to crash on, let?s talk off list. Markus On Tue, May 28, 2019 at 7:30 AM Jasper Sharp via KineJapan > wrote: Is this one of those things where only people with universities financing them are going to attend and shape the discussion? 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 Markus Nornes via KineJapan > Sent: 27 May 2019 14:30 To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: [KineJapan] Call for Papers: Kinema Club XIX in A2?20 Years On 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, whichmay 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 studentsto 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 -- --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] 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: