[KineJapan] Seminar on 'Cinema at the Museum' at the University of Sheffield 19 Nov 2019

[Jennifer Coates]

Dear KineJapan members,

The University of Sheffield will be hosting a public seminar titled
'Imagining East Asia: Cinema at the Museum' on the 19th November 2019, with
talks by Dr Yutaka Kubo and Professor Yingjin Zhang. Please find more
information below, and at the following link:
https://www.eventbrite.co.uk/e/imagining-east-asia-cinema-at-the-museum-tickets-78150441073
.

We're refreshing our seminar series to add more film content, so if you're
planning a trip to the UK and would like to give a seminar, please do get
in touch.

With best wishes,

Jennifer

-- 
Dr Jennifer Coates
Senior Lecturer in Japanese Studies, University of Sheffield
Director of Taught Postgraduate
Postgraduate Admissions Tutor

Imagining East Asia: Cinema at the MuseumDr Yutaka Kubo and Professor
Yingjin ZhangImagining East Asia: Cinema at the Museum

Synopsis: This double seminar will showcase new research on cinema
exhibition in museum spaces. Focusing on gender and nostalgia, Professor
Yingjin Zhang (University of California San Diego) and Dr Yutaka Kubo
(Waseda Tsubouchi Theatre Museum) take a multi-directional approach to the
study of cinema, working across media and genres to consider the role of
exhibiting film and cinema-related materials in East Asia.

The Forgotten Presence of Homoeroticism and the HIV Stigma in the Film
Archive
Through an analysis of the collection of barazoku film (pink films aimed
for gay men) related materials at the Tsubouchi Memorial Theatre Museum,
this paper examines the cinematic and political significance of how
Kobayashi Satoru’s 1993 *A White Rose in Santa Monica *represents the
Japanese society’s stigma towards people living with HIV in the late 1980s
and early 1990s. First I will consider the characteristics of barazoku
films since 1982, the role of the audience in the production process, and
the importance of somewhat explicit gay sex. By closely looking at
Kobayashi’s production notes for *A White Rose in Santa Monica*, this paper
reveals how this film may have been Kobayashi’s attempt to reflect the
reality of gay men in Japan in the process of pursuing freedom and
luridness of barazoku films. Lastly, I not only compare and contrast
barazoku films with the characteristics of new queer cinema of the early
1990s but also evaluate the political possibility and limit of Kobayashi
films.

This double seminar will showcase new research on cinema exhibition in
museum spaces. Focusing on gender and nostalgia, Professor Yingjin Zhang
(University of California Sa Diego) and Dr Yutaka Kubo (Waseda Tsubouchi
Theatre Museum) take a multi-directional approach to the study of cinema,
working across media and genres to consider the role of exhibiting film and
cinema-related materials in East Asia.

Professor Kubo Biography: Yutaka Kubo is Assistant Professor of Film
Studies at the Tsubouchi Memorial Theatre Museum, Waseda University, Japan.
His research interests include Japanese film history and auteur study of
Kinoshita Keisuke in particular, queer film theory and criticism, youth and
aging in cinema, gender representations in post-3/11 mourning cinema, and
archival practices of home movies. His current projects include theorizing
the meaning of female premature deaths in coming-of-age films and the
consideration of the role of gay pink films in remapping images of HIV/AIDS
in Japanese visual culture.

Ways of Seeing China in Isaac Julien’s
*Ten Thousand Waves.*This paper examines ways of seeing China in Isaac
Julian’s 9-screen film installation *Ten Thousand Waves* (2010), which
represents a migratory aesthetics based on evocative translocality,
interactive crossmediality, and mobile spectatorship. As Julien
reconstructs the legend of compassionate Mazu (played by Maggie Cheung) and
memories of old and new Shanghai (both embodied by Zhao Tao) in different
modes (e.g., elegiac, idyllic, phantasmagoric, nostalgic, and
post-nostalgic), his screen images and sounds enter a constant circulation
and form an intriguing multi-directional dialogue across a variety of media
and genres—cinema, art photography, police rescue footage, calligraphy,
painting, poetry, and star performance. In addition to demonstrating the
importance of new concepts and new techniques at work in the
cross-fertilization of cinema and other visual media in the new millennium,
this paper complicates Julien’s political poetics by highlighting his
overlooked reception by ethnic Chinese spectators and by reckoning with the
specter of Orientalism that refuses to go away despite his renowned
repudiation of stereotypes and clichés and his critical engagement with
cosmopolitanism and globalization

Professor Zhang Biography: Yingjin Zhang is Distinguished Professor and
Chair of the Department of Literature at University of California, San
Diego. His English books include *The City in Modern Chinese Literature and
Film*(1996), *Encyclopedia of Chinese Film* (1998), *China in a Polycentric
World*(1998), *Cinema and Urban Culture in Shanghai* (1999), *Screening
China*(2002), *Chinese National Cinema* (2004), *From Underground to
Independent* (2006), *Cinema, Space, and Polylocality in a Globalizing
China* (2010), *Chinese Film Stars* (2010), *A Companion to Chinese Cinema*
(2012), *Liangyou, Kaleidoscopic Modernity and the Shanghai Global
Metropolis *(2013), *New Chinese-Language Documentaries *(2015), *A
Companion to Modern Chinese Literature* (2016), and *Filming the Everyday*
(2017).
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