From macyroger at yahoo.co.uk  Thu Oct  3 12:55:21 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Thu, 3 Oct 2019 16:55:21 +0000 (UTC)
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
Message-ID: <2065738973.4504124.1570121721755@mail.yahoo.com>

 Thanks for this, Markus.The TIFF schedule is now postedhttps://2019.tiff-jp.net/en/schedule/list/day02which tells us that 'Reiwa Uprising' is 270 minutes long, and has one screening starting at midnight.
Can someone tell me/us how TIFF works for accredited professionals?? The 'press' page mentions P&I screenings. Do they tend to be in the mornings a couple of days before, or some other scheme ? ? Is there a viewing room ?
Roger

    On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Tokyo Film Festival announced their schedule and a notable film is a new work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes one of Tsuchimoto's films. It's about the new political party Reiwa Shinsengumi. I've always found Japanese elections depressingly dull, but this past one had me riveted to Youtube thanks to Yamamoto Taro. He started his career as a tarento, and also acted in movies (notably Battle Royale, Izo and Princess Raccoon). But he ran as an independent for the Diet after 3/11 and became a politician who spoke his mind and was openly critical of status quo politics. He notoriously passed a letter complaining about the handling of Fukushima to the emperor some years back. This year he established this new party and I have to say it was impressive.?
First of all, Yamamoto know how to give good speech. If you've never seen him, check this out (especially the halfway point):?
https://youtu.be/V6jbn9Ye670

His party put up an amazing lineup for election this year. It included an Okinawan, two people with disabilities, a cross-dressing professor from Tokyo University who sometimes campaigned with a horse, and an obasan that was better at public speaking than Yamamoto.?
One of the impressive things about the party, from my admitted limited understanding, was that Yamamoto shifted his representation from the city of Tokyo to the national proportion representational block, this fascinating open system where people all over the country can vote for a party. This was a big gamble. Moreover, the party gives a ranked list and although they expected to pick up at least two seats Yamamoto put himself 3rd....behind the two disabled politicians. Who won, and he came up short. Both are quite severely disabled, one in the advanced stages of ALS. Seeing them win was really moving. ?
Hara seems to have centered his new film on the professor, Yasutomi Ayumi, who is transgender and on the Todai website lists her research subject as "Decolonization of the soul." She also campaigned with a horse and a Thriller flash mob. I recall watching this Youtube video, where she has a backup band and one of the zombies is carrying a baby:?
https://youtu.be/ett8o0u1fdI
It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from his asbestos film, he really doesn't know how to deal with people who aren't edgy.? This could be really interesting. Here's the trailer:
https://youtu.be/_b-Wieqk6Gk

Back in the summer, Hara did some live streaming documentary on election night. I only heard about it afterwards, so if anyone saw it I'd love to hear what was it was like.?
Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been concentrating on his writing and not filmmaking. I think he identifies more strongly with critical journalism than documentary. And this helps explain his film's subject, journalist Mochizuki Isoko:
https://youtu.be/YQGF8y1TiA8
I look forward to this as well.?
I sure do with these were at Yamagata and not TIFF. I'm wondering what this means......
That said, the Japanese entry in the Yamagata main competition is a film I am really looking forward to and I'm impressed by its selection: Makino Takashi's Memento Stella.?
https://www.yidff.jp/2019/ic/19ic08-e.html

I'll be in Yamagata. Hope to see some of you at Komian!
Markus



---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From nornes at umich.edu  Thu Oct  3 15:26:10 2019
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 3 Oct 2019 15:26:10 -0400
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <2065738973.4504124.1570121721755@mail.yahoo.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
Message-ID: <CANoSnpCgO_QH+T8Pn0ce=-zUXokaZZ4Zyt15-3AkARGFdexLDQ@mail.gmail.com>

Hi Roger.

That long!?!?  Too bad.....

TIFF has dedicated screenings for press. Contact their press office and
they'll send an application.

Markus




---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*



On Thu, Oct 3, 2019 at 12:55 PM Roger Macy via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Thanks for this, Markus.
> The TIFF schedule is now posted
> https://2019.tiff-jp.net/en/schedule/list/day02
> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one
> screening starting at midnight.
>
> Can someone tell me/us how TIFF works for accredited professionals?  The
> 'press' page mentions P&I screenings. Do they tend to be in the mornings a
> couple of days before, or some other scheme ?   Is there a viewing room ?
>
> Roger
>
> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>
> Tokyo Film Festival announced their schedule and a notable film is a new
> work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes
> one of Tsuchimoto's films. It's about the new political party Reiwa
> Shinsengumi. I've always found Japanese elections depressingly dull, but
> this past one had me riveted to Youtube thanks to Yamamoto Taro. He started
> his career as a tarento, and also acted in movies (notably Battle Royale,
> Izo and Princess Raccoon). But he ran as an independent for the Diet after
> 3/11 and became a politician who spoke his mind and was openly critical of
> status quo politics. He notoriously passed a letter complaining about the
> handling of Fukushima to the emperor some years back. This year he
> established this new party and I have to say it was impressive.
>
> First of all, Yamamoto know how to give good speech. If you've never seen
> him, check this out (especially the halfway point):
>
> https://youtu.be/V6jbn9Ye670
>
> His party put up an amazing lineup for election this year. It included an
> Okinawan, two people with disabilities, a cross-dressing professor from
> Tokyo University who sometimes campaigned with a horse, and an obasan that
> was better at public speaking than Yamamoto.
>
> One of the impressive things about the party, from my admitted limited
> understanding, was that Yamamoto shifted his representation from the city
> of Tokyo to the national proportion representational block, this
> fascinating open system where people all over the country can vote for a
> party. This was a big gamble. Moreover, the party gives a ranked list and
> although they expected to pick up at least two seats Yamamoto put himself
> 3rd....behind the two disabled politicians. Who won, and he came up short.
> Both are quite severely disabled, one in the advanced stages of ALS. Seeing
> them win was really moving.
>
> Hara seems to have centered his new film on the professor, Yasutomi Ayumi,
> who is transgender and on the Todai website lists her research subject as
> "Decolonization of the soul." She also campaigned with a horse and a
> Thriller flash mob. I recall watching this Youtube video, where she has a
> backup band and one of the zombies is carrying a baby:
>
> https://youtu.be/ett8o0u1fdI
>
> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from
> his asbestos film, he really doesn't know how to deal with people who
> aren't edgy.  This could be really interesting. Here's the trailer:
>
> https://youtu.be/_b-Wieqk6Gk
>
> Back in the summer, Hara did some live streaming documentary on election
> night. I only heard about it afterwards, so if anyone saw it I'd love to
> hear what was it was like.
>
> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been
> concentrating on his writing and not filmmaking. I think he identifies more
> strongly with critical journalism than documentary. And this helps explain
> his film's subject, journalist Mochizuki Isoko:
>
> https://youtu.be/YQGF8y1TiA8
>
> I look forward to this as well.
>
> I sure do with these were at Yamagata and not TIFF. I'm wondering what
> this means......
>
> That said, the Japanese entry in the Yamagata main competition is a film I
> am really looking forward to and I'm impressed by its selection: Makino
> Takashi's Memento Stella.
>
> https://www.yidff.jp/2019/ic/19ic08-e.html
>
> I'll be in Yamagata. Hope to see some of you at Komian!
>
> 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
>
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From nornes at umich.edu  Thu Oct  3 15:31:12 2019
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 3 Oct 2019 15:31:12 -0400
Subject: [KineJapan] =?utf-8?q?The_Pink_Book=E2=80=94Academic_Hit?=
Message-ID: <CANoSnpAybUatOOc63AHZiegONBQSbqzZ+Kc8uR9sE=hX9ixbRA@mail.gmail.com>

Kinema Club published The Pink Book as an open access book. I thought the
authors and anyone interested in open access issues would be interested in
knowing that it broke the 10,000 downloads mark. We're now at 10,538
downloads since it went online. Just last month there were 185 downloads. I
think that qualifies as a blockbuster in the academic world.

If you haven't read it, here's the link:

https://kinemaclub.org/pink-book-japanese-eroduction-and-its-contexts

Markus
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From gangamati at gmail.com  Thu Oct  3 20:59:01 2019
From: gangamati at gmail.com (Rob Schwartz)
Date: Fri, 4 Oct 2019 09:59:01 +0900
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <CANoSnpCgO_QH+T8Pn0ce=-zUXokaZZ4Zyt15-3AkARGFdexLDQ@mail.gmail.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
 <CANoSnpCgO_QH+T8Pn0ce=-zUXokaZZ4Zyt15-3AkARGFdexLDQ@mail.gmail.com>
Message-ID: <CAJhpGwCLbDPiC_YqiqXvn1dh89KPf4vet5L3J7r2yqJbtOGs5A@mail.gmail.com>

Roger-

P&I screenings usually happen the first 5 days of TIFF and usually start
from mid morning and go all day.

If you have press accreditation you can log on to the press area of the
website and reserve a seat at the screening you want to see, if available.
They used to open reservations 3 days before the screening (at midnight)
but they may have changed. There are 2-3  theaters where the P&I screenings
usually take place in Roppongi Hills Toho theater complex and the specific
one will be listed when you reserve a seat.

Rob Schwartz
*+81-90-6541-8895*
Wechat/Whatsapp/KakaoTalk/Line/Viber:
gangamati


On Fri, Oct 4, 2019 at 4:26 AM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi Roger.
>
> That long!?!?  Too bad.....
>
> TIFF has dedicated screenings for press. Contact their press office and
> they'll send an application.
>
> Markus
>
>
>
>
> ---
>
> *Markus Nornes*
> *Professor of Asian Cinema*
> Department of Film, Television and Media, Department of Asian Languages
> and Cultures, Penny Stamps School of Art & Design
>
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street*
> *Ann Arbor, MI 48109-1285*
>
>
>
> On Thu, Oct 3, 2019 at 12:55 PM Roger Macy via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Thanks for this, Markus.
>> The TIFF schedule is now posted
>> https://2019.tiff-jp.net/en/schedule/list/day02
>> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one
>> screening starting at midnight.
>>
>> Can someone tell me/us how TIFF works for accredited professionals?  The
>> 'press' page mentions P&I screenings. Do they tend to be in the mornings a
>> couple of days before, or some other scheme ?   Is there a viewing room ?
>>
>> Roger
>>
>> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>
>> Tokyo Film Festival announced their schedule and a notable film is a new
>> work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes
>> one of Tsuchimoto's films. It's about the new political party Reiwa
>> Shinsengumi. I've always found Japanese elections depressingly dull, but
>> this past one had me riveted to Youtube thanks to Yamamoto Taro. He started
>> his career as a tarento, and also acted in movies (notably Battle Royale,
>> Izo and Princess Raccoon). But he ran as an independent for the Diet after
>> 3/11 and became a politician who spoke his mind and was openly critical of
>> status quo politics. He notoriously passed a letter complaining about the
>> handling of Fukushima to the emperor some years back. This year he
>> established this new party and I have to say it was impressive.
>>
>> First of all, Yamamoto know how to give good speech. If you've never seen
>> him, check this out (especially the halfway point):
>>
>> https://youtu.be/V6jbn9Ye670
>>
>> His party put up an amazing lineup for election this year. It included an
>> Okinawan, two people with disabilities, a cross-dressing professor from
>> Tokyo University who sometimes campaigned with a horse, and an obasan that
>> was better at public speaking than Yamamoto.
>>
>> One of the impressive things about the party, from my admitted limited
>> understanding, was that Yamamoto shifted his representation from the city
>> of Tokyo to the national proportion representational block, this
>> fascinating open system where people all over the country can vote for a
>> party. This was a big gamble. Moreover, the party gives a ranked list and
>> although they expected to pick up at least two seats Yamamoto put himself
>> 3rd....behind the two disabled politicians. Who won, and he came up short.
>> Both are quite severely disabled, one in the advanced stages of ALS. Seeing
>> them win was really moving.
>>
>> Hara seems to have centered his new film on the professor, Yasutomi
>> Ayumi, who is transgender and on the Todai website lists her research
>> subject as "Decolonization of the soul." She also campaigned with a horse
>> and a Thriller flash mob. I recall watching this Youtube video, where she
>> has a backup band and one of the zombies is carrying a baby:
>>
>> https://youtu.be/ett8o0u1fdI
>>
>> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from
>> his asbestos film, he really doesn't know how to deal with people who
>> aren't edgy.  This could be really interesting. Here's the trailer:
>>
>> https://youtu.be/_b-Wieqk6Gk
>>
>> Back in the summer, Hara did some live streaming documentary on election
>> night. I only heard about it afterwards, so if anyone saw it I'd love to
>> hear what was it was like.
>>
>> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been
>> concentrating on his writing and not filmmaking. I think he identifies more
>> strongly with critical journalism than documentary. And this helps explain
>> his film's subject, journalist Mochizuki Isoko:
>>
>> https://youtu.be/YQGF8y1TiA8
>>
>> I look forward to this as well.
>>
>> I sure do with these were at Yamagata and not TIFF. I'm wondering what
>> this means......
>>
>> That said, the Japanese entry in the Yamagata main competition is a film
>> I am really looking forward to and I'm impressed by its selection: Makino
>> Takashi's Memento Stella.
>>
>> https://www.yidff.jp/2019/ic/19ic08-e.html
>>
>> I'll be in Yamagata. Hope to see some of you at Komian!
>>
>> 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
>
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From matteo.boscarol at gmail.com  Thu Oct  3 22:40:07 2019
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Fri, 4 Oct 2019 11:40:07 +0900
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <CAJhpGwCLbDPiC_YqiqXvn1dh89KPf4vet5L3J7r2yqJbtOGs5A@mail.gmail.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
 <CANoSnpCgO_QH+T8Pn0ce=-zUXokaZZ4Zyt15-3AkARGFdexLDQ@mail.gmail.com>
 <CAJhpGwCLbDPiC_YqiqXvn1dh89KPf4vet5L3J7r2yqJbtOGs5A@mail.gmail.com>
Message-ID: <28B7D206-9DF7-42BE-85CE-BAAEACB2E729@gmail.com>

It?s indeed interesting that the new work by Hara is screened at the TIFF and not in Yamagata. Maybe a bigger general international audience? On a side note, this autumn/winter The Emperor's Naked Army Marches On is going to be released on Blu-ray by Second Run. 

Regards

Matteo Boscarol
????? ????
???????????
- Documentary in Japan and Asia
http://storiadocgiappone.wordpress.com
- Film writer for Il Manifesto
http://ilmanifesto.it



> On Oct 4, 2019, at 9:59, Rob Schwartz via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> Roger-
> 
> P&I screenings usually happen the first 5 days of TIFF and usually start from mid morning and go all day.
> 
> If you have press accreditation you can log on to the press area of the website and reserve a seat at the screening you want to see, if available. They used to open reservations 3 days before the screening (at midnight) but they may have changed. There are 2-3  theaters where the P&I screenings usually take place in Roppongi Hills Toho theater complex and the specific one will be listed when you reserve a seat.
> 
> Rob Schwartz
> +81-90-6541-8895
> Wechat/Whatsapp/KakaoTalk/Line/Viber: 
> gangamati
> 
> 
>> On Fri, Oct 4, 2019 at 4:26 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:
>> Hi Roger. 
>> 
>> That long!?!?  Too bad.....
>> 
>> TIFF has dedicated screenings for press. Contact their press office and they'll send an application. 
>> 
>> Markus
>> 
>> 
>> 
>> 
>> --- 
>> 
>> Markus Nornes
>> Professor of Asian Cinema
>> Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design
>> 
>> Department of Film, Television and Media
>> 6348 North Quad
>> 105 S. State Street
>> Ann Arbor, MI 48109-1285
>> 
>> 
>> 
>>> On Thu, Oct 3, 2019 at 12:55 PM Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:
>>> Thanks for this, Markus.
>>> The TIFF schedule is now posted
>>> https://2019.tiff-jp.net/en/schedule/list/day02
>>> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one screening starting at midnight.
>>> 
>>> Can someone tell me/us how TIFF works for accredited professionals?  The 'press' page mentions P&I screenings. Do they tend to be in the mornings a couple of days before, or some other scheme ?   Is there a viewing room ?
>>> 
>>> Roger
>>> 
>>> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:
>>> 
>>> 
>>> Tokyo Film Festival announced their schedule and a notable film is a new work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes one of Tsuchimoto's films. It's about the new political party Reiwa Shinsengumi. I've always found Japanese elections depressingly dull, but this past one had me riveted to Youtube thanks to Yamamoto Taro. He started his career as a tarento, and also acted in movies (notably Battle Royale, Izo and Princess Raccoon). But he ran as an independent for the Diet after 3/11 and became a politician who spoke his mind and was openly critical of status quo politics. He notoriously passed a letter complaining about the handling of Fukushima to the emperor some years back. This year he established this new party and I have to say it was impressive. 
>>> 
>>> First of all, Yamamoto know how to give good speech. If you've never seen him, check this out (especially the halfway point): 
>>> 
>>> https://youtu.be/V6jbn9Ye670
>>> 
>>> His party put up an amazing lineup for election this year. It included an Okinawan, two people with disabilities, a cross-dressing professor from Tokyo University who sometimes campaigned with a horse, and an obasan that was better at public speaking than Yamamoto. 
>>> 
>>> One of the impressive things about the party, from my admitted limited understanding, was that Yamamoto shifted his representation from the city of Tokyo to the national proportion representational block, this fascinating open system where people all over the country can vote for a party. This was a big gamble. Moreover, the party gives a ranked list and although they expected to pick up at least two seats Yamamoto put himself 3rd....behind the two disabled politicians. Who won, and he came up short. Both are quite severely disabled, one in the advanced stages of ALS. Seeing them win was really moving.  
>>> 
>>> Hara seems to have centered his new film on the professor, Yasutomi Ayumi, who is transgender and on the Todai website lists her research subject as "Decolonization of the soul." She also campaigned with a horse and a Thriller flash mob. I recall watching this Youtube video, where she has a backup band and one of the zombies is carrying a baby: 
>>> 
>>> https://youtu.be/ett8o0u1fdI
>>> 
>>> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from his asbestos film, he really doesn't know how to deal with people who aren't edgy.  This could be really interesting. Here's the trailer:
>>> 
>>> https://youtu.be/_b-Wieqk6Gk
>>> 
>>> Back in the summer, Hara did some live streaming documentary on election night. I only heard about it afterwards, so if anyone saw it I'd love to hear what was it was like. 
>>> 
>>> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been concentrating on his writing and not filmmaking. I think he identifies more strongly with critical journalism than documentary. And this helps explain his film's subject, journalist Mochizuki Isoko:
>>> 
>>> https://youtu.be/YQGF8y1TiA8
>>> 
>>> I look forward to this as well. 
>>> 
>>> I sure do with these were at Yamagata and not TIFF. I'm wondering what this means......
>>> 
>>> That said, the Japanese entry in the Yamagata main competition is a film I am really looking forward to and I'm impressed by its selection: Makino Takashi's Memento Stella. 
>>> 
>>> https://www.yidff.jp/2019/ic/19ic08-e.html
>>> 
>>> I'll be in Yamagata. Hope to see some of you at Komian!
>>> 
>>> 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
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
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From jtj53213 at gmail.com  Thu Oct  3 22:57:28 2019
From: jtj53213 at gmail.com (John Junkerman)
Date: Fri, 4 Oct 2019 11:57:28 +0900
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <28B7D206-9DF7-42BE-85CE-BAAEACB2E729@gmail.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
 <CANoSnpCgO_QH+T8Pn0ce=-zUXokaZZ4Zyt15-3AkARGFdexLDQ@mail.gmail.com>
 <CAJhpGwCLbDPiC_YqiqXvn1dh89KPf4vet5L3J7r2yqJbtOGs5A@mail.gmail.com>
 <28B7D206-9DF7-42BE-85CE-BAAEACB2E729@gmail.com>
Message-ID: <CAH-ugOVrsF4j1Fmz1P+mhZ+bBbtDE0yAu3UF+Lm1G956kjfPBg@mail.gmail.com>

I don't think Hara's film was ready in time for Yamagata, since the
election happened in July after YIDFF had made its selections.

See you in Yamagata, Marcus.

John


On Fri, Oct 4, 2019 at 11:40 AM matteo boscarol via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> It?s indeed interesting that the new work by Hara is screened at the TIFF
> and not in Yamagata. Maybe a bigger general international audience? On a
> side note, this autumn/winter The Emperor's Naked Army Marches On is
> going to be released on Blu-ray by Second Run.
>
> Regards
>
> Matteo Boscarol
> ????? ????
> ???????????
> - Documentary in Japan and Asia
> http://storiadocgiappone.wordpress.com
> - Film writer for Il Manifesto
> http://ilmanifesto.it
>
>
>
> On Oct 4, 2019, at 9:59, Rob Schwartz via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> Roger-
>
> P&I screenings usually happen the first 5 days of TIFF and usually start
> from mid morning and go all day.
>
> If you have press accreditation you can log on to the press area of the
> website and reserve a seat at the screening you want to see, if available.
> They used to open reservations 3 days before the screening (at midnight)
> but they may have changed. There are 2-3  theaters where the P&I screenings
> usually take place in Roppongi Hills Toho theater complex and the specific
> one will be listed when you reserve a seat.
>
> Rob Schwartz
> *+81-90-6541-8895*
> Wechat/Whatsapp/KakaoTalk/Line/Viber:
> gangamati
>
>
> On Fri, Oct 4, 2019 at 4:26 AM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Hi Roger.
>>
>> That long!?!?  Too bad.....
>>
>> TIFF has dedicated screenings for press. Contact their press office and
>> they'll send an application.
>>
>> Markus
>>
>>
>>
>>
>> ---
>>
>> *Markus Nornes*
>> *Professor of Asian Cinema*
>> Department of Film, Television and Media, Department of Asian Languages
>> and Cultures, Penny Stamps School of Art & Design
>>
>> *Department of Film, Television and Media*
>> *6348 North Quad*
>> *105 S. State Street*
>> *Ann Arbor, MI 48109-1285*
>>
>>
>>
>> On Thu, Oct 3, 2019 at 12:55 PM Roger Macy via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>> Thanks for this, Markus.
>>> The TIFF schedule is now posted
>>> https://2019.tiff-jp.net/en/schedule/list/day02
>>> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one
>>> screening starting at midnight.
>>>
>>> Can someone tell me/us how TIFF works for accredited professionals?  The
>>> 'press' page mentions P&I screenings. Do they tend to be in the mornings a
>>> couple of days before, or some other scheme ?   Is there a viewing room ?
>>>
>>> Roger
>>>
>>> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <
>>> kinejapan at mailman.yale.edu> wrote:
>>>
>>>
>>> Tokyo Film Festival announced their schedule and a notable film is a new
>>> work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes
>>> one of Tsuchimoto's films. It's about the new political party Reiwa
>>> Shinsengumi. I've always found Japanese elections depressingly dull, but
>>> this past one had me riveted to Youtube thanks to Yamamoto Taro. He started
>>> his career as a tarento, and also acted in movies (notably Battle Royale,
>>> Izo and Princess Raccoon). But he ran as an independent for the Diet after
>>> 3/11 and became a politician who spoke his mind and was openly critical of
>>> status quo politics. He notoriously passed a letter complaining about the
>>> handling of Fukushima to the emperor some years back. This year he
>>> established this new party and I have to say it was impressive.
>>>
>>> First of all, Yamamoto know how to give good speech. If you've never
>>> seen him, check this out (especially the halfway point):
>>>
>>> https://youtu.be/V6jbn9Ye670
>>>
>>> His party put up an amazing lineup for election this year. It included
>>> an Okinawan, two people with disabilities, a cross-dressing professor from
>>> Tokyo University who sometimes campaigned with a horse, and an obasan that
>>> was better at public speaking than Yamamoto.
>>>
>>> One of the impressive things about the party, from my admitted limited
>>> understanding, was that Yamamoto shifted his representation from the city
>>> of Tokyo to the national proportion representational block, this
>>> fascinating open system where people all over the country can vote for a
>>> party. This was a big gamble. Moreover, the party gives a ranked list and
>>> although they expected to pick up at least two seats Yamamoto put himself
>>> 3rd....behind the two disabled politicians. Who won, and he came up short.
>>> Both are quite severely disabled, one in the advanced stages of ALS. Seeing
>>> them win was really moving.
>>>
>>> Hara seems to have centered his new film on the professor, Yasutomi
>>> Ayumi, who is transgender and on the Todai website lists her research
>>> subject as "Decolonization of the soul." She also campaigned with a horse
>>> and a Thriller flash mob. I recall watching this Youtube video, where she
>>> has a backup band and one of the zombies is carrying a baby:
>>>
>>> https://youtu.be/ett8o0u1fdI
>>>
>>> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging
>>> from his asbestos film, he really doesn't know how to deal with people who
>>> aren't edgy.  This could be really interesting. Here's the trailer:
>>>
>>> https://youtu.be/_b-Wieqk6Gk
>>>
>>> Back in the summer, Hara did some live streaming documentary on election
>>> night. I only heard about it afterwards, so if anyone saw it I'd love to
>>> hear what was it was like.
>>>
>>> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been
>>> concentrating on his writing and not filmmaking. I think he identifies more
>>> strongly with critical journalism than documentary. And this helps explain
>>> his film's subject, journalist Mochizuki Isoko:
>>>
>>> https://youtu.be/YQGF8y1TiA8
>>>
>>> I look forward to this as well.
>>>
>>> I sure do with these were at Yamagata and not TIFF. I'm wondering what
>>> this means......
>>>
>>> That said, the Japanese entry in the Yamagata main competition is a film
>>> I am really looking forward to and I'm impressed by its selection: Makino
>>> Takashi's Memento Stella.
>>>
>>> https://www.yidff.jp/2019/ic/19ic08-e.html
>>>
>>> I'll be in Yamagata. Hope to see some of you at Komian!
>>>
>>> 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
>>
> _______________________________________________
> 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
>


-- 
John Junkerman
jtj53213 at gmail.com
2-18-6 Ehara-cho, Nakano
Tokyo 165-0023
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From earljac at gmail.com  Thu Oct  3 23:01:22 2019
From: earljac at gmail.com (Earl Jackson)
Date: Fri, 4 Oct 2019 11:01:22 +0800
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <2065738973.4504124.1570121721755@mail.yahoo.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
Message-ID: <CABhbz8MJbDV-+-C=uiFA6HZHJQ6w36yL9Z1+LyQ29DFKYAUERA@mail.gmail.com>

I don't mind the length, but this old guy won't survive a midnight
screening. Those days are long gone.
Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz
Co-Director
Trans-Asia Screen Cultures Institute


On Fri, Oct 4, 2019 at 12:55 AM Roger Macy via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Thanks for this, Markus.
> The TIFF schedule is now posted
> https://2019.tiff-jp.net/en/schedule/list/day02
> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one
> screening starting at midnight.
>
> Can someone tell me/us how TIFF works for accredited professionals?  The
> 'press' page mentions P&I screenings. Do they tend to be in the mornings a
> couple of days before, or some other scheme ?   Is there a viewing room ?
>
> Roger
>
> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>
> Tokyo Film Festival announced their schedule and a notable film is a new
> work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes
> one of Tsuchimoto's films. It's about the new political party Reiwa
> Shinsengumi. I've always found Japanese elections depressingly dull, but
> this past one had me riveted to Youtube thanks to Yamamoto Taro. He started
> his career as a tarento, and also acted in movies (notably Battle Royale,
> Izo and Princess Raccoon). But he ran as an independent for the Diet after
> 3/11 and became a politician who spoke his mind and was openly critical of
> status quo politics. He notoriously passed a letter complaining about the
> handling of Fukushima to the emperor some years back. This year he
> established this new party and I have to say it was impressive.
>
> First of all, Yamamoto know how to give good speech. If you've never seen
> him, check this out (especially the halfway point):
>
> https://youtu.be/V6jbn9Ye670
>
> His party put up an amazing lineup for election this year. It included an
> Okinawan, two people with disabilities, a cross-dressing professor from
> Tokyo University who sometimes campaigned with a horse, and an obasan that
> was better at public speaking than Yamamoto.
>
> One of the impressive things about the party, from my admitted limited
> understanding, was that Yamamoto shifted his representation from the city
> of Tokyo to the national proportion representational block, this
> fascinating open system where people all over the country can vote for a
> party. This was a big gamble. Moreover, the party gives a ranked list and
> although they expected to pick up at least two seats Yamamoto put himself
> 3rd....behind the two disabled politicians. Who won, and he came up short.
> Both are quite severely disabled, one in the advanced stages of ALS. Seeing
> them win was really moving.
>
> Hara seems to have centered his new film on the professor, Yasutomi Ayumi,
> who is transgender and on the Todai website lists her research subject as
> "Decolonization of the soul." She also campaigned with a horse and a
> Thriller flash mob. I recall watching this Youtube video, where she has a
> backup band and one of the zombies is carrying a baby:
>
> https://youtu.be/ett8o0u1fdI
>
> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from
> his asbestos film, he really doesn't know how to deal with people who
> aren't edgy.  This could be really interesting. Here's the trailer:
>
> https://youtu.be/_b-Wieqk6Gk
>
> Back in the summer, Hara did some live streaming documentary on election
> night. I only heard about it afterwards, so if anyone saw it I'd love to
> hear what was it was like.
>
> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been
> concentrating on his writing and not filmmaking. I think he identifies more
> strongly with critical journalism than documentary. And this helps explain
> his film's subject, journalist Mochizuki Isoko:
>
> https://youtu.be/YQGF8y1TiA8
>
> I look forward to this as well.
>
> I sure do with these were at Yamagata and not TIFF. I'm wondering what
> this means......
>
> That said, the Japanese entry in the Yamagata main competition is a film I
> am really looking forward to and I'm impressed by its selection: Makino
> Takashi's Memento Stella.
>
> https://www.yidff.jp/2019/ic/19ic08-e.html
>
> I'll be in Yamagata. Hope to see some of you at Komian!
>
> 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
>
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From aaron.gerow at yale.edu  Mon Oct  7 13:26:19 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Mon, 7 Oct 2019 13:26:19 -0400
Subject: [KineJapan] Kawamata Takashi
Message-ID: <32450AED-2FEE-41DF-917C-A767C074FCC2@yale.edu>

The news services report that the cinematographer Kawamata Takashi ???, who shot films for Oshima Nagisa, Imamura Shohei, and Nomura Yoshitaro, died on October 5 at the age of 93. Kawamata studied at the wartime Film School of Japan and joined Shochiku in 1945. As a camera assistant, he worked on many films by Ozu before debuting as a director of photography in 1959. He shot a number of films with Oshima Nagisa, including his first short Ashita no taiyo, to Cruel Story of Youth and Night and Fog in Japan. He most worked with Nomura Yoshitaro on films such as Castle of Sand and The Incident, but he also shot films for Fukasaku Kenji and Imamura Shohei (Black Rain). He won a number of best cinematography awards over the years. R.I.P.

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Chair, East Asian Languages and Literatures
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From aaron.gerow at yale.edu  Fri Oct 11 11:07:04 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Fri, 11 Oct 2019 11:07:04 -0400
Subject: [KineJapan] Wada Makoto
Message-ID: <718E5394-F9DA-4150-B108-403976762D28@yale.edu>

The illustrator and film director Wada Makoto has passed away at the age of 83. Wada was most famous as an illustrator, drawing the covers for some of Murakami Haruki's novels, for instance. But he was also an essayist and wrote quite a lot on film, including rensai in Kinema Junpo. He worked on animation early in his career, and debuted as a feature length live action film director in 1984 with Mahjong horoki. R.I.P.

https://www.daily.co.jp/gossip/2019/10/11/0012780678.shtml <https://www.daily.co.jp/gossip/2019/10/11/0012780678.shtml>

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Chair, East Asian Languages and Literatures
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From eija.niskanen at gmail.com  Sat Oct 12 09:30:43 2019
From: eija.niskanen at gmail.com (Eija Niskanen)
Date: Sat, 12 Oct 2019 22:30:43 +0900
Subject: [KineJapan] Typhoon hits Yamagata
Message-ID: <CA+FavwMSoorfsyfPrKp=BemxU+9z7CByqb0Lz95QGiu2ettRKA@mail.gmail.com>

YIDFF has suffered due to the typhoon. Today 6 late screenings were
cancelled (everything starting after 6pm), and Komian club is closed as
well. There is supposed to be a 3-day Finnish sauna event at the yard of
Citizen hall, with a real sauna there. Today it had to be canceled - we
will see tomorrow.

Also the usual craft market that runs during the YIDFF weekend was
canceled.

But some of us found some open bars, and I was able to meet a fellow
Kinejapaner via this activity.

Eija Niskanen
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From yamamoto at filmandmedia.ucsb.edu  Tue Oct 15 22:40:06 2019
From: yamamoto at filmandmedia.ucsb.edu (Naoki Yamamoto)
Date: Tue, 15 Oct 2019 19:40:06 -0700
Subject: [KineJapan] A Tenure-Track Position of Japanese Film and Media at
 UC Irvine
Message-ID: <E6F8822D-C6AE-4481-9ACF-BB3162B976B2@filmandmedia.ucsb.edu>

Dear KineJapaners,

This is a great job opportunity for many of you on this list. I should also stress that UC Irvine has started a very exciting initiative on environmental issues in the field of Japanese Studies, led by Mimi Long.

Best,
Naoki

RECRUITMENT PERIOD
Open date: October 14th, 2019
Next review date: Friday, Nov 15, 2019 at 11:59pm (Pacific Time)
Apply by this date to ensure full consideration by the committee.
Final date: Sunday, Dec 15, 2019 at 11:59pm (Pacific Time)
Applications will continue to be accepted until this date, but those received after the review date will only be considered if the position has not yet been filled.
DESCRIPTION

Assistant Professor, Japanese Film and Media Studies

The Department of Film and Media Studies at the University of California, Irvine invites applications for a tenure-track Assistant Professor in Japanese film and media studies. This specialization may be broadly conceived to include transnational contexts and analyses, and is open in its range of media platforms (such as film, television, radio, anime, sound, games, mobile apps, and/or social media, etc.) and periods (from early cinema to contemporary media). We are also interested in candidates with a demonstrated engagement with one or more of the following areas: cultural studies, postcolonial theory, and/or the political and ethical implications of race, ethnicity, gender, sexuality, class, and indigeneity. Applicants must demonstrate potential for excellence in scholarship and in teaching a range of core and elective courses at the undergraduate and graduate levels. We offer the Ph.D. program in Visual Studies collaboratively with the Department of Art History. A Ph.D. in Film and Media Studies or related field must be completed by June 30, 2020.

To apply, please upload your cover letter, CV, article-length writing sample, names and contact information for three references, teaching statement, and diversity statement via UC Irvine?s on-line application system, AP Recruit, located at https://recruit.ap.uci.edu/JPF05783 <https://recruit.ap.uci.edu/JPF05783>
Additional materials, such as letters of recommendation and sample syllabi, may be requested at a later date.

Review of applications will begin November 15, 2019 and continue until the position is filled (start date is July 2020). Applications completed by November 15, 2019 will be granted full consideration.


Naoki Yamamoto
Assistant Professor
Film and Media Studies
University of California, Santa Barbara
yamamoto at filmandmedia.ucsb.edu

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From unkleque at yahoo.com.au  Thu Oct 17 10:52:22 2019
From: unkleque at yahoo.com.au (quentin turnour)
Date: Fri, 18 Oct 2019 01:52:22 +1100
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <CABhbz8MJbDV-+-C=uiFA6HZHJQ6w36yL9Z1+LyQ29DFKYAUERA@mail.gmail.com>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
 <CABhbz8MJbDV-+-C=uiFA6HZHJQ6w36yL9Z1+LyQ29DFKYAUERA@mail.gmail.com>
Message-ID: <27F5CD18-3C24-4D7F-B4BD-B6F769DE75C5@yahoo.com.au>

As a sidebar to this, Hara admirers might be interested in a new, long (9000 words) piece in English just up in the latest edition of The Asia-Pacific Journal - Japanese Focus, from historian Yuki Tanaka. https://apjjf.org/2019/20/Tanaka.html. 

It looks at the 1960s political activism of Okazaki Kenzo; the subject, of course, of Hara?s Yukiyukite shingun aka The Emperor?s Naked Army Marches On. 

Tanaka seems to be trying to re-establish Okazaki as a reasoned, audacious, if passionate social justice campaigner (at least up to his 1971 trial), and for the real legal significance of his constitutional challenge to the Emperor system. It?s a bit of a diferent presentation from the aggrieved, violent ?ratbag? that he seems to have become by the early 1980s, and the personality which dominates Hara?s film. Tanaka also seems to be making a case for a seeing something rational, strategic and necessary in Okazaki?s later actions?an understanding that can maybe get missed in most of the, often shocked and startled Anglosphere responses to the documentary. 

Quentin Turnour
> On 4 Oct 2019, at 1:01 PM, Earl Jackson via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> I don't mind the length, but this old guy won't survive a midnight screening. Those days are long gone.
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
> Co-Director
> Trans-Asia Screen Cultures Institute
> 
> 
> On Fri, Oct 4, 2019 at 12:55 AM Roger Macy via KineJapan <kinejapan at mailman.yale.edu <mailto:kinejapan at mailman.yale.edu>> wrote:
> Thanks for this, Markus.
> The TIFF schedule is now posted
> https://2019.tiff-jp.net/en/schedule/list/day02 <https://2019.tiff-jp.net/en/schedule/list/day02>
> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one screening starting at midnight.
> 
> Can someone tell me/us how TIFF works for accredited professionals?  The 'press' page mentions P&I screenings. Do they tend to be in the mornings a couple of days before, or some other scheme ?   Is there a viewing room ?
> 
> Roger
> 
> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu <mailto:kinejapan at mailman.yale.edu>> wrote:
> 
> 
> Tokyo Film Festival announced their schedule and a notable film is a new work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes one of Tsuchimoto's films. It's about the new political party Reiwa Shinsengumi. I've always found Japanese elections depressingly dull, but this past one had me riveted to Youtube thanks to Yamamoto Taro. He started his career as a tarento, and also acted in movies (notably Battle Royale, Izo and Princess Raccoon). But he ran as an independent for the Diet after 3/11 and became a politician who spoke his mind and was openly critical of status quo politics. He notoriously passed a letter complaining about the handling of Fukushima to the emperor some years back. This year he established this new party and I have to say it was impressive. 
> 
> First of all, Yamamoto know how to give good speech. If you've never seen him, check this out (especially the halfway point): 
> 
> https://youtu.be/V6jbn9Ye670 <https://youtu.be/V6jbn9Ye670>
> 
> His party put up an amazing lineup for election this year. It included an Okinawan, two people with disabilities, a cross-dressing professor from Tokyo University who sometimes campaigned with a horse, and an obasan that was better at public speaking than Yamamoto. 
> 
> One of the impressive things about the party, from my admitted limited understanding, was that Yamamoto shifted his representation from the city of Tokyo to the national proportion representational block, this fascinating open system where people all over the country can vote for a party. This was a big gamble. Moreover, the party gives a ranked list and although they expected to pick up at least two seats Yamamoto put himself 3rd....behind the two disabled politicians. Who won, and he came up short. Both are quite severely disabled, one in the advanced stages of ALS. Seeing them win was really moving.  
> 
> Hara seems to have centered his new film on the professor, Yasutomi Ayumi, who is transgender and on the Todai website lists her research subject as "Decolonization of the soul." She also campaigned with a horse and a Thriller flash mob. I recall watching this Youtube video, where she has a backup band and one of the zombies is carrying a baby: 
> 
> https://youtu.be/ett8o0u1fdI <https://youtu.be/ett8o0u1fdI>
> 
> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from his asbestos film, he really doesn't know how to deal with people who aren't edgy.  This could be really interesting. Here's the trailer:
> 
> https://youtu.be/_b-Wieqk6Gk <https://youtu.be/_b-Wieqk6Gk>
> 
> Back in the summer, Hara did some live streaming documentary on election night. I only heard about it afterwards, so if anyone saw it I'd love to hear what was it was like. 
> 
> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been concentrating on his writing and not filmmaking. I think he identifies more strongly with critical journalism than documentary. And this helps explain his film's subject, journalist Mochizuki Isoko:
> 
> https://youtu.be/YQGF8y1TiA8 <https://youtu.be/YQGF8y1TiA8>
> 
> I look forward to this as well. 
> 
> I sure do with these were at Yamagata and not TIFF. I'm wondering what this means......
> 
> That said, the Japanese entry in the Yamagata main competition is a film I am really looking forward to and I'm impressed by its selection: Makino Takashi's Memento Stella. 
> 
> https://www.yidff.jp/2019/ic/19ic08-e.html <https://www.yidff.jp/2019/ic/19ic08-e.html>
> 
> I'll be in Yamagata. Hope to see some of you at Komian!
> 
> 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 <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>
> _______________________________________________
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> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From nornes at umich.edu  Thu Oct 17 22:48:38 2019
From: nornes at umich.edu (Markus Nornes)
Date: Fri, 18 Oct 2019 11:48:38 +0900
Subject: [KineJapan] New Hara Kazuo film
In-Reply-To: <27F5CD18-3C24-4D7F-B4BD-B6F769DE75C5@yahoo.com.au>
References: <CANoSnpB--zprQrXA5+=vbTRx_exMwcFVAsXKkpg9qnMgR+sALw@mail.gmail.com>
 <2065738973.4504124.1570121721755@mail.yahoo.com>
 <CABhbz8MJbDV-+-C=uiFA6HZHJQ6w36yL9Z1+LyQ29DFKYAUERA@mail.gmail.com>
 <27F5CD18-3C24-4D7F-B4BD-B6F769DE75C5@yahoo.com.au>
Message-ID: <CANoSnpDVZhL+0VXmo_Z4rBH4RHRV46pEe6s-VWgc=4_=o2Puow@mail.gmail.com>

This is a fascinating article. It really overturns my notions about who
Okuzaki was?and thus, the film, too. Thanks for posting it.

Markus


---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*



On Thu, Oct 17, 2019 at 11:51 PM quentin turnour via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> As a sidebar to this, Hara admirers might be interested in a new, long
> (9000 words) piece in English just up in the latest edition of The
> Asia-Pacific Journal - Japanese Focus, from historian Yuki Tanaka.
> https://apjjf.org/2019/20/Tanaka.html.
>
> It looks at the 1960s political activism of Okazaki Kenzo; the subject, of
> course, of Hara?s Yukiyukite shingun aka The Emperor?s Naked Army Marches
> On.
>
> Tanaka seems to be trying to re-establish Okazaki as a reasoned,
> audacious, if passionate social justice campaigner (at least up to his 1971
> trial), and for the real legal significance of his constitutional challenge
> to the Emperor system. It?s a bit of a diferent presentation from the
> aggrieved, violent ?ratbag? that he seems to have become by the early
> 1980s, and the personality which dominates Hara?s film. Tanaka also seems
> to be making a case for a seeing something rational, strategic and
> necessary in Okazaki?s later actions?an understanding that can maybe get
> missed in most of the, often shocked and startled Anglosphere responses to
> the documentary.
>
> Quentin Turnour
>
> On 4 Oct 2019, at 1:01 PM, Earl Jackson via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> I don't mind the length, but this old guy won't survive a midnight
> screening. Those days are long gone.
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
> Co-Director
> Trans-Asia Screen Cultures Institute
>
>
> On Fri, Oct 4, 2019 at 12:55 AM Roger Macy via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Thanks for this, Markus.
>> The TIFF schedule is now posted
>> https://2019.tiff-jp.net/en/schedule/list/day02
>> which tells us that 'Reiwa Uprising' is 270 minutes long, and has one
>> screening starting at midnight.
>>
>> Can someone tell me/us how TIFF works for accredited professionals?  The
>> 'press' page mentions P&I screenings. Do they tend to be in the mornings a
>> couple of days before, or some other scheme ?   Is there a viewing room ?
>>
>> Roger
>>
>> On Sunday, 29 September 2019, 02:20:05 BST, Markus Nornes via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>
>> Tokyo Film Festival announced their schedule and a notable film is a new
>> work by Hara Kazuo. It's called Reiwa Uprising (?????), a title that evokes
>> one of Tsuchimoto's films. It's about the new political party Reiwa
>> Shinsengumi. I've always found Japanese elections depressingly dull, but
>> this past one had me riveted to Youtube thanks to Yamamoto Taro. He started
>> his career as a tarento, and also acted in movies (notably Battle Royale,
>> Izo and Princess Raccoon). But he ran as an independent for the Diet after
>> 3/11 and became a politician who spoke his mind and was openly critical of
>> status quo politics. He notoriously passed a letter complaining about the
>> handling of Fukushima to the emperor some years back. This year he
>> established this new party and I have to say it was impressive.
>>
>> First of all, Yamamoto know how to give good speech. If you've never seen
>> him, check this out (especially the halfway point):
>>
>> https://youtu.be/V6jbn9Ye670
>>
>> His party put up an amazing lineup for election this year. It included an
>> Okinawan, two people with disabilities, a cross-dressing professor from
>> Tokyo University who sometimes campaigned with a horse, and an obasan that
>> was better at public speaking than Yamamoto.
>>
>> One of the impressive things about the party, from my admitted limited
>> understanding, was that Yamamoto shifted his representation from the city
>> of Tokyo to the national proportion representational block, this
>> fascinating open system where people all over the country can vote for a
>> party. This was a big gamble. Moreover, the party gives a ranked list and
>> although they expected to pick up at least two seats Yamamoto put himself
>> 3rd....behind the two disabled politicians. Who won, and he came up short.
>> Both are quite severely disabled, one in the advanced stages of ALS. Seeing
>> them win was really moving.
>>
>> Hara seems to have centered his new film on the professor, Yasutomi
>> Ayumi, who is transgender and on the Todai website lists her research
>> subject as "Decolonization of the soul." She also campaigned with a horse
>> and a Thriller flash mob. I recall watching this Youtube video, where she
>> has a backup band and one of the zombies is carrying a baby:
>>
>> https://youtu.be/ett8o0u1fdI
>>
>> It's hardly surprising Hara chose Yasutomi and not Yamamoto. Judging from
>> his asbestos film, he really doesn't know how to deal with people who
>> aren't edgy.  This could be really interesting. Here's the trailer:
>>
>> https://youtu.be/_b-Wieqk6Gk
>>
>> Back in the summer, Hara did some live streaming documentary on election
>> night. I only heard about it afterwards, so if anyone saw it I'd love to
>> hear what was it was like.
>>
>> Mori Tatsuya also has a new film at TIFF. In recent years, Mori has been
>> concentrating on his writing and not filmmaking. I think he identifies more
>> strongly with critical journalism than documentary. And this helps explain
>> his film's subject, journalist Mochizuki Isoko:
>>
>> https://youtu.be/YQGF8y1TiA8
>>
>> I look forward to this as well.
>>
>> I sure do with these were at Yamagata and not TIFF. I'm wondering what
>> this means......
>>
>> That said, the Japanese entry in the Yamagata main competition is a film
>> I am really looking forward to and I'm impressed by its selection: Makino
>> Takashi's Memento Stella.
>>
>> https://www.yidff.jp/2019/ic/19ic08-e.html
>>
>> I'll be in Yamagata. Hope to see some of you at Komian!
>>
>> 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
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From matteo.boscarol at gmail.com  Sat Oct 19 05:09:06 2019
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Sat, 19 Oct 2019 18:09:06 +0900
Subject: [KineJapan] Kawasaki City Museum
Message-ID: <F9196FA8-86C6-45ED-8396-0D7EEBEC7D5F@gmail.com>

Dear all, 

I fear to ask, but does anybody have some information about the current situation of the Kawasaki City Museum after the place was flooded? Especially about the film archives....

Matteo Boscarol
????? ????
???????????
- Documentary in Japan and Asia
http://storiadocgiappone.wordpress.com
- Film writer for Il Manifesto
http://ilmanifesto.it



From adrian at restorationasia.org  Sat Oct 19 05:21:40 2019
From: adrian at restorationasia.org (Adrian- Restoration Asia)
Date: Sat, 19 Oct 2019 18:21:40 +0900
Subject: [KineJapan] Kawasaki City Museum
In-Reply-To: <F9196FA8-86C6-45ED-8396-0D7EEBEC7D5F@gmail.com>
References: <F9196FA8-86C6-45ED-8396-0D7EEBEC7D5F@gmail.com>
Message-ID: <021401d5865e$9ecd7350$dc6859f0$@org>

Dear Matteo,

This report may offer insight about the tragic situation. 

https://www.asahi.com/articles/photo/AS20191018004102.html

I have nothing first hand unfortunately.

Adrian Wood
Fukuoka, Japan

www.restorationasia.org

-----Original Message-----
From: KineJapan [mailto:kinejapan-bounces at mailman.yale.edu] On Behalf Of matteo boscarol via KineJapan
Sent: Saturday, October 19, 2019 06:09 PM
To: kinejapan at mailman.yale.edu
Cc: matteo boscarol
Subject: [KineJapan] Kawasaki City Museum

Dear all, 

I fear to ask, but does anybody have some information about the current situation of the Kawasaki City Museum after the place was flooded? Especially about the film archives....

Matteo Boscarol
????? ????
???????????
- Documentary in Japan and Asia
http://storiadocgiappone.wordpress.com
- Film writer for Il Manifesto
http://ilmanifesto.it


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


From nornes at umich.edu  Sat Oct 19 20:51:59 2019
From: nornes at umich.edu (Markus Nornes)
Date: Sun, 20 Oct 2019 09:51:59 +0900
Subject: [KineJapan] YIDFF 2019
Message-ID: <CANoSnpBWMK+8oDXk79sFtnPAqizW0-vFvJm22G+t6MT51NHW7A@mail.gmail.com>

The Yamagata festival ended a couple days ago. During the festival, I kept
some notes and I through I would collect them here to describe how it went.
This was the 30th anniversary of the festival, and there were some
retrospective events. Fewer and lower key than I expected, but I?ll save
that for the end.



The overall takeaway: Yamagata remains the most exciting film event in
Japan. I?m partial, of course, but it?s a fact. Surrounding the competition
and Asia Program are unique (sort of?more on that later) retrospectives
that show both canonical and rare films. The quality of projection is very
high, and the festival has proven committed to projecting films *on film;*
as usual, even venues that are nothing more than museum meeting rooms had
16mm and 35mm projectors showing archival prints.



And one thing that becomes more palpable with every festival is the
rejection of a market or pitching forum. Thank god. And thanks to this, the
festival stands out as a true celebration of cinema. Finally, it?s as
friendly and as welcoming as ever. Komian Club, the pickles restaurant that
the festival takes over every night, remains?as Oda Kaori put it at a
30th anniversary
event??non-discriminatory? (*musabetsu*); the entire festival gathers and
celebrates together into the morning every evening. It?s great. What a
great festival.



Attending any film festival involves the usual hard decisions about what to
see and what to miss, and the feverish running from venue to venue. I?ll
make that dash around the festival below. These are rather scattershot?..



International Competition: The foreign filmmakers and programmers are
always scratching their heads over the selection. I don?t know if the
festival even realizes how strange the slate looks year after year. But the
festival has remained committed to a democratic selection process that
involves a wide mix of citizens and professional film people, and no top
curator making final decisions. So, naturally, strange films rise to the
top and it?s somewhat ragtag. Also, some festival friends tend to get
favored treatment in a tiny 15-film slate construed from thousands of
entries. A good example from this year is *Living the Light?Robby M?ller.*
The foreigners were, like, why??? But M?ller was a friend of Ogawa
Shinsuke?s. He was a talented filmmaker, but still (similarly, people
wondered about a previous festival?s M?ller retrospective, when there are
living filmmakers who changed the course of documentary history).



Other festival friends this year include Wiseman (*Monrovia*), Patwardhan (
*Reason*), and Wang Bing (*Dead Souls*), who have been in this tiny
competition before. Reason was a respectable choice?it?s a major,
harrowing, Patwardhan film about nationalist violence. In one unforgettable
sequence, three nationalist agitators call for the audience to ?crush Anand
Patwardan?s bones?; the camera pans and shows the director shooting among
the press, and he gets a question in: ?I?m right here. You want me, come
and get me.? He?s a brave man in a dangerous spot. As for Wiseman, his film
has already made festival rounds; but he?s hugely popular in Japan. Same
with Wang Bing.



But Wang Bing deserves some highlighting. The thing is well over 500
minutes when you include intermissions, so it fills an entire theater for
an entire day?and they showed it twice. You have to admire Yamagata?s
courage to show films this long, especially when the competition is so
small (Wiseman?s film was 143 and Patwardan?s was 208 min). They also
showed his West of the Tracks and Feng Ming, both of which took top awards.
I love those films, but this one did nothing for me. I?m willing to admit
it might be because I watched it at home streaming, rather than in a
theatrical setting I had no control over and with a crowd (the Yamagata
audiences were huge and a majority stayed to the end). I found *Dead
Souls* dull
and repetitious, a mere string of (often poorly-shot) interviews. I was
grateful that it didn?t show the disturbing ethical lapses of his recent
films. But the whole affair was lifeless and could have been accomplished
in a 2-hour film. Obviously, the jury disagreed. They gave it the Flaherty
grand prize.



Suwa was on the jury and I cornered him at the closing party to ask what
turned his proverbial crank. He has some decent reasoning: the 8 hours
stringing together various POVs on the same physical space and time had
this strange, cinematic dynamic. An accretion of details, sometimes
contradictory, that intermingle and work off each other in a manner he had
never experienced in cinema. OK. I guess I can imagine that, but I
certainly didn?t experience it. WB himself was a no-show. Wang Bing has a
rep for suddenly dropping out of programs that people put their treasure
and sweat into, most recently at Wellesley last year. But here Yamagata?s
devoting two days of theatrical real estate to his film, and imagine how
much money it costs to subtitle an 8 hour film. What made this no-show
particularly obnoxious was the fact that he was just in Tokyo a couple
weeks ago for a small, minor gallery installation. In a message to the
awards ceremony, he said he was simply too busy. But it?s hard not to
imagine that the difference between Yamagata and that tiny gallery was that
the latter is trying to sell his work for tens of thousands of dollars. I
guess he felt no upside to attending Yamagata.



In contrast, screenings of Makino Takashi?s *Memento Stella* were prefaced
by a heartfelt message to the audience where the director explained how
desperately he tried to work around typhoon flight cancellations to get the
festival from Berlin. He even offered a profound thanks to the programmers
for their efforts to show his work. *Memento Stella* was never going to win
an award, and the film has been ravaged in social media. But those writers
were expecting ?documentary? in the conventional sense, and this is a
Makino film. And one of his best. It has connections to *the* world, but
the film is a trippy, starry trance film-of-a-documentary. Suwa and I
talked about this one, too. We were both thrilled to see Yamagata include
it in the competition. After all, one of Yamagata?s legacies in Japan has
been to smash conventional notions of the nonfiction form.



Onward: Wakai Makiko?s New Asian Currents program was as strong as ever.
Although the international competition filmmakers rarely get it because
they are focused on their competition, the Asia program remains the heart
and soul of Yamagata. Unfortunately, frenetically rushing from program to
program, I only saw about four of the films, but I liked all of them. The
title that I heard dropped more than any other was probably the special
invitation of Mickey Chen?s *Boys for Beauty,* which was shown in tribute
to the director following his untimely death. My fave was Oda Kaori?s
*Cenote*. It was a stunning experimental doc she shot in the freshwater
sinkholes of Yucatan. The film alternates between underwater photography
and more ethnographic images on the ground above. The former were sensuous
and haptic and reminded me a lot of the experience of *Leviathan* (incredibly,
these razor sharp images were shot on iPhone); unlike *Leviathan*, the
images of people up on the ground focus on faces and give some sense for
their life (happily, these grainy images were shot on Super-8). Oda also
had an art exhibit connected to the film at a local gallery.



The sidebars were of the usual high quality. The cleverly titled AM/NESIA:
Forgotten ?Archipelagos? of Oceana, by Hama Haruka and Greg Dvorak, had a
wonderful structure: Crossings, Lands, and Bodies were ?three archipelagos?
containing the films. Most of the films were from the last 5 years, but
they also showed a sound version of the 1933 *Lifeline of the Sea, *one of
the first long-form documentaries in Asia. These were tightly programmed to
play off each other in their brackets and get people thinking. For example,
imperial era *Lifeline* was shown back to back with Sekiguchi?s *Senso
Daughters*, and peoples? breath was taken away when Japanese songs from the
*Lifeline* era were sung in the later film. This kind of thoughtfulness was
evident in the catalog as well, for instance putting the colonizer in
brackets when listing the source (eg., Hawai?i [USA]). This is Yamagata
smart. I love it. The program came with a great catalog with essays and
poetry. I haven?t cracked this one, yet, but look forward to it.



Another sidebar was Tsuchida Tamaki?s Double Shadows 2. Like its
predecessor, this was a cineaste?s fun feast of films about film. There
were a few classics that have rarely been shown in Japan (*Showman, Meeting
Marlon Brando, Chronicle of a Summer*), along with a worthy new film or two
(Kim So-young?s *Goodbye My Love, North Korea, Chuck Norris vs. Communism*).
A highlight was a tribute screening of *On My Way to Fujiyama, I Saw? *by
Mekas. This was also the festival?s opening film. I missed the opening
ceremony, but the introduction by Kimura Michio (the farmer poet that
invited Ogawa to Magino) was the talk of the festival. He had met Mekas on
that 1983 trip to Japan, and contrasted Mekas? nostalgia for his home to
Kimura?s own hatred for his own village. This program, by design, is a grab
bag of cool and interesting films yet, unlike AM/NESIA, does not make the
effort that went into programming felt. Thankfully, there is a very serious
catalog, filled with top writers and a great section on Mekas. I?d seen
most of the films, so I spent my time elsewhere.



Another major program was Morita Noriko?s The Creative Treatment of
Grierson in Wartime Japan. If Double Shadows 2 was a cineaste world, ?the
30s program? as people were calling it, was an historian?s world. I heard
one disparaging comment calling it ?that dissertation program?; true, it?s
the topic of the curator?s dissertation. But it was anything but stale.
There were a set of carefully chosen frames that teased out the global
connections and synchronicities going on in the late 30s and early 40s when
documentary was taking its conventional form. I?ve never seen such a
program attempted anywhere, and thought it was very successful. It pitted
canonical documentaries like *Drifters, Housing Problems* and *Turksib* against
their Japanese counterparts, some of which are rarely shown canonical docs,
and others unknown films which have not been screened since their initial
release. Everything was projected on film, which was occasionally
eye-opening (foreign curators I talked to were delighted at both the chance
to see early Japanese doc and the proper projection of classics that made
them rethink the films). And the special catalog, with essays by
Kinejapaners Naoki Yamamoto, Anastasia Fedorova, Aaron Gerow and myself
(also Okada Hidenori) amply showed how the theoretical discourses around
documentary were far more advanced than anything going on in the West (ie.,
Rotha and Grierson). There were good talks as well; I was particularly
impressed by Anastasia Fedorova?s discussion of *Turksib* and the equally
imperialist* Hakumo-sen* (as well as her contribution to the catalog).



One of the more unusual programs was Home Movie Day. This was part of the
global home movie day celebration, although it took place a few weeks
early. The venue was the Forum, and independent cineplex. On the surface,
the Forum looks like any other multi-screen cineplex; however, its roots
sink back to the independent screening movement forged by Ogawa and others.
So it was wonderful to walk into the theater and see a battery of Super-8
projectors set up in the back. The first film was startling. It was 20
seconds of a clock tower at night, followed by what looked like colorful
strips of films running down the screen; it was accompanied by the director
crouching in the front of the screen with a tiny music box playing a paper
strip. It was startling because this was the festival trailer that opened
every screening. It was a charming, lovely trailer and truly wonderful to
see a live performance in Super-8. This was followed by various home movies
brought in by directors visiting the festival, including John Torres from
the Philippines, Oda Kaori, and others. As you might imagine, this was hit
and miss. But the climax of the program was fantastic. Onishi Kenji, the
Don of Super-8 in Japan and projectionist for the evening, showed his
documentary on the 2013 festival. It was, as usual, filled with fast-motion
clips of familiar faces and stunningly beautiful, hand-developed Super-8.
And this was followed by Sato Makoto?s rarely screened Super-8
documentary/fiction/home movie, *Megami-sama kara no tegami* (*Letter from
the Goddess*). Oh, and the young ?uns in the audience were treated to a
stuck projector and film meltdown! The MC actually had to explain what they
were looking at. Onishi called from the back, ?No worries. It happens all
the time.? Charming.



The festival offered a new edition of its 3/11 series, Cinema With Us 2019,
programmed by Hosoya Shuhei. There was a relatively small selection of
films, with an equal selection from Taiwan (especially by Huang Shu-mei).
Also a 3-hour symposium with Wood Lin, Komori Haruka, Aikawa Yoichi (who is
researching the Ogawa Pro screening movement) and media theorist/historian
Kadobayashi Takeshi. There was some talk about the program is making the
problem of forgetting palpable. Fewer films than before. Fewer audience
members. It will be interesting to see how the festival deals with this
inevitable trend as 3/11 recedes into the past.



There were other programs I didn?t have a chance to get to. Reality and
Realism: Iran 60s-80s, Perspectives Japan (recent domestic docs), Yamagata
and Film (also an ongoing program), Yamagata Rough Cut (workshopping docs
by young filmmakers in rough cut form), Chris Fujiwara and Kitakoji Takashi
ran another film criticism workshop, and Fujioka Asako programmed Rustle of
Spring, Whiff of Gunpowder: Documentaries from North India. The latter was
in conjunction with the establishment of a film archive in northeast India,
where political unrest has made such an institution impossible up to now.
Another event that caused a lot of buzz was a small program of
documentaries on butoh dancer Ono Kazuo, climaxing with a live performance
by dancer (and festival interpreter!) Kawaguchi Takao in the ruins-like
attic of a nearby primary school; I heard it was breathtaking. There were
also a few symposia celebrating Yamagata?s new status as a UNESCO Creative
City.



Oh yes, and it seems the Fins threw some money at the festival to promote
their country?by constructing an honest-to-god Finnish sauna in front of
one of the venues. Unfortunately, you needed both time and a swimsuit.



What am I missing?



One relatively new thing were satellite events held at night at cafes
around town. They had this kind of thing in the past, but in 2019 they felt
more organized and ubiquitous. Some of these showed films. Others were
organized by other documentary festivals, or journals like *neo-neo* and
*F/22*. These were really uneven. Some were virtually empty. Others were
packed, drawing spectators from the official, ticketed events. In this
sense, while it was interesting, it might also be a little self-defeating.
The festival is doing a bunch of these themselves (Taiwan party, karaoke
night), and they tend to be more meaningful and well-attended.



Ah, once again the festival published the free *Sputnik* magazine.  This is
produced by a team led by Tsuchida Tamaki, with editors Okuyama Shinichiro,
Nakamura Daigo, and Nakamura Masato. Billed as a ?YIDFF Reader,? it
includes essays on nearly 30 of the festival films, and by prominent
scholars and critics. What a wonderful idea. There is still a daily
newspaper, but *Sputnik* has heft because its prepared over the summer. The
writing is solid and critical.



And did I mention that *Sputnik*, like all festival publications and every
single screening and symposium, is bilingual? Where there are other
languages besides English and Japanese, there are always interpreters/subs
as well. It?s by far the most international festival in Japan, putting TIFF
to shame (as Aaron often points out).



Another thing worth noting is that Yamagata?s celebration of cinema spins
off to the rest of Japan after the closing ceremony. The festival selects
some directors to hold screenings in other parts of the prefecture. And
then quite a few directors are tapped for screening events at universities
and institutes around Japan. Sharing the documentary love.



The festival also held tribute screenings for friends of the festival who
passed away: in addition to Mekas and Chen, there were Nelson Pereira dos
Santos, Tamura Masaki, Barbara Hammer, and Peng Xiaolian. And, sadly, Ogawa
Shinsuke?s wife, Shiraishi Yoko, passed away the day before the festival.
Word spread mid-festival, although I?m unsure if there was a tribute or
not. There was also a beautiful catalog offered at the venues for Miyazawa
Hikaru, one of the core masterminds of the Yamagata Festival. He died last
year at aged 64. Miyazawa-san was a fixture at YIDFF, and an activist
supporting local film culture through independent screenings. Everyone
missed his presence very much. The catalog features tributes from scores of
people who appreciated his efforts to make Yamagata a ?Movie Capital.?



That phrase sounds a bit ridiculous, but it comes from Ogawa Shinsuke and
the title of Iizuka Toshio?s 1989 documentary on the first YIDFF. This was
shown, along with its 2005 sequel, as part of a modest celebration of the
30-year history of the festival. Director Iizuka Toshio gave an interesting
discussion about the films. He described how this was his first attempt at
directing, and Ogawa gradually took the project over during postproduction.
(I was there; it was ugly.) And one of the toughest things for him was
seeing Ogawa go on and on and on about how he wanted to encourage and
support Asian filmmakers. Ogawa even talked about creating a kind of
transnational collective of directors in Asia. Iizuka would listen to these
monologues, which are sampled in *A Movie Capital,* and feel distress: Why,
he thought, doesn?t he try to raise up directors in his own collective
first!??!



There was an interesting panel about the history of the festival organized
by Masuya Shuichi, who has led the festival?s volunteer network since the
beginning. I was struck by Masuya?s introduction to the 30-year anniversary
symposium. He brought us back to the Manifesto that was drafted by Kidlat
Tahimik (who had attended the Oberhausen festival the year of its famous
manifesto), and signed by the Asian filmmakers at the 1989 festival.
Kidlat, Ogawa and Co. were complaining that no Asian films were in the
competition and called for Yamagata to nurture Asian documentary. Well, the
Asia Program was started in 1991 and mirrored the international
competition. This became New Asian Currents in 1995; not only did it grow
in size and stature, but it also became as competitive as the international
competition. Masuya pointed out there was no way to predict in 1989 that
the New Asian Currents in 2019 would be swamped by 2,000 entries. Talk
about explosive growth.



Masuya also helped us imagine the conditions that led to the creation of
the festival. Back in the 1980s, it was hard to see films. There was no
bullet train until 1992, so going to the big city was a chore (I remember
driving over the mountains over 8 hours to visit with Ogawa or the long
train ride through Sendai). It was also going to cost you 30,000 for all
the travel, hotel and food. And because home video was still nascent, DIY
was the only option. People like Masuya, Miyazawa and other core people in
the festival would get friends together and rent prints and hold
screenings. The festival was a natural extension of this.



There was another tidbit from this symposium that I didn?t know, or if I
ever did I forgot: the creation of Komian Club appears connected to a
conversation I had with Masuya at the 1991 festival. I pointed out how
expensive Japan was for the Asian filmmakers (and poor students like
myself). A coffee or a beer was a significant purchase, let alone food. So
the following festival, they founded the Komian Club. It?s now turned into
one of the loved features of YIDFF.



Masuya also found Ogawa?s ?Movie Capital? hyperbole a bit embarrassing, and
certainly premature. But in retrospect, Masuya realized that this was Ogawa
laying down a challenge to the festival to grow into the title. Maybe
Yamagata is no Paris, but I think it has become a movie capital in its own,
unique way.



That doesn?t mean there isn?t room for improvement. At the end of his 30th Year
symposium, Masuya asked for some thoughts from his audience about the next
30 years. I offered one or two. Yamagata Documentary Film Festival is
remarkably rich. At the same time, it has become regrettably predictable.
In the last decade they took on an odd repetition problem. It remains a
truly great festival, but one with no sense of surprise. There has been an
earthquake program in every edition since 2011. They?ve had Taiwan-centric
programs in 2005, 2015 and now this year. This was the third iteration of
Islands after 2009 and 2011. Double Shadows doubled this year.  Combined
with regular programs focusing on a geographical location (Switzerland,
Germany, Lebanon, Africa, Iran, etc.), there is a sense of deadening
familiarity about the festival.



Part of this is a packaging problem; things going on inside the programs
are more complex and curated than they appear in the PR. In this sense, the
contrast between this year?s Double Shadows (basically more of the
same?title + 2) and Islands (really intensely curated with overt,
thought-provoking structures and creative naming) is striking.



I realize there are programs that they pretty much need to do every year:
Perspectives Japan (for the new Japanese work that didn?t make the
competitions), Yamagata and Japan for local films (new and old), Rough Cut!
(a really worthy effort that can help produce better films), and I realize
it?s hard for them to give up the 311 program. But this puts a lot of
pressure on the other retrospectives to create a sense of wonder and
expectancy, to open eyes and draw audiences beyond set constituencies.



I hope they?ll stop doing the same thing over and over again and bring back
a sense of unpredictability that inspires a giddy anticipation before the
festival. YIDFF is stuck in a rut?a  really great rut. But a rut,
nonetheless. The festive sense of ?festival? is being taken over by
predictability and endless reiteration. People have been whispering this
for many years; I wonder if it ever reached the ears of the festival?



That said, there are few film festivals around the world that are as rich
and varied. And if you are interested in Asian film, it?s hard to beat. I?m
thankful for all the films I had a chance to see (including old films on
film), all the people I met, and the daily experience of learning new
things and new ways to think about what I thought I knew.
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From matteo.boscarol at gmail.com  Sat Oct 19 22:33:28 2019
From: matteo.boscarol at gmail.com (matteo boscarol)
Date: Sun, 20 Oct 2019 11:33:28 +0900
Subject: [KineJapan] YIDFF 2019
In-Reply-To: <CANoSnpBWMK+8oDXk79sFtnPAqizW0-vFvJm22G+t6MT51NHW7A@mail.gmail.com>
References: <CANoSnpBWMK+8oDXk79sFtnPAqizW0-vFvJm22G+t6MT51NHW7A@mail.gmail.com>
Message-ID: <F561C926-5ACB-43BC-B2F3-EEA54F8B7DFE@gmail.com>

Thank you for the wonderful report Markus, AN/NESIA was really outstanding, and I was surprised how at the Japan Wartime program, during Night Mail?s screening, people were clapping and almost shouting with excitement. 
Let me add one more thing, among the satellite events, I was lucky enough to attend a special screening of gent? (magical lantern) ?documentaries? shot in the Miike mines during the big strikes of the 1950s. The event took place at the Yamagata University on the typhoon day. 
These ?magic lantern screenings? were accompanied by a benshi-like narration. A big thank you to the organizers: Koji Toba, Hana Washitani (her narration was fantastic) and two more people (I?m sorry but I don?t remember their names now). 
It?s a fascinating subject. 

You can read more here: 
https://doi.org/10.3390/arts8020064
and here: 
https://doi.org/10.18917/iconics.11.0_27

Regards

Matteo Boscarol
????? ????
???????????
- Documentary in Japan and Asia
http://storiadocgiappone.wordpress.com
- Film writer for Il Manifesto
http://ilmanifesto.it



> On Oct 20, 2019, at 9:51, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> The Yamagata festival ended a couple days ago. During the festival, I kept some notes and I through I would collect them here to describe how it went. This was the 30th anniversary of the festival, and there were some retrospective events. Fewer and lower key than I expected, but I?ll save that for the end.
>  
> The overall takeaway: Yamagata remains the most exciting film event in Japan. I?m partial, of course, but it?s a fact. Surrounding the competition and Asia Program are unique (sort of?more on that later) retrospectives that show both canonical and rare films. The quality of projection is very high, and the festival has proven committed to projecting films on film; as usual, even venues that are nothing more than museum meeting rooms had 16mm and 35mm projectors showing archival prints. 
>  
> And one thing that becomes more palpable with every festival is the rejection of a market or pitching forum. Thank god. And thanks to this, the festival stands out as a true celebration of cinema. Finally, it?s as friendly and as welcoming as ever. Komian Club, the pickles restaurant that the festival takes over every night, remains?as Oda Kaori put it at a 30th anniversary event??non-discriminatory? (musabetsu); the entire festival gathers and celebrates together into the morning every evening. It?s great. What a great festival. 
>  
> Attending any film festival involves the usual hard decisions about what to see and what to miss, and the feverish running from venue to venue. I?ll make that dash around the festival below. These are rather scattershot?..
>  
> International Competition: The foreign filmmakers and programmers are always scratching their heads over the selection. I don?t know if the festival even realizes how strange the slate looks year after year. But the festival has remained committed to a democratic selection process that involves a wide mix of citizens and professional film people, and no top curator making final decisions. So, naturally, strange films rise to the top and it?s somewhat ragtag. Also, some festival friends tend to get favored treatment in a tiny 15-film slate construed from thousands of entries. A good example from this year is Living the Light?Robby M?ller. The foreigners were, like, why??? But M?ller was a friend of Ogawa Shinsuke?s. He was a talented filmmaker, but still (similarly, people wondered about a previous festival?s M?ller retrospective, when there are living filmmakers who changed the course of documentary history). 
>  
> Other festival friends this year include Wiseman (Monrovia), Patwardhan (Reason), and Wang Bing (Dead Souls), who have been in this tiny competition before. Reason was a respectable choice?it?s a major, harrowing, Patwardhan film about nationalist violence. In one unforgettable sequence, three nationalist agitators call for the audience to ?crush Anand Patwardan?s bones?; the camera pans and shows the director shooting among the press, and he gets a question in: ?I?m right here. You want me, come and get me.? He?s a brave man in a dangerous spot. As for Wiseman, his film has already made festival rounds; but he?s hugely popular in Japan. Same with Wang Bing. 
>  
> But Wang Bing deserves some highlighting. The thing is well over 500 minutes when you include intermissions, so it fills an entire theater for an entire day?and they showed it twice. You have to admire Yamagata?s courage to show films this long, especially when the competition is so small (Wiseman?s film was 143 and Patwardan?s was 208 min). They also showed his West of the Tracks and Feng Ming, both of which took top awards. I love those films, but this one did nothing for me. I?m willing to admit it might be because I watched it at home streaming, rather than in a theatrical setting I had no control over and with a crowd (the Yamagata audiences were huge and a majority stayed to the end). I found Dead Souls dull and repetitious, a mere string of (often poorly-shot) interviews. I was grateful that it didn?t show the disturbing ethical lapses of his recent films. But the whole affair was lifeless and could have been accomplished in a 2-hour film. Obviously, the jury disagreed. They gave it the Flaherty grand prize. 
>  
> Suwa was on the jury and I cornered him at the closing party to ask what turned his proverbial crank. He has some decent reasoning: the 8 hours stringing together various POVs on the same physical space and time had this strange, cinematic dynamic. An accretion of details, sometimes contradictory, that intermingle and work off each other in a manner he had never experienced in cinema. OK. I guess I can imagine that, but I certainly didn?t experience it. WB himself was a no-show. Wang Bing has a rep for suddenly dropping out of programs that people put their treasure and sweat into, most recently at Wellesley last year. But here Yamagata?s devoting two days of theatrical real estate to his film, and imagine how much money it costs to subtitle an 8 hour film. What made this no-show particularly obnoxious was the fact that he was just in Tokyo a couple weeks ago for a small, minor gallery installation. In a message to the awards ceremony, he said he was simply too busy. But it?s hard not to imagine that the difference between Yamagata and that tiny gallery was that the latter is trying to sell his work for tens of thousands of dollars. I guess he felt no upside to attending Yamagata.
>  
> In contrast, screenings of Makino Takashi?s Memento Stella were prefaced by a heartfelt message to the audience where the director explained how desperately he tried to work around typhoon flight cancellations to get the festival from Berlin. He even offered a profound thanks to the programmers for their efforts to show his work. Memento Stella was never going to win an award, and the film has been ravaged in social media. But those writers were expecting ?documentary? in the conventional sense, and this is a Makino film. And one of his best. It has connections to the world, but the film is a trippy, starry trance film-of-a-documentary. Suwa and I talked about this one, too. We were both thrilled to see Yamagata include it in the competition. After all, one of Yamagata?s legacies in Japan has been to smash conventional notions of the nonfiction form. 
>  
> Onward: Wakai Makiko?s New Asian Currents program was as strong as ever. Although the international competition filmmakers rarely get it because they are focused on their competition, the Asia program remains the heart and soul of Yamagata. Unfortunately, frenetically rushing from program to program, I only saw about four of the films, but I liked all of them. The title that I heard dropped more than any other was probably the special invitation of Mickey Chen?s Boys for Beauty, which was shown in tribute to the director following his untimely death. My fave was Oda Kaori?s Cenote. It was a stunning experimental doc she shot in the freshwater sinkholes of Yucatan. The film alternates between underwater photography and more ethnographic images on the ground above. The former were sensuous and haptic and reminded me a lot of the experience of Leviathan (incredibly, these razor sharp images were shot on iPhone); unlike Leviathan, the images of people up on the ground focus on faces and give some sense for their life (happily, these grainy images were shot on Super-8). Oda also had an art exhibit connected to the film at a local gallery.
>  
> The sidebars were of the usual high quality. The cleverly titled AM/NESIA: Forgotten ?Archipelagos? of Oceana, by Hama Haruka and Greg Dvorak, had a wonderful structure: Crossings, Lands, and Bodies were ?three archipelagos? containing the films. Most of the films were from the last 5 years, but they also showed a sound version of the 1933 Lifeline of the Sea, one of the first long-form documentaries in Asia. These were tightly programmed to play off each other in their brackets and get people thinking. For example, imperial era Lifeline was shown back to back with Sekiguchi?s Senso Daughters, and peoples? breath was taken away when Japanese songs from the Lifeline era were sung in the later film. This kind of thoughtfulness was evident in the catalog as well, for instance putting the colonizer in brackets when listing the source (eg., Hawai?i [USA]). This is Yamagata smart. I love it. The program came with a great catalog with essays and poetry. I haven?t cracked this one, yet, but look forward to it.
>  
> Another sidebar was Tsuchida Tamaki?s Double Shadows 2. Like its predecessor, this was a cineaste?s fun feast of films about film. There were a few classics that have rarely been shown in Japan (Showman, Meeting Marlon Brando, Chronicle of a Summer), along with a worthy new film or two (Kim So-young?s Goodbye My Love, North Korea, Chuck Norris vs. Communism). A highlight was a tribute screening of On My Way to Fujiyama, I Saw? by Mekas. This was also the festival?s opening film. I missed the opening ceremony, but the introduction by Kimura Michio (the farmer poet that invited Ogawa to Magino) was the talk of the festival. He had met Mekas on that 1983 trip to Japan, and contrasted Mekas? nostalgia for his home to Kimura?s own hatred for his own village. This program, by design, is a grab bag of cool and interesting films yet, unlike AM/NESIA, does not make the effort that went into programming felt. Thankfully, there is a very serious catalog, filled with top writers and a great section on Mekas. I?d seen most of the films, so I spent my time elsewhere. 
>  
> Another major program was Morita Noriko?s The Creative Treatment of Grierson in Wartime Japan. If Double Shadows 2 was a cineaste world, ?the 30s program? as people were calling it, was an historian?s world. I heard one disparaging comment calling it ?that dissertation program?; true, it?s the topic of the curator?s dissertation. But it was anything but stale. There were a set of carefully chosen frames that teased out the global connections and synchronicities going on in the late 30s and early 40s when documentary was taking its conventional form. I?ve never seen such a program attempted anywhere, and thought it was very successful. It pitted canonical documentaries like Drifters, Housing Problems and Turksib against their Japanese counterparts, some of which are rarely shown canonical docs, and others unknown films which have not been screened since their initial release. Everything was projected on film, which was occasionally eye-opening (foreign curators I talked to were delighted at both the chance to see early Japanese doc and the proper projection of classics that made them rethink the films). And the special catalog, with essays by Kinejapaners Naoki Yamamoto, Anastasia Fedorova, Aaron Gerow and myself (also Okada Hidenori) amply showed how the theoretical discourses around documentary were far more advanced than anything going on in the West (ie., Rotha and Grierson). There were good talks as well; I was particularly impressed by Anastasia Fedorova?s discussion of Turksib and the equally imperialist Hakumo-sen (as well as her contribution to the catalog). 
>  
> One of the more unusual programs was Home Movie Day. This was part of the global home movie day celebration, although it took place a few weeks early. The venue was the Forum, and independent cineplex. On the surface, the Forum looks like any other multi-screen cineplex; however, its roots sink back to the independent screening movement forged by Ogawa and others. So it was wonderful to walk into the theater and see a battery of Super-8 projectors set up in the back. The first film was startling. It was 20 seconds of a clock tower at night, followed by what looked like colorful strips of films running down the screen; it was accompanied by the director crouching in the front of the screen with a tiny music box playing a paper strip. It was startling because this was the festival trailer that opened every screening. It was a charming, lovely trailer and truly wonderful to see a live performance in Super-8. This was followed by various home movies brought in by directors visiting the festival, including John Torres from the Philippines, Oda Kaori, and others. As you might imagine, this was hit and miss. But the climax of the program was fantastic. Onishi Kenji, the Don of Super-8 in Japan and projectionist for the evening, showed his documentary on the 2013 festival. It was, as usual, filled with fast-motion clips of familiar faces and stunningly beautiful, hand-developed Super-8. And this was followed by Sato Makoto?s rarely screened Super-8 documentary/fiction/home movie, Megami-sama kara no tegami (Letter from the Goddess). Oh, and the young ?uns in the audience were treated to a stuck projector and film meltdown! The MC actually had to explain what they were looking at. Onishi called from the back, ?No worries. It happens all the time.? Charming. 
>  
> The festival offered a new edition of its 3/11 series, Cinema With Us 2019, programmed by Hosoya Shuhei. There was a relatively small selection of films, with an equal selection from Taiwan (especially by Huang Shu-mei). Also a 3-hour symposium with Wood Lin, Komori Haruka, Aikawa Yoichi (who is researching the Ogawa Pro screening movement) and media theorist/historian Kadobayashi Takeshi. There was some talk about the program is making the problem of forgetting palpable. Fewer films than before. Fewer audience members. It will be interesting to see how the festival deals with this inevitable trend as 3/11 recedes into the past. 
>  
> There were other programs I didn?t have a chance to get to. Reality and Realism: Iran 60s-80s, Perspectives Japan (recent domestic docs), Yamagata and Film (also an ongoing program), Yamagata Rough Cut (workshopping docs by young filmmakers in rough cut form), Chris Fujiwara and Kitakoji Takashi ran another film criticism workshop, and Fujioka Asako programmed Rustle of Spring, Whiff of Gunpowder: Documentaries from North India. The latter was in conjunction with the establishment of a film archive in northeast India, where political unrest has made such an institution impossible up to now. Another event that caused a lot of buzz was a small program of documentaries on butoh dancer Ono Kazuo, climaxing with a live performance by dancer (and festival interpreter!) Kawaguchi Takao in the ruins-like attic of a nearby primary school; I heard it was breathtaking. There were also a few symposia celebrating Yamagata?s new status as a UNESCO Creative City. 
>  
> Oh yes, and it seems the Fins threw some money at the festival to promote their country?by constructing an honest-to-god Finnish sauna in front of one of the venues. Unfortunately, you needed both time and a swimsuit.
>  
> What am I missing? 
>  
> One relatively new thing were satellite events held at night at cafes around town. They had this kind of thing in the past, but in 2019 they felt more organized and ubiquitous. Some of these showed films. Others were organized by other documentary festivals, or journals like neo-neo and F/22. These were really uneven. Some were virtually empty. Others were packed, drawing spectators from the official, ticketed events. In this sense, while it was interesting, it might also be a little self-defeating. The festival is doing a bunch of these themselves (Taiwan party, karaoke night), and they tend to be more meaningful and well-attended.
>  
> Ah, once again the festival published the free Sputnik magazine.  This is produced by a team led by Tsuchida Tamaki, with editors Okuyama Shinichiro, Nakamura Daigo, and Nakamura Masato. Billed as a ?YIDFF Reader,? it includes essays on nearly 30 of the festival films, and by prominent scholars and critics. What a wonderful idea. There is still a daily newspaper, but Sputnik has heft because its prepared over the summer. The writing is solid and critical. 
>  
> And did I mention that Sputnik, like all festival publications and every single screening and symposium, is bilingual? Where there are other languages besides English and Japanese, there are always interpreters/subs as well. It?s by far the most international festival in Japan, putting TIFF to shame (as Aaron often points out). 
>  
> Another thing worth noting is that Yamagata?s celebration of cinema spins off to the rest of Japan after the closing ceremony. The festival selects some directors to hold screenings in other parts of the prefecture. And then quite a few directors are tapped for screening events at universities and institutes around Japan. Sharing the documentary love. 
>  
> The festival also held tribute screenings for friends of the festival who passed away: in addition to Mekas and Chen, there were Nelson Pereira dos Santos, Tamura Masaki, Barbara Hammer, and Peng Xiaolian. And, sadly, Ogawa Shinsuke?s wife, Shiraishi Yoko, passed away the day before the festival. Word spread mid-festival, although I?m unsure if there was a tribute or not. There was also a beautiful catalog offered at the venues for Miyazawa Hikaru, one of the core masterminds of the Yamagata Festival. He died last year at aged 64. Miyazawa-san was a fixture at YIDFF, and an activist supporting local film culture through independent screenings. Everyone missed his presence very much. The catalog features tributes from scores of people who appreciated his efforts to make Yamagata a ?Movie Capital.? 
>  
> That phrase sounds a bit ridiculous, but it comes from Ogawa Shinsuke and the title of Iizuka Toshio?s 1989 documentary on the first YIDFF. This was shown, along with its 2005 sequel, as part of a modest celebration of the 30-year history of the festival. Director Iizuka Toshio gave an interesting discussion about the films. He described how this was his first attempt at directing, and Ogawa gradually took the project over during postproduction. (I was there; it was ugly.) And one of the toughest things for him was seeing Ogawa go on and on and on about how he wanted to encourage and support Asian filmmakers. Ogawa even talked about creating a kind of transnational collective of directors in Asia. Iizuka would listen to these monologues, which are sampled in A Movie Capital, and feel distress: Why, he thought, doesn?t he try to raise up directors in his own collective first!??!  
>  
> There was an interesting panel about the history of the festival organized by Masuya Shuichi, who has led the festival?s volunteer network since the beginning. I was struck by Masuya?s introduction to the 30-year anniversary symposium. He brought us back to the Manifesto that was drafted by Kidlat Tahimik (who had attended the Oberhausen festival the year of its famous manifesto), and signed by the Asian filmmakers at the 1989 festival. Kidlat, Ogawa and Co. were complaining that no Asian films were in the competition and called for Yamagata to nurture Asian documentary. Well, the Asia Program was started in 1991 and mirrored the international competition. This became New Asian Currents in 1995; not only did it grow in size and stature, but it also became as competitive as the international competition. Masuya pointed out there was no way to predict in 1989 that the New Asian Currents in 2019 would be swamped by 2,000 entries. Talk about explosive growth. 
>  
> Masuya also helped us imagine the conditions that led to the creation of the festival. Back in the 1980s, it was hard to see films. There was no bullet train until 1992, so going to the big city was a chore (I remember driving over the mountains over 8 hours to visit with Ogawa or the long train ride through Sendai). It was also going to cost you 30,000 for all the travel, hotel and food. And because home video was still nascent, DIY was the only option. People like Masuya, Miyazawa and other core people in the festival would get friends together and rent prints and hold screenings. The festival was a natural extension of this.  
>  
> There was another tidbit from this symposium that I didn?t know, or if I ever did I forgot: the creation of Komian Club appears connected to a conversation I had with Masuya at the 1991 festival. I pointed out how expensive Japan was for the Asian filmmakers (and poor students like myself). A coffee or a beer was a significant purchase, let alone food. So the following festival, they founded the Komian Club. It?s now turned into one of the loved features of YIDFF. 
>  
> Masuya also found Ogawa?s ?Movie Capital? hyperbole a bit embarrassing, and certainly premature. But in retrospect, Masuya realized that this was Ogawa laying down a challenge to the festival to grow into the title. Maybe Yamagata is no Paris, but I think it has become a movie capital in its own, unique way. 
>  
> That doesn?t mean there isn?t room for improvement. At the end of his 30th Year symposium, Masuya asked for some thoughts from his audience about the next 30 years. I offered one or two. Yamagata Documentary Film Festival is remarkably rich. At the same time, it has become regrettably predictable. In the last decade they took on an odd repetition problem. It remains a truly great festival, but one with no sense of surprise. There has been an earthquake program in every edition since 2011. They?ve had Taiwan-centric programs in 2005, 2015 and now this year. This was the third iteration of Islands after 2009 and 2011. Double Shadows doubled this year.  Combined with regular programs focusing on a geographical location (Switzerland, Germany, Lebanon, Africa, Iran, etc.), there is a sense of deadening familiarity about the festival. 
>  
> Part of this is a packaging problem; things going on inside the programs are more complex and curated than they appear in the PR. In this sense, the contrast between this year?s Double Shadows (basically more of the same?title + 2) and Islands (really intensely curated with overt, thought-provoking structures and creative naming) is striking. 
>  
> I realize there are programs that they pretty much need to do every year: Perspectives Japan (for the new Japanese work that didn?t make the competitions), Yamagata and Japan for local films (new and old), Rough Cut! (a really worthy effort that can help produce better films), and I realize it?s hard for them to give up the 311 program. But this puts a lot of pressure on the other retrospectives to create a sense of wonder and expectancy, to open eyes and draw audiences beyond set constituencies.
>  
> I hope they?ll stop doing the same thing over and over again and bring back a sense of unpredictability that inspires a giddy anticipation before the festival. YIDFF is stuck in a rut?a  really great rut. But a rut, nonetheless. The festive sense of ?festival? is being taken over by predictability and endless reiteration. People have been whispering this for many years; I wonder if it ever reached the ears of the festival?
>  
> That said, there are few film festivals around the world that are as rich and varied. And if you are interested in Asian film, it?s hard to beat. I?m thankful for all the films I had a chance to see (including old films on film), all the people I met, and the daily experience of learning new things and new ways to think about what I thought I knew.  
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
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From nornes at umich.edu  Sat Oct 19 22:49:23 2019
From: nornes at umich.edu (Markus Nornes)
Date: Sun, 20 Oct 2019 11:49:23 +0900
Subject: [KineJapan] YIDFF 2019
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References: <CANoSnpBWMK+8oDXk79sFtnPAqizW0-vFvJm22G+t6MT51NHW7A@mail.gmail.com>
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Message-ID: <CANoSnpB4R8CURKPUzO-P4tBcxDD6De8XbV_WVcX=RwEXnzymJg@mail.gmail.com>

Oh yes, I heard from several people that the magic lantern event was great.

There were also some symposia on archiving, and a workshop on converting
16mm to digital.

M

On Sun, Oct 20, 2019 at 11:33 AM matteo boscarol <matteo.boscarol at gmail.com>
wrote:

> Thank you for the wonderful report Markus, AN/NESIA was really
> outstanding, and I was surprised how at the Japan Wartime program, during
> Night Mail?s screening, people were clapping and almost shouting with
> excitement.
> Let me add one more thing, among the satellite events, I was lucky enough
> to attend a special screening of *gent? (*magical lantern)
> ?documentaries? shot in the Miike mines during the big strikes of the
> 1950s. The event took place at the Yamagata University on the typhoon day.
> These ?magic lantern screenings? were accompanied by a benshi-like
> narration. A big thank you to the organizers: Koji Toba, Hana Washitani
> (her narration was fantastic) and two more people (I?m sorry but I don?t
> remember their names now).
> It?s a fascinating subject.
>
> You can read more here:
> https://doi.org/10.3390/arts8020064
> and here:
> https://doi.org/10.18917/iconics.11.0_27
>
> Regards
>
> Matteo Boscarol
> ????? ????
> ???????????
> - Documentary in Japan and Asia
> http://storiadocgiappone.wordpress.com
> - Film writer for Il Manifesto
> http://ilmanifesto.it
>
>
>
> On Oct 20, 2019, at 9:51, Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> The Yamagata festival ended a couple days ago. During the festival, I kept
> some notes and I through I would collect them here to describe how it went.
> This was the 30th anniversary of the festival, and there were some
> retrospective events. Fewer and lower key than I expected, but I?ll save
> that for the end.
>
>
>
> The overall takeaway: Yamagata remains the most exciting film event in
> Japan. I?m partial, of course, but it?s a fact. Surrounding the competition
> and Asia Program are unique (sort of?more on that later) retrospectives
> that show both canonical and rare films. The quality of projection is very
> high, and the festival has proven committed to projecting films *on film;*
> as usual, even venues that are nothing more than museum meeting rooms had
> 16mm and 35mm projectors showing archival prints.
>
>
>
> And one thing that becomes more palpable with every festival is the
> rejection of a market or pitching forum. Thank god. And thanks to this, the
> festival stands out as a true celebration of cinema. Finally, it?s as
> friendly and as welcoming as ever. Komian Club, the pickles restaurant that
> the festival takes over every night, remains?as Oda Kaori put it at a 30th anniversary
> event??non-discriminatory? (*musabetsu*); the entire festival gathers and
> celebrates together into the morning every evening. It?s great. What a
> great festival.
>
>
>
> Attending any film festival involves the usual hard decisions about what
> to see and what to miss, and the feverish running from venue to venue. I?ll
> make that dash around the festival below. These are rather scattershot?..
>
>
>
> International Competition: The foreign filmmakers and programmers are
> always scratching their heads over the selection. I don?t know if the
> festival even realizes how strange the slate looks year after year. But the
> festival has remained committed to a democratic selection process that
> involves a wide mix of citizens and professional film people, and no top
> curator making final decisions. So, naturally, strange films rise to the
> top and it?s somewhat ragtag. Also, some festival friends tend to get
> favored treatment in a tiny 15-film slate construed from thousands of
> entries. A good example from this year is *Living the Light?Robby M?ller.*
> The foreigners were, like, why??? But M?ller was a friend of Ogawa
> Shinsuke?s. He was a talented filmmaker, but still (similarly, people
> wondered about a previous festival?s M?ller retrospective, when there are
> living filmmakers who changed the course of documentary history).
>
>
>
> Other festival friends this year include Wiseman (*Monrovia*), Patwardhan
> (*Reason*), and Wang Bing (*Dead Souls*), who have been in this tiny
> competition before. Reason was a respectable choice?it?s a major,
> harrowing, Patwardhan film about nationalist violence. In one unforgettable
> sequence, three nationalist agitators call for the audience to ?crush Anand
> Patwardan?s bones?; the camera pans and shows the director shooting among
> the press, and he gets a question in: ?I?m right here. You want me, come
> and get me.? He?s a brave man in a dangerous spot. As for Wiseman, his film
> has already made festival rounds; but he?s hugely popular in Japan. Same
> with Wang Bing.
>
>
>
> But Wang Bing deserves some highlighting. The thing is well over 500
> minutes when you include intermissions, so it fills an entire theater for
> an entire day?and they showed it twice. You have to admire Yamagata?s
> courage to show films this long, especially when the competition is so
> small (Wiseman?s film was 143 and Patwardan?s was 208 min). They also
> showed his West of the Tracks and Feng Ming, both of which took top awards.
> I love those films, but this one did nothing for me. I?m willing to admit
> it might be because I watched it at home streaming, rather than in a
> theatrical setting I had no control over and with a crowd (the Yamagata
> audiences were huge and a majority stayed to the end). I found *Dead
> Souls* dull and repetitious, a mere string of (often poorly-shot)
> interviews. I was grateful that it didn?t show the disturbing ethical
> lapses of his recent films. But the whole affair was lifeless and could
> have been accomplished in a 2-hour film. Obviously, the jury disagreed.
> They gave it the Flaherty grand prize.
>
>
>
> Suwa was on the jury and I cornered him at the closing party to ask what
> turned his proverbial crank. He has some decent reasoning: the 8 hours
> stringing together various POVs on the same physical space and time had
> this strange, cinematic dynamic. An accretion of details, sometimes
> contradictory, that intermingle and work off each other in a manner he had
> never experienced in cinema. OK. I guess I can imagine that, but I
> certainly didn?t experience it. WB himself was a no-show. Wang Bing has a
> rep for suddenly dropping out of programs that people put their treasure
> and sweat into, most recently at Wellesley last year. But here Yamagata?s
> devoting two days of theatrical real estate to his film, and imagine how
> much money it costs to subtitle an 8 hour film. What made this no-show
> particularly obnoxious was the fact that he was just in Tokyo a couple
> weeks ago for a small, minor gallery installation. In a message to the
> awards ceremony, he said he was simply too busy. But it?s hard not to
> imagine that the difference between Yamagata and that tiny gallery was that
> the latter is trying to sell his work for tens of thousands of dollars. I
> guess he felt no upside to attending Yamagata.
>
>
>
> In contrast, screenings of Makino Takashi?s *Memento Stella* were
> prefaced by a heartfelt message to the audience where the director
> explained how desperately he tried to work around typhoon flight
> cancellations to get the festival from Berlin. He even offered a profound
> thanks to the programmers for their efforts to show his work. *Memento
> Stella* was never going to win an award, and the film has been ravaged in
> social media. But those writers were expecting ?documentary? in the
> conventional sense, and this is a Makino film. And one of his best. It has
> connections to *the* world, but the film is a trippy, starry trance
> film-of-a-documentary. Suwa and I talked about this one, too. We were both
> thrilled to see Yamagata include it in the competition. After all, one of
> Yamagata?s legacies in Japan has been to smash conventional notions of the
> nonfiction form.
>
>
>
> Onward: Wakai Makiko?s New Asian Currents program was as strong as ever.
> Although the international competition filmmakers rarely get it because
> they are focused on their competition, the Asia program remains the heart
> and soul of Yamagata. Unfortunately, frenetically rushing from program to
> program, I only saw about four of the films, but I liked all of them. The
> title that I heard dropped more than any other was probably the special
> invitation of Mickey Chen?s *Boys for Beauty,* which was shown in tribute
> to the director following his untimely death. My fave was Oda Kaori?s
> *Cenote*. It was a stunning experimental doc she shot in the freshwater
> sinkholes of Yucatan. The film alternates between underwater photography
> and more ethnographic images on the ground above. The former were sensuous
> and haptic and reminded me a lot of the experience of *Leviathan* (incredibly,
> these razor sharp images were shot on iPhone); unlike *Leviathan*, the
> images of people up on the ground focus on faces and give some sense for
> their life (happily, these grainy images were shot on Super-8). Oda also
> had an art exhibit connected to the film at a local gallery.
>
>
>
> The sidebars were of the usual high quality. The cleverly titled AM/NESIA:
> Forgotten ?Archipelagos? of Oceana, by Hama Haruka and Greg Dvorak, had a
> wonderful structure: Crossings, Lands, and Bodies were ?three archipelagos?
> containing the films. Most of the films were from the last 5 years, but
> they also showed a sound version of the 1933 *Lifeline of the Sea, *one
> of the first long-form documentaries in Asia. These were tightly programmed
> to play off each other in their brackets and get people thinking. For
> example, imperial era *Lifeline* was shown back to back with Sekiguchi?s *Senso
> Daughters*, and peoples? breath was taken away when Japanese songs from
> the *Lifeline* era were sung in the later film. This kind of
> thoughtfulness was evident in the catalog as well, for instance putting the
> colonizer in brackets when listing the source (eg., Hawai?i [USA]). This is
> Yamagata smart. I love it. The program came with a great catalog with
> essays and poetry. I haven?t cracked this one, yet, but look forward to it.
>
>
>
> Another sidebar was Tsuchida Tamaki?s Double Shadows 2. Like its
> predecessor, this was a cineaste?s fun feast of films about film. There
> were a few classics that have rarely been shown in Japan (*Showman,
> Meeting Marlon Brando, Chronicle of a Summer*), along with a worthy new
> film or two (Kim So-young?s *Goodbye My Love, North Korea, Chuck Norris
> vs. Communism*). A highlight was a tribute screening of *On My Way to
> Fujiyama, I Saw? *by Mekas. This was also the festival?s opening film. I
> missed the opening ceremony, but the introduction by Kimura Michio (the
> farmer poet that invited Ogawa to Magino) was the talk of the festival. He
> had met Mekas on that 1983 trip to Japan, and contrasted Mekas? nostalgia
> for his home to Kimura?s own hatred for his own village. This program, by
> design, is a grab bag of cool and interesting films yet, unlike AM/NESIA,
> does not make the effort that went into programming felt. Thankfully, there
> is a very serious catalog, filled with top writers and a great section on
> Mekas. I?d seen most of the films, so I spent my time elsewhere.
>
>
>
> Another major program was Morita Noriko?s The Creative Treatment of
> Grierson in Wartime Japan. If Double Shadows 2 was a cineaste world, ?the
> 30s program? as people were calling it, was an historian?s world. I heard
> one disparaging comment calling it ?that dissertation program?; true, it?s
> the topic of the curator?s dissertation. But it was anything but stale.
> There were a set of carefully chosen frames that teased out the global
> connections and synchronicities going on in the late 30s and early 40s when
> documentary was taking its conventional form. I?ve never seen such a
> program attempted anywhere, and thought it was very successful. It pitted
> canonical documentaries like *Drifters, Housing Problems* and *Turksib* against
> their Japanese counterparts, some of which are rarely shown canonical docs,
> and others unknown films which have not been screened since their initial
> release. Everything was projected on film, which was occasionally
> eye-opening (foreign curators I talked to were delighted at both the chance
> to see early Japanese doc and the proper projection of classics that made
> them rethink the films). And the special catalog, with essays by
> Kinejapaners Naoki Yamamoto, Anastasia Fedorova, Aaron Gerow and myself
> (also Okada Hidenori) amply showed how the theoretical discourses around
> documentary were far more advanced than anything going on in the West (ie.,
> Rotha and Grierson). There were good talks as well; I was particularly
> impressed by Anastasia Fedorova?s discussion of *Turksib* and the equally
> imperialist* Hakumo-sen* (as well as her contribution to the catalog).
>
>
>
> One of the more unusual programs was Home Movie Day. This was part of the
> global home movie day celebration, although it took place a few weeks
> early. The venue was the Forum, and independent cineplex. On the surface,
> the Forum looks like any other multi-screen cineplex; however, its roots
> sink back to the independent screening movement forged by Ogawa and others.
> So it was wonderful to walk into the theater and see a battery of Super-8
> projectors set up in the back. The first film was startling. It was 20
> seconds of a clock tower at night, followed by what looked like colorful
> strips of films running down the screen; it was accompanied by the director
> crouching in the front of the screen with a tiny music box playing a paper
> strip. It was startling because this was the festival trailer that opened
> every screening. It was a charming, lovely trailer and truly wonderful to
> see a live performance in Super-8. This was followed by various home movies
> brought in by directors visiting the festival, including John Torres from
> the Philippines, Oda Kaori, and others. As you might imagine, this was hit
> and miss. But the climax of the program was fantastic. Onishi Kenji, the
> Don of Super-8 in Japan and projectionist for the evening, showed his
> documentary on the 2013 festival. It was, as usual, filled with fast-motion
> clips of familiar faces and stunningly beautiful, hand-developed Super-8.
> And this was followed by Sato Makoto?s rarely screened Super-8
> documentary/fiction/home movie, *Megami-sama kara no tegami* (*Letter
> from the Goddess*). Oh, and the young ?uns in the audience were treated
> to a stuck projector and film meltdown! The MC actually had to explain what
> they were looking at. Onishi called from the back, ?No worries. It happens
> all the time.? Charming.
>
>
>
> The festival offered a new edition of its 3/11 series, Cinema With Us
> 2019, programmed by Hosoya Shuhei. There was a relatively small selection
> of films, with an equal selection from Taiwan (especially by Huang
> Shu-mei). Also a 3-hour symposium with Wood Lin, Komori Haruka, Aikawa
> Yoichi (who is researching the Ogawa Pro screening movement) and media
> theorist/historian Kadobayashi Takeshi. There was some talk about the
> program is making the problem of forgetting palpable. Fewer films than
> before. Fewer audience members. It will be interesting to see how the
> festival deals with this inevitable trend as 3/11 recedes into the past.
>
>
>
> There were other programs I didn?t have a chance to get to. Reality and
> Realism: Iran 60s-80s, Perspectives Japan (recent domestic docs), Yamagata
> and Film (also an ongoing program), Yamagata Rough Cut (workshopping docs
> by young filmmakers in rough cut form), Chris Fujiwara and Kitakoji Takashi
> ran another film criticism workshop, and Fujioka Asako programmed Rustle of
> Spring, Whiff of Gunpowder: Documentaries from North India. The latter was
> in conjunction with the establishment of a film archive in northeast India,
> where political unrest has made such an institution impossible up to now.
> Another event that caused a lot of buzz was a small program of
> documentaries on butoh dancer Ono Kazuo, climaxing with a live performance
> by dancer (and festival interpreter!) Kawaguchi Takao in the ruins-like
> attic of a nearby primary school; I heard it was breathtaking. There were
> also a few symposia celebrating Yamagata?s new status as a UNESCO Creative
> City.
>
>
>
> Oh yes, and it seems the Fins threw some money at the festival to promote
> their country?by constructing an honest-to-god Finnish sauna in front of
> one of the venues. Unfortunately, you needed both time and a swimsuit.
>
>
>
> What am I missing?
>
>
>
> One relatively new thing were satellite events held at night at cafes
> around town. They had this kind of thing in the past, but in 2019 they felt
> more organized and ubiquitous. Some of these showed films. Others were
> organized by other documentary festivals, or journals like *neo-neo* and
> *F/22*. These were really uneven. Some were virtually empty. Others were
> packed, drawing spectators from the official, ticketed events. In this
> sense, while it was interesting, it might also be a little self-defeating.
> The festival is doing a bunch of these themselves (Taiwan party, karaoke
> night), and they tend to be more meaningful and well-attended.
>
>
>
> Ah, once again the festival published the free *Sputnik* magazine.  This
> is produced by a team led by Tsuchida Tamaki, with editors Okuyama
> Shinichiro, Nakamura Daigo, and Nakamura Masato. Billed as a ?YIDFF
> Reader,? it includes essays on nearly 30 of the festival films, and by
> prominent scholars and critics. What a wonderful idea. There is still a
> daily newspaper, but *Sputnik* has heft because its prepared over the
> summer. The writing is solid and critical.
>
>
>
> And did I mention that *Sputnik*, like all festival publications and
> every single screening and symposium, is bilingual? Where there are other
> languages besides English and Japanese, there are always interpreters/subs
> as well. It?s by far the most international festival in Japan, putting TIFF
> to shame (as Aaron often points out).
>
>
>
> Another thing worth noting is that Yamagata?s celebration of cinema spins
> off to the rest of Japan after the closing ceremony. The festival selects
> some directors to hold screenings in other parts of the prefecture. And
> then quite a few directors are tapped for screening events at universities
> and institutes around Japan. Sharing the documentary love.
>
>
>
> The festival also held tribute screenings for friends of the festival who
> passed away: in addition to Mekas and Chen, there were Nelson Pereira dos
> Santos, Tamura Masaki, Barbara Hammer, and Peng Xiaolian. And, sadly, Ogawa
> Shinsuke?s wife, Shiraishi Yoko, passed away the day before the festival.
> Word spread mid-festival, although I?m unsure if there was a tribute or
> not. There was also a beautiful catalog offered at the venues for Miyazawa
> Hikaru, one of the core masterminds of the Yamagata Festival. He died last
> year at aged 64. Miyazawa-san was a fixture at YIDFF, and an activist
> supporting local film culture through independent screenings. Everyone
> missed his presence very much. The catalog features tributes from scores of
> people who appreciated his efforts to make Yamagata a ?Movie Capital.?
>
>
>
> That phrase sounds a bit ridiculous, but it comes from Ogawa Shinsuke and
> the title of Iizuka Toshio?s 1989 documentary on the first YIDFF. This was
> shown, along with its 2005 sequel, as part of a modest celebration of the
> 30-year history of the festival. Director Iizuka Toshio gave an interesting
> discussion about the films. He described how this was his first attempt at
> directing, and Ogawa gradually took the project over during postproduction.
> (I was there; it was ugly.) And one of the toughest things for him was
> seeing Ogawa go on and on and on about how he wanted to encourage and
> support Asian filmmakers. Ogawa even talked about creating a kind of
> transnational collective of directors in Asia. Iizuka would listen to these
> monologues, which are sampled in *A Movie Capital,* and feel distress:
> Why, he thought, doesn?t he try to raise up directors in his own collective
> first!??!
>
>
>
> There was an interesting panel about the history of the festival organized
> by Masuya Shuichi, who has led the festival?s volunteer network since the
> beginning. I was struck by Masuya?s introduction to the 30-year anniversary
> symposium. He brought us back to the Manifesto that was drafted by Kidlat
> Tahimik (who had attended the Oberhausen festival the year of its famous
> manifesto), and signed by the Asian filmmakers at the 1989 festival.
> Kidlat, Ogawa and Co. were complaining that no Asian films were in the
> competition and called for Yamagata to nurture Asian documentary. Well, the
> Asia Program was started in 1991 and mirrored the international
> competition. This became New Asian Currents in 1995; not only did it grow
> in size and stature, but it also became as competitive as the international
> competition. Masuya pointed out there was no way to predict in 1989 that
> the New Asian Currents in 2019 would be swamped by 2,000 entries. Talk
> about explosive growth.
>
>
>
> Masuya also helped us imagine the conditions that led to the creation of
> the festival. Back in the 1980s, it was hard to see films. There was no
> bullet train until 1992, so going to the big city was a chore (I remember
> driving over the mountains over 8 hours to visit with Ogawa or the long
> train ride through Sendai). It was also going to cost you 30,000 for all
> the travel, hotel and food. And because home video was still nascent, DIY
> was the only option. People like Masuya, Miyazawa and other core people in
> the festival would get friends together and rent prints and hold
> screenings. The festival was a natural extension of this.
>
>
>
> There was another tidbit from this symposium that I didn?t know, or if I
> ever did I forgot: the creation of Komian Club appears connected to a
> conversation I had with Masuya at the 1991 festival. I pointed out how
> expensive Japan was for the Asian filmmakers (and poor students like
> myself). A coffee or a beer was a significant purchase, let alone food. So
> the following festival, they founded the Komian Club. It?s now turned into
> one of the loved features of YIDFF.
>
>
>
> Masuya also found Ogawa?s ?Movie Capital? hyperbole a bit embarrassing,
> and certainly premature. But in retrospect, Masuya realized that this was
> Ogawa laying down a challenge to the festival to grow into the title. Maybe
> Yamagata is no Paris, but I think it has become a movie capital in its own,
> unique way.
>
>
>
> That doesn?t mean there isn?t room for improvement. At the end of his 30th Year
> symposium, Masuya asked for some thoughts from his audience about the next
> 30 years. I offered one or two. Yamagata Documentary Film Festival is
> remarkably rich. At the same time, it has become regrettably predictable.
> In the last decade they took on an odd repetition problem. It remains a
> truly great festival, but one with no sense of surprise. There has been an
> earthquake program in every edition since 2011. They?ve had Taiwan-centric
> programs in 2005, 2015 and now this year. This was the third iteration of
> Islands after 2009 and 2011. Double Shadows doubled this year.  Combined
> with regular programs focusing on a geographical location (Switzerland,
> Germany, Lebanon, Africa, Iran, etc.), there is a sense of deadening
> familiarity about the festival.
>
>
>
> Part of this is a packaging problem; things going on inside the programs
> are more complex and curated than they appear in the PR. In this sense, the
> contrast between this year?s Double Shadows (basically more of the
> same?title + 2) and Islands (really intensely curated with overt,
> thought-provoking structures and creative naming) is striking.
>
>
>
> I realize there are programs that they pretty much need to do every year:
> Perspectives Japan (for the new Japanese work that didn?t make the
> competitions), Yamagata and Japan for local films (new and old), Rough Cut!
> (a really worthy effort that can help produce better films), and I realize
> it?s hard for them to give up the 311 program. But this puts a lot of
> pressure on the other retrospectives to create a sense of wonder and
> expectancy, to open eyes and draw audiences beyond set constituencies.
>
>
>
> I hope they?ll stop doing the same thing over and over again and bring
> back a sense of unpredictability that inspires a giddy anticipation before
> the festival. YIDFF is stuck in a rut?a  really great rut. But a rut,
> nonetheless. The festive sense of ?festival? is being taken over by
> predictability and endless reiteration. People have been whispering this
> for many years; I wonder if it ever reached the ears of the festival?
>
>
>
> That said, there are few film festivals around the world that are as rich
> and varied. And if you are interested in Asian film, it?s hard to beat. I?m
> thankful for all the films I had a chance to see (including old films on
> film), all the people I met, and the daily experience of learning new
> things and new ways to think about what I thought I knew.
>
> _______________________________________________
> 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*
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From kmezur at sbcglobal.net  Sun Oct 20 01:58:33 2019
From: kmezur at sbcglobal.net (Katherine Mezur)
Date: Sat, 19 Oct 2019 22:58:33 -0700
Subject: [KineJapan] YIDFF 2019
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References: <CANoSnpBWMK+8oDXk79sFtnPAqizW0-vFvJm22G+t6MT51NHW7A@mail.gmail.com>
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 <CANoSnpB4R8CURKPUzO-P4tBcxDD6De8XbV_WVcX=RwEXnzymJg@mail.gmail.com>
Message-ID: <BF3CF6F5-4CB7-44C3-95AF-B4B80DED3A44@sbcglobal.net>

Thank you all so much! These reviews and descriptions are so valuable to me with so many questions and provocations! Rich. Thank you so much.
Katherine Mezur 

Sent from my iPhone
Katherine Mezur
Lecturer
Department of Comparative Literature 
University of California Berkeley 


> On 19. Oct 2019, at 19:49, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> Oh yes, I heard from several people that the magic lantern event was great. 
> 
> There were also some symposia on archiving, and a workshop on converting 16mm to digital. 
> 
> M
> 
>> On Sun, Oct 20, 2019 at 11:33 AM matteo boscarol <matteo.boscarol at gmail.com> wrote:
>> Thank you for the wonderful report Markus, AN/NESIA was really outstanding, and I was surprised how at the Japan Wartime program, during Night Mail?s screening, people were clapping and almost shouting with excitement. 
>> Let me add one more thing, among the satellite events, I was lucky enough to attend a special screening of gent? (magical lantern) ?documentaries? shot in the Miike mines during the big strikes of the 1950s. The event took place at the Yamagata University on the typhoon day. 
>> These ?magic lantern screenings? were accompanied by a benshi-like narration. A big thank you to the organizers: Koji Toba, Hana Washitani (her narration was fantastic) and two more people (I?m sorry but I don?t remember their names now). 
>> It?s a fascinating subject. 
>> 
>> You can read more here: 
>> https://doi.org/10.3390/arts8020064
>> and here: 
>> https://doi.org/10.18917/iconics.11.0_27
>> 
>> Regards
>> 
>> Matteo Boscarol
>> ????? ????
>> ???????????
>> - Documentary in Japan and Asia
>> http://storiadocgiappone.wordpress.com
>> - Film writer for Il Manifesto
>> http://ilmanifesto.it
>> 
>> 
>> 
>>> On Oct 20, 2019, at 9:51, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:
>>> 
>>> The Yamagata festival ended a couple days ago. During the festival, I kept some notes and I through I would collect them here to describe how it went. This was the 30th anniversary of the festival, and there were some retrospective events. Fewer and lower key than I expected, but I?ll save that for the end.
>>>  
>>> The overall takeaway: Yamagata remains the most exciting film event in Japan. I?m partial, of course, but it?s a fact. Surrounding the competition and Asia Program are unique (sort of?more on that later) retrospectives that show both canonical and rare films. The quality of projection is very high, and the festival has proven committed to projecting films on film; as usual, even venues that are nothing more than museum meeting rooms had 16mm and 35mm projectors showing archival prints. 
>>>  
>>> And one thing that becomes more palpable with every festival is the rejection of a market or pitching forum. Thank god. And thanks to this, the festival stands out as a true celebration of cinema. Finally, it?s as friendly and as welcoming as ever. Komian Club, the pickles restaurant that the festival takes over every night, remains?as Oda Kaori put it at a 30th anniversary event??non-discriminatory? (musabetsu); the entire festival gathers and celebrates together into the morning every evening. It?s great. What a great festival. 
>>>  
>>> Attending any film festival involves the usual hard decisions about what to see and what to miss, and the feverish running from venue to venue. I?ll make that dash around the festival below. These are rather scattershot?..
>>>  
>>> International Competition: The foreign filmmakers and programmers are always scratching their heads over the selection. I don?t know if the festival even realizes how strange the slate looks year after year. But the festival has remained committed to a democratic selection process that involves a wide mix of citizens and professional film people, and no top curator making final decisions. So, naturally, strange films rise to the top and it?s somewhat ragtag. Also, some festival friends tend to get favored treatment in a tiny 15-film slate construed from thousands of entries. A good example from this year is Living the Light?Robby M?ller. The foreigners were, like, why??? But M?ller was a friend of Ogawa Shinsuke?s. He was a talented filmmaker, but still (similarly, people wondered about a previous festival?s M?ller retrospective, when there are living filmmakers who changed the course of documentary history). 
>>>  
>>> Other festival friends this year include Wiseman (Monrovia), Patwardhan (Reason), and Wang Bing (Dead Souls), who have been in this tiny competition before. Reason was a respectable choice?it?s a major, harrowing, Patwardhan film about nationalist violence. In one unforgettable sequence, three nationalist agitators call for the audience to ?crush Anand Patwardan?s bones?; the camera pans and shows the director shooting among the press, and he gets a question in: ?I?m right here. You want me, come and get me.? He?s a brave man in a dangerous spot. As for Wiseman, his film has already made festival rounds; but he?s hugely popular in Japan. Same with Wang Bing. 
>>>  
>>> But Wang Bing deserves some highlighting. The thing is well over 500 minutes when you include intermissions, so it fills an entire theater for an entire day?and they showed it twice. You have to admire Yamagata?s courage to show films this long, especially when the competition is so small (Wiseman?s film was 143 and Patwardan?s was 208 min). They also showed his West of the Tracks and Feng Ming, both of which took top awards. I love those films, but this one did nothing for me. I?m willing to admit it might be because I watched it at home streaming, rather than in a theatrical setting I had no control over and with a crowd (the Yamagata audiences were huge and a majority stayed to the end). I found Dead Souls dull and repetitious, a mere string of (often poorly-shot) interviews. I was grateful that it didn?t show the disturbing ethical lapses of his recent films. But the whole affair was lifeless and could have been accomplished in a 2-hour film. Obviously, the jury disagreed. They gave it the Flaherty grand prize. 
>>>  
>>> Suwa was on the jury and I cornered him at the closing party to ask what turned his proverbial crank. He has some decent reasoning: the 8 hours stringing together various POVs on the same physical space and time had this strange, cinematic dynamic. An accretion of details, sometimes contradictory, that intermingle and work off each other in a manner he had never experienced in cinema. OK. I guess I can imagine that, but I certainly didn?t experience it. WB himself was a no-show. Wang Bing has a rep for suddenly dropping out of programs that people put their treasure and sweat into, most recently at Wellesley last year. But here Yamagata?s devoting two days of theatrical real estate to his film, and imagine how much money it costs to subtitle an 8 hour film. What made this no-show particularly obnoxious was the fact that he was just in Tokyo a couple weeks ago for a small, minor gallery installation. In a message to the awards ceremony, he said he was simply too busy. But it?s hard not to imagine that the difference between Yamagata and that tiny gallery was that the latter is trying to sell his work for tens of thousands of dollars. I guess he felt no upside to attending Yamagata.
>>>  
>>> In contrast, screenings of Makino Takashi?s Memento Stella were prefaced by a heartfelt message to the audience where the director explained how desperately he tried to work around typhoon flight cancellations to get the festival from Berlin. He even offered a profound thanks to the programmers for their efforts to show his work. Memento Stella was never going to win an award, and the film has been ravaged in social media. But those writers were expecting ?documentary? in the conventional sense, and this is a Makino film. And one of his best. It has connections to the world, but the film is a trippy, starry trance film-of-a-documentary. Suwa and I talked about this one, too. We were both thrilled to see Yamagata include it in the competition. After all, one of Yamagata?s legacies in Japan has been to smash conventional notions of the nonfiction form. 
>>>  
>>> Onward: Wakai Makiko?s New Asian Currents program was as strong as ever. Although the international competition filmmakers rarely get it because they are focused on their competition, the Asia program remains the heart and soul of Yamagata. Unfortunately, frenetically rushing from program to program, I only saw about four of the films, but I liked all of them. The title that I heard dropped more than any other was probably the special invitation of Mickey Chen?s Boys for Beauty, which was shown in tribute to the director following his untimely death. My fave was Oda Kaori?s Cenote. It was a stunning experimental doc she shot in the freshwater sinkholes of Yucatan. The film alternates between underwater photography and more ethnographic images on the ground above. The former were sensuous and haptic and reminded me a lot of the experience of Leviathan (incredibly, these razor sharp images were shot on iPhone); unlike Leviathan, the images of people up on the ground focus on faces and give some sense for their life (happily, these grainy images were shot on Super-8). Oda also had an art exhibit connected to the film at a local gallery.
>>>  
>>> The sidebars were of the usual high quality. The cleverly titled AM/NESIA: Forgotten ?Archipelagos? of Oceana, by Hama Haruka and Greg Dvorak, had a wonderful structure: Crossings, Lands, and Bodies were ?three archipelagos? containing the films. Most of the films were from the last 5 years, but they also showed a sound version of the 1933 Lifeline of the Sea, one of the first long-form documentaries in Asia. These were tightly programmed to play off each other in their brackets and get people thinking. For example, imperial era Lifeline was shown back to back with Sekiguchi?s Senso Daughters, and peoples? breath was taken away when Japanese songs from the Lifeline era were sung in the later film. This kind of thoughtfulness was evident in the catalog as well, for instance putting the colonizer in brackets when listing the source (eg., Hawai?i [USA]). This is Yamagata smart. I love it. The program came with a great catalog with essays and poetry. I haven?t cracked this one, yet, but look forward to it.
>>>  
>>> Another sidebar was Tsuchida Tamaki?s Double Shadows 2. Like its predecessor, this was a cineaste?s fun feast of films about film. There were a few classics that have rarely been shown in Japan (Showman, Meeting Marlon Brando, Chronicle of a Summer), along with a worthy new film or two (Kim So-young?s Goodbye My Love, North Korea, Chuck Norris vs. Communism). A highlight was a tribute screening of On My Way to Fujiyama, I Saw? by Mekas. This was also the festival?s opening film. I missed the opening ceremony, but the introduction by Kimura Michio (the farmer poet that invited Ogawa to Magino) was the talk of the festival. He had met Mekas on that 1983 trip to Japan, and contrasted Mekas? nostalgia for his home to Kimura?s own hatred for his own village. This program, by design, is a grab bag of cool and interesting films yet, unlike AM/NESIA, does not make the effort that went into programming felt. Thankfully, there is a very serious catalog, filled with top writers and a great section on Mekas. I?d seen most of the films, so I spent my time elsewhere. 
>>>  
>>> Another major program was Morita Noriko?s The Creative Treatment of Grierson in Wartime Japan. If Double Shadows 2 was a cineaste world, ?the 30s program? as people were calling it, was an historian?s world. I heard one disparaging comment calling it ?that dissertation program?; true, it?s the topic of the curator?s dissertation. But it was anything but stale. There were a set of carefully chosen frames that teased out the global connections and synchronicities going on in the late 30s and early 40s when documentary was taking its conventional form. I?ve never seen such a program attempted anywhere, and thought it was very successful. It pitted canonical documentaries like Drifters, Housing Problems and Turksib against their Japanese counterparts, some of which are rarely shown canonical docs, and others unknown films which have not been screened since their initial release. Everything was projected on film, which was occasionally eye-opening (foreign curators I talked to were delighted at both the chance to see early Japanese doc and the proper projection of classics that made them rethink the films). And the special catalog, with essays by Kinejapaners Naoki Yamamoto, Anastasia Fedorova, Aaron Gerow and myself (also Okada Hidenori) amply showed how the theoretical discourses around documentary were far more advanced than anything going on in the West (ie., Rotha and Grierson). There were good talks as well; I was particularly impressed by Anastasia Fedorova?s discussion of Turksib and the equally imperialist Hakumo-sen (as well as her contribution to the catalog). 
>>>  
>>> One of the more unusual programs was Home Movie Day. This was part of the global home movie day celebration, although it took place a few weeks early. The venue was the Forum, and independent cineplex. On the surface, the Forum looks like any other multi-screen cineplex; however, its roots sink back to the independent screening movement forged by Ogawa and others. So it was wonderful to walk into the theater and see a battery of Super-8 projectors set up in the back. The first film was startling. It was 20 seconds of a clock tower at night, followed by what looked like colorful strips of films running down the screen; it was accompanied by the director crouching in the front of the screen with a tiny music box playing a paper strip. It was startling because this was the festival trailer that opened every screening. It was a charming, lovely trailer and truly wonderful to see a live performance in Super-8. This was followed by various home movies brought in by directors visiting the festival, including John Torres from the Philippines, Oda Kaori, and others. As you might imagine, this was hit and miss. But the climax of the program was fantastic. Onishi Kenji, the Don of Super-8 in Japan and projectionist for the evening, showed his documentary on the 2013 festival. It was, as usual, filled with fast-motion clips of familiar faces and stunningly beautiful, hand-developed Super-8. And this was followed by Sato Makoto?s rarely screened Super-8 documentary/fiction/home movie, Megami-sama kara no tegami (Letter from the Goddess). Oh, and the young ?uns in the audience were treated to a stuck projector and film meltdown! The MC actually had to explain what they were looking at. Onishi called from the back, ?No worries. It happens all the time.? Charming. 
>>>  
>>> The festival offered a new edition of its 3/11 series, Cinema With Us 2019, programmed by Hosoya Shuhei. There was a relatively small selection of films, with an equal selection from Taiwan (especially by Huang Shu-mei). Also a 3-hour symposium with Wood Lin, Komori Haruka, Aikawa Yoichi (who is researching the Ogawa Pro screening movement) and media theorist/historian Kadobayashi Takeshi. There was some talk about the program is making the problem of forgetting palpable. Fewer films than before. Fewer audience members. It will be interesting to see how the festival deals with this inevitable trend as 3/11 recedes into the past. 
>>>  
>>> There were other programs I didn?t have a chance to get to. Reality and Realism: Iran 60s-80s, Perspectives Japan (recent domestic docs), Yamagata and Film (also an ongoing program), Yamagata Rough Cut (workshopping docs by young filmmakers in rough cut form), Chris Fujiwara and Kitakoji Takashi ran another film criticism workshop, and Fujioka Asako programmed Rustle of Spring, Whiff of Gunpowder: Documentaries from North India. The latter was in conjunction with the establishment of a film archive in northeast India, where political unrest has made such an institution impossible up to now. Another event that caused a lot of buzz was a small program of documentaries on butoh dancer Ono Kazuo, climaxing with a live performance by dancer (and festival interpreter!) Kawaguchi Takao in the ruins-like attic of a nearby primary school; I heard it was breathtaking. There were also a few symposia celebrating Yamagata?s new status as a UNESCO Creative City. 
>>>  
>>> Oh yes, and it seems the Fins threw some money at the festival to promote their country?by constructing an honest-to-god Finnish sauna in front of one of the venues. Unfortunately, you needed both time and a swimsuit.
>>>  
>>> What am I missing? 
>>>  
>>> One relatively new thing were satellite events held at night at cafes around town. They had this kind of thing in the past, but in 2019 they felt more organized and ubiquitous. Some of these showed films. Others were organized by other documentary festivals, or journals like neo-neo and F/22. These were really uneven. Some were virtually empty. Others were packed, drawing spectators from the official, ticketed events. In this sense, while it was interesting, it might also be a little self-defeating. The festival is doing a bunch of these themselves (Taiwan party, karaoke night), and they tend to be more meaningful and well-attended.
>>>  
>>> Ah, once again the festival published the free Sputnik magazine.  This is produced by a team led by Tsuchida Tamaki, with editors Okuyama Shinichiro, Nakamura Daigo, and Nakamura Masato. Billed as a ?YIDFF Reader,? it includes essays on nearly 30 of the festival films, and by prominent scholars and critics. What a wonderful idea. There is still a daily newspaper, but Sputnik has heft because its prepared over the summer. The writing is solid and critical. 
>>>  
>>> And did I mention that Sputnik, like all festival publications and every single screening and symposium, is bilingual? Where there are other languages besides English and Japanese, there are always interpreters/subs as well. It?s by far the most international festival in Japan, putting TIFF to shame (as Aaron often points out). 
>>>  
>>> Another thing worth noting is that Yamagata?s celebration of cinema spins off to the rest of Japan after the closing ceremony. The festival selects some directors to hold screenings in other parts of the prefecture. And then quite a few directors are tapped for screening events at universities and institutes around Japan. Sharing the documentary love. 
>>>  
>>> The festival also held tribute screenings for friends of the festival who passed away: in addition to Mekas and Chen, there were Nelson Pereira dos Santos, Tamura Masaki, Barbara Hammer, and Peng Xiaolian. And, sadly, Ogawa Shinsuke?s wife, Shiraishi Yoko, passed away the day before the festival. Word spread mid-festival, although I?m unsure if there was a tribute or not. There was also a beautiful catalog offered at the venues for Miyazawa Hikaru, one of the core masterminds of the Yamagata Festival. He died last year at aged 64. Miyazawa-san was a fixture at YIDFF, and an activist supporting local film culture through independent screenings. Everyone missed his presence very much. The catalog features tributes from scores of people who appreciated his efforts to make Yamagata a ?Movie Capital.? 
>>>  
>>> That phrase sounds a bit ridiculous, but it comes from Ogawa Shinsuke and the title of Iizuka Toshio?s 1989 documentary on the first YIDFF. This was shown, along with its 2005 sequel, as part of a modest celebration of the 30-year history of the festival. Director Iizuka Toshio gave an interesting discussion about the films. He described how this was his first attempt at directing, and Ogawa gradually took the project over during postproduction. (I was there; it was ugly.) And one of the toughest things for him was seeing Ogawa go on and on and on about how he wanted to encourage and support Asian filmmakers. Ogawa even talked about creating a kind of transnational collective of directors in Asia. Iizuka would listen to these monologues, which are sampled in A Movie Capital, and feel distress: Why, he thought, doesn?t he try to raise up directors in his own collective first!??!  
>>>  
>>> There was an interesting panel about the history of the festival organized by Masuya Shuichi, who has led the festival?s volunteer network since the beginning. I was struck by Masuya?s introduction to the 30-year anniversary symposium. He brought us back to the Manifesto that was drafted by Kidlat Tahimik (who had attended the Oberhausen festival the year of its famous manifesto), and signed by the Asian filmmakers at the 1989 festival. Kidlat, Ogawa and Co. were complaining that no Asian films were in the competition and called for Yamagata to nurture Asian documentary. Well, the Asia Program was started in 1991 and mirrored the international competition. This became New Asian Currents in 1995; not only did it grow in size and stature, but it also became as competitive as the international competition. Masuya pointed out there was no way to predict in 1989 that the New Asian Currents in 2019 would be swamped by 2,000 entries. Talk about explosive growth. 
>>>  
>>> Masuya also helped us imagine the conditions that led to the creation of the festival. Back in the 1980s, it was hard to see films. There was no bullet train until 1992, so going to the big city was a chore (I remember driving over the mountains over 8 hours to visit with Ogawa or the long train ride through Sendai). It was also going to cost you 30,000 for all the travel, hotel and food. And because home video was still nascent, DIY was the only option. People like Masuya, Miyazawa and other core people in the festival would get friends together and rent prints and hold screenings. The festival was a natural extension of this.  
>>>  
>>> There was another tidbit from this symposium that I didn?t know, or if I ever did I forgot: the creation of Komian Club appears connected to a conversation I had with Masuya at the 1991 festival. I pointed out how expensive Japan was for the Asian filmmakers (and poor students like myself). A coffee or a beer was a significant purchase, let alone food. So the following festival, they founded the Komian Club. It?s now turned into one of the loved features of YIDFF. 
>>>  
>>> Masuya also found Ogawa?s ?Movie Capital? hyperbole a bit embarrassing, and certainly premature. But in retrospect, Masuya realized that this was Ogawa laying down a challenge to the festival to grow into the title. Maybe Yamagata is no Paris, but I think it has become a movie capital in its own, unique way. 
>>>  
>>> That doesn?t mean there isn?t room for improvement. At the end of his 30th Year symposium, Masuya asked for some thoughts from his audience about the next 30 years. I offered one or two. Yamagata Documentary Film Festival is remarkably rich. At the same time, it has become regrettably predictable. In the last decade they took on an odd repetition problem. It remains a truly great festival, but one with no sense of surprise. There has been an earthquake program in every edition since 2011. They?ve had Taiwan-centric programs in 2005, 2015 and now this year. This was the third iteration of Islands after 2009 and 2011. Double Shadows doubled this year.  Combined with regular programs focusing on a geographical location (Switzerland, Germany, Lebanon, Africa, Iran, etc.), there is a sense of deadening familiarity about the festival. 
>>>  
>>> Part of this is a packaging problem; things going on inside the programs are more complex and curated than they appear in the PR. In this sense, the contrast between this year?s Double Shadows (basically more of the same?title + 2) and Islands (really intensely curated with overt, thought-provoking structures and creative naming) is striking. 
>>>  
>>> I realize there are programs that they pretty much need to do every year: Perspectives Japan (for the new Japanese work that didn?t make the competitions), Yamagata and Japan for local films (new and old), Rough Cut! (a really worthy effort that can help produce better films), and I realize it?s hard for them to give up the 311 program. But this puts a lot of pressure on the other retrospectives to create a sense of wonder and expectancy, to open eyes and draw audiences beyond set constituencies.
>>>  
>>> I hope they?ll stop doing the same thing over and over again and bring back a sense of unpredictability that inspires a giddy anticipation before the festival. YIDFF is stuck in a rut?a  really great rut. But a rut, nonetheless. The festive sense of ?festival? is being taken over by predictability and endless reiteration. People have been whispering this for many years; I wonder if it ever reached the ears of the festival?
>>>  
>>> That said, there are few film festivals around the world that are as rich and varied. And if you are interested in Asian film, it?s hard to beat. I?m thankful for all the films I had a chance to see (including old films on film), all the people I met, and the daily experience of learning new things and new ways to think about what I thought I knew.  
>> 
>>> _______________________________________________
>>> 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
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From aaron.gerow at yale.edu  Sun Oct 20 21:07:52 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sun, 20 Oct 2019 21:07:52 -0400
Subject: [KineJapan] UW Madison job
Message-ID: <FD20A470-3962-4236-8D57-A9F21091975E@yale.edu>

The University of Wisconsin at Madison is advertising a job that includes Asian cinema as one of its possible fields:

The Department of Communication Arts at University of Wisconsin-Madison invites applications for a tenure-track Assistant Professor position in Global Cinema and Media. Applications at the Associate Professor level may be considered in exceptional cases. We seek a scholar who specializes in Asian, Latin American, African, or Middle Eastern cinema and media in a national, regional, and/or transnational frame. Scholars who work on aesthetics, industries, and/or cultural history in the realm of live action, animation, or documentary are urged to apply. We welcome applications from scholars who work on either historical or contemporary film and media. The appointment will begin in August 2020.

https://jobs.hr.wisc.edu/en-us/job/503078/assistant-professor-of-global-cinema-and-media <https://jobs.hr.wisc.edu/en-us/job/503078/assistant-professor-of-global-cinema-and-media>

 


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Chair, East Asian Languages and Literatures
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From nornes at umich.edu  Wed Oct 23 08:11:18 2019
From: nornes at umich.edu (Markus Nornes)
Date: Wed, 23 Oct 2019 08:11:18 -0400
Subject: [KineJapan] =?utf-8?q?He=E2=80=99s_back=3A_Yamada_returns_to_Tor?=
 =?utf-8?q?a-san?=
Message-ID: <CANoSnpCWw3WQnNN1jyi8YxmdYh+Sa_GUOhwevDiQnNORTzFjwg@mail.gmail.com>

Mark Schilling gets the straight dope from the director himself:

https://www.japantimes.co.jp/culture/2019/10/23/films/yoji-yamada-tora-san-resurrection-japanese-film-institution/

M
-- 
---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From yamamoto at filmandmedia.ucsb.edu  Wed Oct 23 12:19:05 2019
From: yamamoto at filmandmedia.ucsb.edu (Naoki Yamamoto)
Date: Wed, 23 Oct 2019 09:19:05 -0700
Subject: [KineJapan] Job Advertisement: Assistant Professor in Transnational
 Japanese Studies for the East Asian Languages and Cultural Studies
 Department
Message-ID: <3428C397-1331-4C66-8A22-1E786F7E4E09@filmandmedia.ucsb.edu>

Dear KineJapaners,

Another great opportunity at UC Santa Barbara. Please spread the word! 

Best,
Naoki 


The Department of East Asian Languages and Cultural Studies at the University of California,

Below is the full Job Description:

The Department of East Asian Languages & Cultural Studies at the University of California, Santa Barbara invites applications for a tenure-track Assistant Professor position in Transnational Japanese Studies. We welcome applications from scholars working in the humanities and/or interpretive social sciences who study Japan from a transnational perspective. By ?transnational perspective? we mean scholarship that addresses the movement and transformation of ideas, texts and media, materials, institutions, populations, and practices across borders and oceans. We are particularly interested in fields that complement and expand existing strengths and research areas in the Department and across campus, including interdisciplinary approaches to nature and the environment, the history of medicine and/or the medical humanities, and translation studies broadly conceived (between languages, media, genres or institutions). Applications from scholars whose work crosses the premodern/modern divide are especially welcome. Appointment is expected to begin July 1, 2020.

The successful candidate will be able to teach graduate seminars in transnational Japanese Studies, while also offering broader undergraduate courses. Applicants are expected to have completed all requirements for a PhD, except the dissertation, at the time of application. The PhD can be in any field in the humanities and interpretive social sciences with research specialization in transnational Japanese Studies. To ensure full consideration, please submit a cover letter, curriculum vitae, a writing sample, and arrange to have three letters of recommendation sent to the Search Committee through UC Recruit, at https://recruit.ap.ucsb.edu/JPF01575. We strongly encourage applicants to submit an optional Statement of Contributions to Diversity. These statements, if submitted, will be reviewed for evidence in teaching, research, professional activities, and service contributions that promote diversity and equal opportunity. Such as a teaching philosophy and syllabi that reflect an awareness of diverse student populations, research that encompasses a range of sources and/or data-sets, and/or contributions to the university, the profession or the public that engage issues of diversity. Primary consideration will be given to complete applications received by November 24, 2019. Inquiries about the position may be directed to the Academic Personnel Coordinator for East Asian Languages and Cultural Studies Department, Ms. Natalie Juarez at nmjuarez at hfa.ucsb.edu. Please make sure to reference JPF01575 in inquiry.

The Department of East Asian Languages and Cultural Studies is especially interested in candidates who can contribute to the diversity and excellence of the academic community through research, teaching and service. For information on our department, please visit our website at https://www.eastasian.ucsb.edu/.

This hire is supported by a Japan Foundation Institutional Project Support (IPS) grant.

The University of California is an Equal Opportunity/Affirmative Action Employer and all qualified applicants will receive consideration for employment without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability status, protected veteran status, or any other characteristic protected by law.

Please address any questions to the department?s Academic Personnel Coordinator, Natalie Juarez at nmjuarez at hfa.ucsb.edu .


From aaron.gerow at yale.edu  Mon Oct 28 10:46:36 2019
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Mon, 28 Oct 2019 10:46:36 -0400
Subject: [KineJapan] Yachigusa Kaoru
Message-ID: <805F98D6-7DC4-4992-9D1A-4026BC904EC0@yale.edu>

I was very sad to see the news of the passing of Yachigusa Kaoru, one of Japan's great actresses. She was 88. She was a Takurazuka star before debuting in film in 1951, and came to fame in such films as the Samurai trilogy, Snow Country, etc. She is well remembered for her work on television, especially some of the masterpieces of Japanese TV drama such as Yamada Taichi's Kishibe no album and Mukoda Kuniko's Ashura no gotoku (which I show in my TV class). She was active until the end, acting in TV dramas even this year. 

My one contact with her was when I briefly did some work when I was a grad student for two American documentary filmmakers who wanted to make a film on Kurosawa Akira. They wanted me to contact the director Taniguchi Senkichi (a friend of Kurosawa?s), whom Yachigusa married in 1957, and do so in the few days they were in Japan. In those days, Eiga Nenkan still listed home phone numbers in their listing of film personnel. So I called his number. Yachigusa answered the phone (you could tell from her unique voice), and was clearly a bit flustered at having to deal with foreigner with mediocre Japanese. Forgive me! And rest in peace.

https://www.cinemacafe.net/article/2019/10/28/64176.html <https://www.cinemacafe.net/article/2019/10/28/64176.html>

Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Chair, East Asian Languages and Literatures
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From nornes at umich.edu  Mon Oct 28 16:59:03 2019
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 28 Oct 2019 16:59:03 -0400
Subject: [KineJapan] More problems for Shusenjo
Message-ID: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>

Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a small
film festival in Kawasaki. Disgusting.

https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE

Wakamatsu Pro protested the action by pulling two of their films.

Here is the festival's. official statement: https://www.main.siff.jp/release
<cinema-uma at siff.jp>

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*
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From jeremyharley at gmail.com  Mon Oct 28 20:49:26 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Tue, 29 Oct 2019 09:49:26 +0900
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
Message-ID: <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>

We should call them. I will call later today, but what's the best question
to ask, I wonder. The director blames concerns of Kawasaki City in the
statement you posted. So would the question be to ask Kawasaki City why
they couldn't work with the police to provide some degree of protection for
the citizens working on the festival?
What's the solution in these situations? Presumably they are genuinely
afraid.

Jeremy Harley
Mabashi Wonderland Movie Festival

On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a small
> film festival in Kawasaki. Disgusting.
>
>
> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>
> Wakamatsu Pro protested the action by pulling two of their films.
>
> Here is the festival's. official statement:
> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>
> 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
>
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From nornes at umich.edu  Mon Oct 28 21:03:56 2019
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 28 Oct 2019 21:03:56 -0400
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
Message-ID: <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>

They are concerned about problems at the screening? I mean, it's still
showing at Image Forum for months. If someone was going to burn the theater
down it'd be an empty lot by now. This stinks of political interference?at
least sponsors expressing enough concern that the festival organizers fear
for their funding down the road.

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 Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
wrote:

> We should call them. I will call later today, but what's the best question
> to ask, I wonder. The director blames concerns of Kawasaki City in the
> statement you posted. So would the question be to ask Kawasaki City why
> they couldn't work with the police to provide some degree of protection for
> the citizens working on the festival?
> What's the solution in these situations? Presumably they are genuinely
> afraid.
>
> Jeremy Harley
> Mabashi Wonderland Movie Festival
>
> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a small
>> film festival in Kawasaki. Disgusting.
>>
>>
>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>
>> Wakamatsu Pro protested the action by pulling two of their films.
>>
>> Here is the festival's. official statement:
>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>
>> 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
>>
>
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From jeremyharley at gmail.com  Mon Oct 28 21:12:07 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Tue, 29 Oct 2019 10:12:07 +0900
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
Message-ID: <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>

I see.

On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu> wrote:

> They are concerned about problems at the screening? I mean, it's still
> showing at Image Forum for months. If someone was going to burn the theater
> down it'd be an empty lot by now. This stinks of political interference?at
> least sponsors expressing enough concern that the festival organizers fear
> for their funding down the road.
>
> 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 Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
> wrote:
>
>> We should call them. I will call later today, but what's the best
>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>> the statement you posted. So would the question be to ask Kawasaki City why
>> they couldn't work with the police to provide some degree of protection for
>> the citizens working on the festival?
>> What's the solution in these situations? Presumably they are genuinely
>> afraid.
>>
>> Jeremy Harley
>> Mabashi Wonderland Movie Festival
>>
>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a small
>>> film festival in Kawasaki. Disgusting.
>>>
>>>
>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>
>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>
>>> Here is the festival's. official statement:
>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>
>>> 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
>>>
>>
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From jeremyharley at gmail.com  Mon Oct 28 21:58:27 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Tue, 29 Oct 2019 10:58:27 +0900
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
Message-ID: <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>

The women who answered the phone (apologies for not getting her name,
calling people like this is not remotely my strong suit and I got nervous
and forgot to ask) mentioned many things, and I would heartily ask everyone
to call them and let them know what you think--->044-953-7652

The background to what she said is quite possibly what Markus writes, but
one point she made was that as opposed to Image Forum or all the
independent screenings of the film, since tax money was involved they
thought they were particularly ?????? (I guess I would translate this as
"more likely to be targeted", although there are other ways to interpret
it).
Right-wingers in Japan can be really f**ing scary, I can vouch for people's
genuine fear in these situations, and I have activist friends who volunteer
as guards at screenings of films like these.

Again, presumably there was pressure from many places.

Jeremy



On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com>
wrote:

> I see.
>
> On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu> wrote:
>
>> They are concerned about problems at the screening? I mean, it's still
>> showing at Image Forum for months. If someone was going to burn the theater
>> down it'd be an empty lot by now. This stinks of political interference?at
>> least sponsors expressing enough concern that the festival organizers fear
>> for their funding down the road.
>>
>> 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 Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
>> wrote:
>>
>>> We should call them. I will call later today, but what's the best
>>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>>> the statement you posted. So would the question be to ask Kawasaki City why
>>> they couldn't work with the police to provide some degree of protection for
>>> the citizens working on the festival?
>>> What's the solution in these situations? Presumably they are genuinely
>>> afraid.
>>>
>>> Jeremy Harley
>>> Mabashi Wonderland Movie Festival
>>>
>>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>>> kinejapan at mailman.yale.edu> wrote:
>>>
>>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a small
>>>> film festival in Kawasaki. Disgusting.
>>>>
>>>>
>>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>>
>>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>>
>>>> Here is the festival's. official statement:
>>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>>
>>>> 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
>>>>
>>>
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From nornes at umich.edu  Mon Oct 28 22:05:53 2019
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 28 Oct 2019 22:05:53 -0400
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
Message-ID: <CANoSnpCUBNDKPQnrCu5K8he=UxnJouE9Agos8QVLYQ-aJf5o_g@mail.gmail.com>

Wakamatsu Pro and director Shiraishi Kazuya and screenwriter Inoue Junichi
(who worked on the films that were pulled) put out a protest statement. It
fills the homepage of Wakamatsu Pro. ?Markus

http://wakamatsukoji.org

?????????????????????????????????????????11,25????????????????????????????????????????25?KAWASAKI????????????????????????????????????????????????????????????????????????????????????????????????????????

?????????????
???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

????????????????????????????????????????????????????????????????????????????????????????????????
??????????????????2019????????????????????????????????????????????????????????????????
?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

2014????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????
?????????????????????????????????????????????????????????????????????
????????????????????????????????????????????????????????????????????????????????????????????????????????????????
??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

??????????????????????????????????
??????????????????????????????
???????????????????????????????????????????????
????????????????????????????????????????????????????
???????????????????????????

???????????????????????????????????????????????????????????????????????

?????????????????????????????????????????????????????????????????????????????

?????????????????11,25??????????????????25?KAWASAKI???????????????????????????????????????




---

*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 Mon, Oct 28, 2019 at 9:59 PM Jeremy Harley <jeremyharley at gmail.com>
wrote:

> The women who answered the phone (apologies for not getting her name,
> calling people like this is not remotely my strong suit and I got nervous
> and forgot to ask) mentioned many things, and I would heartily ask everyone
> to call them and let them know what you think--->044-953-7652
>
> The background to what she said is quite possibly what Markus writes, but
> one point she made was that as opposed to Image Forum or all the
> independent screenings of the film, since tax money was involved they
> thought they were particularly ?????? (I guess I would translate this as
> "more likely to be targeted", although there are other ways to interpret
> it).
> Right-wingers in Japan can be really f**ing scary, I can vouch for
> people's genuine fear in these situations, and I have activist friends who
> volunteer as guards at screenings of films like these.
>
> Again, presumably there was pressure from many places.
>
> Jeremy
>
>
>
> On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com>
> wrote:
>
>> I see.
>>
>> On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu> wrote:
>>
>>> They are concerned about problems at the screening? I mean, it's still
>>> showing at Image Forum for months. If someone was going to burn the theater
>>> down it'd be an empty lot by now. This stinks of political interference?at
>>> least sponsors expressing enough concern that the festival organizers fear
>>> for their funding down the road.
>>>
>>> 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 Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
>>> wrote:
>>>
>>>> We should call them. I will call later today, but what's the best
>>>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>>>> the statement you posted. So would the question be to ask Kawasaki City why
>>>> they couldn't work with the police to provide some degree of protection for
>>>> the citizens working on the festival?
>>>> What's the solution in these situations? Presumably they are genuinely
>>>> afraid.
>>>>
>>>> Jeremy Harley
>>>> Mabashi Wonderland Movie Festival
>>>>
>>>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>>>> kinejapan at mailman.yale.edu> wrote:
>>>>
>>>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a
>>>>> small film festival in Kawasaki. Disgusting.
>>>>>
>>>>>
>>>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>>>
>>>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>>>
>>>>> Here is the festival's. official statement:
>>>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>>>
>>>>> 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
>>>>>
>>>>
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From a.takenaka at uky.edu  Mon Oct 28 22:21:04 2019
From: a.takenaka at uky.edu (Takenaka, Akiko)
Date: Tue, 29 Oct 2019 02:21:04 +0000
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
Message-ID: <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>

This reminds me of the stuff that Peace Osaka went through before they were forced to ?renew? their exhibit a few years ago. Many years ago, I interviewed people at the Kawasaki City Museum who were in charge of the exhibits?it seemed like most of them thought of themselves as activists who needed to really get the ordinary people?s war experience out there. But given what happened to Peace Osaka, I can understand their fear.

--
Akiko Takenaka, Ph.D.
Associate Professor and Associate Department Chair

Department of History
University of Kentucky
1733 Patterson Office Tower
Lexington, KY 40506
a.takenaka at uky.edu<mailto:a.takenaka at uky.edu>
https://history.as.uky.edu/users/ata225

On Oct 28, 2019, at 9:58 PM, Jeremy Harley via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:

The women who answered the phone (apologies for not getting her name, calling people like this is not remotely my strong suit and I got nervous and forgot to ask) mentioned many things, and I would heartily ask everyone to call them and let them know what you think--->044-953-7652

The background to what she said is quite possibly what Markus writes, but one point she made was that as opposed to Image Forum or all the independent screenings of the film, since tax money was involved they thought they were particularly ?????? (I guess I would translate this as "more likely to be targeted", although there are other ways to interpret it).
Right-wingers in Japan can be really f**ing scary, I can vouch for people's genuine fear in these situations, and I have activist friends who volunteer as guards at screenings of films like these.

Again, presumably there was pressure from many places.

Jeremy



On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com<mailto:jeremyharley at gmail.com>> wrote:
I see.

On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu<mailto:nornes at umich.edu>> wrote:
They are concerned about problems at the screening? I mean, it's still showing at Image Forum for months. If someone was going to burn the theater down it'd be an empty lot by now. This stinks of political interference?at least sponsors expressing enough concern that the festival organizers fear for their funding down the road.

Markus


---
[X]
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 Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com<mailto:jeremyharley at gmail.com>> wrote:
We should call them. I will call later today, but what's the best question to ask, I wonder. The director blames concerns of Kawasaki City in the statement you posted. So would the question be to ask Kawasaki City why they couldn't work with the police to provide some degree of protection for the citizens working on the festival?
What's the solution in these situations? Presumably they are genuinely afraid.

Jeremy Harley
Mabashi Wonderland Movie Festival

On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu<mailto:kinejapan at mailman.yale.edu>> wrote:
Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a small film festival in Kawasaki. Disgusting.

https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE<https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fenglish.kyodonews.net%2Fnews%2F2019%2F10%2F4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html%3Ffbclid%3DIwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=twfqgn%2FksF3BjxDq3GNBkYvOOpnvyRzfd66CFvf8AGM%3D&reserved=0>

Wakamatsu Pro protested the action by pulling two of their films.

Here is the festival's. official statement: https://www.main.siff.jp/release<mailto:cinema-uma at siff.jp>

Markus


---
[X]
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<mailto:KineJapan at mailman.yale.edu>
https://mailman.yale.edu/mailman/listinfo/kinejapan<https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=hbbXuIs8wejPaoQpa3SYi55oi%2Be%2F5ZregtSp1IxWids%3D&reserved=0>
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu<mailto:KineJapan at mailman.yale.edu>
https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617628097&amp;sdata=fQl4arHxFrqDWS2hkMlotok5lrVSuIuwcZ%2FaEDNJLag%3D&amp;reserved=0

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From jeremyharley at gmail.com  Mon Oct 28 23:57:09 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Tue, 29 Oct 2019 12:57:09 +0900
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
Message-ID: <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>

And it's all bound up together, right? There are few moments like this one
<https://www.youtube.com/watch?v=SJtcutS7nT0&has_verified=1>at our protest
in Sept 2011 where right wingers are yelling "arrest them! (and later "kill
them!") upon which the police arrest people, but it kind of encapsulates
the reality, no?

Jeremy

On Tue, Oct 29, 2019 at 11:21 AM Takenaka, Akiko via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> This reminds me of the stuff that Peace Osaka went through before they
> were forced to ?renew? their exhibit a few years ago. Many years ago, I
> interviewed people at the Kawasaki City Museum who were in charge of the
> exhibits?it seemed like most of them thought of themselves as activists who
> needed to really get the ordinary people?s war experience out there. But
> given what happened to Peace Osaka, I can understand their fear.
>
> --
> Akiko Takenaka, Ph.D.
> Associate Professor and Associate Department Chair
>
> Department of History
> University of Kentucky
> 1733 Patterson Office Tower
> Lexington, KY 40506
> a.takenaka at uky.edu
> https://history.as.uky.edu/users/ata225
>
> On Oct 28, 2019, at 9:58 PM, Jeremy Harley via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> The women who answered the phone (apologies for not getting her name,
> calling people like this is not remotely my strong suit and I got nervous
> and forgot to ask) mentioned many things, and I would heartily ask everyone
> to call them and let them know what you think--->044-953-7652
>
> The background to what she said is quite possibly what Markus writes, but
> one point she made was that as opposed to Image Forum or all the
> independent screenings of the film, since tax money was involved they
> thought they were particularly ?????? (I guess I would translate this as
> "more likely to be targeted", although there are other ways to interpret
> it).
> Right-wingers in Japan can be really f**ing scary, I can vouch for
> people's genuine fear in these situations, and I have activist friends who
> volunteer as guards at screenings of films like these.
>
> Again, presumably there was pressure from many places.
>
> Jeremy
>
>
>
> On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com>
> wrote:
>
>> I see.
>>
>> On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu> wrote:
>>
>>> They are concerned about problems at the screening? I mean, it's still
>>> showing at Image Forum for months. If someone was going to burn the theater
>>> down it'd be an empty lot by now. This stinks of political interference?at
>>> least sponsors expressing enough concern that the festival organizers fear
>>> for their funding down the road.
>>>
>>> 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 Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
>>> wrote:
>>>
>>>> We should call them. I will call later today, but what's the best
>>>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>>>> the statement you posted. So would the question be to ask Kawasaki City why
>>>> they couldn't work with the police to provide some degree of protection for
>>>> the citizens working on the festival?
>>>> What's the solution in these situations? Presumably they are genuinely
>>>> afraid.
>>>>
>>>> Jeremy Harley
>>>> Mabashi Wonderland Movie Festival
>>>>
>>>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>>>> kinejapan at mailman.yale.edu> wrote:
>>>>
>>>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a
>>>>> small film festival in Kawasaki. Disgusting.
>>>>>
>>>>>
>>>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fenglish.kyodonews.net%2Fnews%2F2019%2F10%2F4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html%3Ffbclid%3DIwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=twfqgn%2FksF3BjxDq3GNBkYvOOpnvyRzfd66CFvf8AGM%3D&reserved=0>
>>>>>
>>>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>>>
>>>>> Here is the festival's. official statement:
>>>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>>>
>>>>> 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
>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=hbbXuIs8wejPaoQpa3SYi55oi%2Be%2F5ZregtSp1IxWids%3D&reserved=0>
>>>>>
>>>> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
>
> https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617628097&amp;sdata=fQl4arHxFrqDWS2hkMlotok5lrVSuIuwcZ%2FaEDNJLag%3D&amp;reserved=0
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From nornes at umich.edu  Tue Oct 29 14:54:34 2019
From: nornes at umich.edu (Markus Nornes)
Date: Tue, 29 Oct 2019 14:54:34 -0400
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
Message-ID: <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>

Kawasaki is holding an open mic event on freedom of speech. Good for them.

M

???????????????????????????????????
????10/30???18?30?? 19?00?? 21?00????
??? ??????????3?
?????? ??????
??????
??????????????????????????????????????



On Mon, Oct 28, 2019 at 11:58 PM Jeremy Harley via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> And it's all bound up together, right? There are few moments like this
> one <https://www.youtube.com/watch?v=SJtcutS7nT0&has_verified=1>at our
> protest in Sept 2011 where right wingers are yelling "arrest them! (and
> later "kill them!") upon which the police arrest people, but it kind of
> encapsulates the reality, no?
>
> Jeremy
>
> On Tue, Oct 29, 2019 at 11:21 AM Takenaka, Akiko via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> This reminds me of the stuff that Peace Osaka went through before they
>> were forced to ?renew? their exhibit a few years ago. Many years ago, I
>> interviewed people at the Kawasaki City Museum who were in charge of the
>> exhibits?it seemed like most of them thought of themselves as activists who
>> needed to really get the ordinary people?s war experience out there. But
>> given what happened to Peace Osaka, I can understand their fear.
>>
>> --
>> Akiko Takenaka, Ph.D.
>> Associate Professor and Associate Department Chair
>>
>> Department of History
>> University of Kentucky
>> 1733 Patterson Office Tower
>> Lexington, KY 40506
>> a.takenaka at uky.edu
>> https://history.as.uky.edu/users/ata225
>>
>> On Oct 28, 2019, at 9:58 PM, Jeremy Harley via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>> The women who answered the phone (apologies for not getting her name,
>> calling people like this is not remotely my strong suit and I got nervous
>> and forgot to ask) mentioned many things, and I would heartily ask everyone
>> to call them and let them know what you think--->044-953-7652
>>
>> The background to what she said is quite possibly what Markus writes, but
>> one point she made was that as opposed to Image Forum or all the
>> independent screenings of the film, since tax money was involved they
>> thought they were particularly ?????? (I guess I would translate this as
>> "more likely to be targeted", although there are other ways to interpret
>> it).
>> Right-wingers in Japan can be really f**ing scary, I can vouch for
>> people's genuine fear in these situations, and I have activist friends who
>> volunteer as guards at screenings of films like these.
>>
>> Again, presumably there was pressure from many places.
>>
>> Jeremy
>>
>>
>>
>> On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com>
>> wrote:
>>
>>> I see.
>>>
>>> On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu> wrote:
>>>
>>>> They are concerned about problems at the screening? I mean, it's still
>>>> showing at Image Forum for months. If someone was going to burn the theater
>>>> down it'd be an empty lot by now. This stinks of political interference?at
>>>> least sponsors expressing enough concern that the festival organizers fear
>>>> for their funding down the road.
>>>>
>>>> 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
>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>>>>
>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>
>>>> *Ann Arbor, MI 48109
>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>>>
>>>>
>>>>
>>>> On Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
>>>> wrote:
>>>>
>>>>> We should call them. I will call later today, but what's the best
>>>>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>>>>> the statement you posted. So would the question be to ask Kawasaki City why
>>>>> they couldn't work with the police to provide some degree of protection for
>>>>> the citizens working on the festival?
>>>>> What's the solution in these situations? Presumably they are genuinely
>>>>> afraid.
>>>>>
>>>>> Jeremy Harley
>>>>> Mabashi Wonderland Movie Festival
>>>>>
>>>>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>>>>> kinejapan at mailman.yale.edu> wrote:
>>>>>
>>>>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a
>>>>>> small film festival in Kawasaki. Disgusting.
>>>>>>
>>>>>>
>>>>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fenglish.kyodonews.net%2Fnews%2F2019%2F10%2F4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html%3Ffbclid%3DIwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=twfqgn%2FksF3BjxDq3GNBkYvOOpnvyRzfd66CFvf8AGM%3D&reserved=0>
>>>>>>
>>>>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>>>>
>>>>>> Here is the festival's. official statement:
>>>>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>>>>
>>>>>> 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
>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>>>>>>
>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>
>>>>>> *Ann Arbor, MI 48109
>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>>>>>
>>>>>> _______________________________________________
>>>>>> KineJapan mailing list
>>>>>> KineJapan at mailman.yale.edu
>>>>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=hbbXuIs8wejPaoQpa3SYi55oi%2Be%2F5ZregtSp1IxWids%3D&reserved=0>
>>>>>>
>>>>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>>
>> https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617628097&amp;sdata=fQl4arHxFrqDWS2hkMlotok5lrVSuIuwcZ%2FaEDNJLag%3D&amp;reserved=0
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
-- 
---

*Markus Nornes*
*Professor of Asian Cinema*
Department of Film, Television and Media, Department of Asian Languages and
Cultures, Penny Stamps School of Art & Design

*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street*
*Ann Arbor, MI 48109-1285*
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From nornes at umich.edu  Tue Oct 29 14:57:22 2019
From: nornes at umich.edu (Markus Nornes)
Date: Tue, 29 Oct 2019 14:57:22 -0400
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
 <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
Message-ID: <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>

Here is a more detailed announcement.

M

[image: PDF file]
???????20191030???????????.pd?
<https://drive.google.com/a/umich.edu/file/d/0By9QGX7UmiKRXzNRb3NUUndjOUw1NzhZV0FpT0hXRU8tN2Nr/view?usp=drivesdk>


On Tue, Oct 29, 2019 at 2:54 PM Markus Nornes <nornes at umich.edu> wrote:

> Kawasaki is holding an open mic event on freedom of speech. Good for them.
>
> M
>
> ???????????????????????????????????
> ????10/30???18?30?? 19?00?? 21?00????
> ??? ??????????3?
> ?????? ??????
> ??????
> ??????????????????????????????????????
>
>
>
> On Mon, Oct 28, 2019 at 11:58 PM Jeremy Harley via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> And it's all bound up together, right? There are few moments like this
>> one <https://www.youtube.com/watch?v=SJtcutS7nT0&has_verified=1>at our
>> protest in Sept 2011 where right wingers are yelling "arrest them! (and
>> later "kill them!") upon which the police arrest people, but it kind of
>> encapsulates the reality, no?
>>
>> Jeremy
>>
>> On Tue, Oct 29, 2019 at 11:21 AM Takenaka, Akiko via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>> This reminds me of the stuff that Peace Osaka went through before they
>>> were forced to ?renew? their exhibit a few years ago. Many years ago, I
>>> interviewed people at the Kawasaki City Museum who were in charge of the
>>> exhibits?it seemed like most of them thought of themselves as activists who
>>> needed to really get the ordinary people?s war experience out there. But
>>> given what happened to Peace Osaka, I can understand their fear.
>>>
>>> --
>>> Akiko Takenaka, Ph.D.
>>> Associate Professor and Associate Department Chair
>>>
>>> Department of History
>>> University of Kentucky
>>> 1733 Patterson Office Tower
>>> Lexington, KY 40506
>>> a.takenaka at uky.edu
>>> https://history.as.uky.edu/users/ata225
>>>
>>> On Oct 28, 2019, at 9:58 PM, Jeremy Harley via KineJapan <
>>> kinejapan at mailman.yale.edu> wrote:
>>>
>>> The women who answered the phone (apologies for not getting her name,
>>> calling people like this is not remotely my strong suit and I got nervous
>>> and forgot to ask) mentioned many things, and I would heartily ask everyone
>>> to call them and let them know what you think--->044-953-7652
>>>
>>> The background to what she said is quite possibly what Markus writes,
>>> but one point she made was that as opposed to Image Forum or all the
>>> independent screenings of the film, since tax money was involved they
>>> thought they were particularly ?????? (I guess I would translate this as
>>> "more likely to be targeted", although there are other ways to interpret
>>> it).
>>> Right-wingers in Japan can be really f**ing scary, I can vouch for
>>> people's genuine fear in these situations, and I have activist friends who
>>> volunteer as guards at screenings of films like these.
>>>
>>> Again, presumably there was pressure from many places.
>>>
>>> Jeremy
>>>
>>>
>>>
>>> On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com>
>>> wrote:
>>>
>>>> I see.
>>>>
>>>> On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu>
>>>> wrote:
>>>>
>>>>> They are concerned about problems at the screening? I mean, it's still
>>>>> showing at Image Forum for months. If someone was going to burn the theater
>>>>> down it'd be an empty lot by now. This stinks of political interference?at
>>>>> least sponsors expressing enough concern that the festival organizers fear
>>>>> for their funding down the road.
>>>>>
>>>>> 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
>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>>>>>
>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>
>>>>> *Ann Arbor, MI 48109
>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>>>>
>>>>>
>>>>>
>>>>> On Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
>>>>> wrote:
>>>>>
>>>>>> We should call them. I will call later today, but what's the best
>>>>>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>>>>>> the statement you posted. So would the question be to ask Kawasaki City why
>>>>>> they couldn't work with the police to provide some degree of protection for
>>>>>> the citizens working on the festival?
>>>>>> What's the solution in these situations? Presumably they are
>>>>>> genuinely afraid.
>>>>>>
>>>>>> Jeremy Harley
>>>>>> Mabashi Wonderland Movie Festival
>>>>>>
>>>>>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>>>>>> kinejapan at mailman.yale.edu> wrote:
>>>>>>
>>>>>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a
>>>>>>> small film festival in Kawasaki. Disgusting.
>>>>>>>
>>>>>>>
>>>>>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fenglish.kyodonews.net%2Fnews%2F2019%2F10%2F4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html%3Ffbclid%3DIwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=twfqgn%2FksF3BjxDq3GNBkYvOOpnvyRzfd66CFvf8AGM%3D&reserved=0>
>>>>>>>
>>>>>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>>>>>
>>>>>>> Here is the festival's. official statement:
>>>>>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>>>>>
>>>>>>> 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
>>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>>>>>>>
>>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>
>>>>>>> *Ann Arbor, MI 48109
>>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>>>>>>
>>>>>>> _______________________________________________
>>>>>>> KineJapan mailing list
>>>>>>> KineJapan at mailman.yale.edu
>>>>>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=hbbXuIs8wejPaoQpa3SYi55oi%2Be%2F5ZregtSp1IxWids%3D&reserved=0>
>>>>>>>
>>>>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at mailman.yale.edu
>>>
>>> https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617628097&amp;sdata=fQl4arHxFrqDWS2hkMlotok5lrVSuIuwcZ%2FaEDNJLag%3D&amp;reserved=0
>>>
>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at mailman.yale.edu
>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>
> --
> ---
>
> *Markus Nornes*
> *Professor of Asian Cinema*
> Department of Film, Television and Media, Department of Asian Languages
> and Cultures, Penny Stamps School of Art & Design
>
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street*
> *Ann Arbor, MI 48109-1285*
>
> --
---

*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*
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From dmiyao at ucsd.edu  Tue Oct 29 18:03:27 2019
From: dmiyao at ucsd.edu (Miyao, Daisuke)
Date: Tue, 29 Oct 2019 22:03:27 +0000
Subject: [KineJapan] Cinema Is a Cat
In-Reply-To: <BYAPR04MB3829BC4650E91766C55CBC66B6610@BYAPR04MB3829.namprd04.prod.outlook.com>
References: <BYAPR04MB3829E5C5BCAF1BC059CDD133B6820@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <D9BA7B08.345B3%stevehir@hawaii.edu>,
 <BYAPR04MB3829BC4650E91766C55CBC66B6610@BYAPR04MB3829.namprd04.prod.outlook.com>
Message-ID: <BYAPR04MB382976168489B7953D773C1FB6610@BYAPR04MB3829.namprd04.prod.outlook.com>

Dear KineJapan members,

This is a shameless self-promotion on the National Cat Day. My new book, Cinema Is a Cat: A Cat Lover's Introduction to Film Studies, is now available from the University of Hawai'i Press. Thank you, Aaron and Hiroshi, for your generous blurbs!

This book is not specifically about Japanese cinema, but there are several chapters in which I discuss Japanese films, including Neko to Shozo to futari no onna; Neko zamurai; and Janguru taitei Leo. I published a Japanese book (shinsho) with a very similar title in 2011, but this book is not a translated version of it. New chapters and new intro were added, and other chapters were significantly re-written for different target audiences. This book has more illustrations, too! I hope you enjoy, especially those of you cat lovers!

Thank you,
Daisuke

PS I have attached a 20% off order form.

Daisuke Miyao
Professor and the Hajime Mori Chair in Japanese Language and Literature
Director of the Japanese Studies Program
Director of Doctoral Studies, Department of Literature
University of California, San Diego
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From nornes at umich.edu  Tue Oct 29 23:04:34 2019
From: nornes at umich.edu (Markus Nornes)
Date: Tue, 29 Oct 2019 23:04:34 -0400
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
 <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
 <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>
Message-ID: <CANoSnpAwW14fFzvDf8zi5wuoXhQ1hWMFjswj6TgvTSW63UmNdA@mail.gmail.com>

Koreeda on the Shusenjo censorship:

??????????????????????????????

????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

????????????????????????????????????????????????????????????????????????????????????????????????

????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

??????????????????????????????????????????????????????????????????????????????????????????????????????????????????

???????????????????????????????????????
?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

??????????????????????????????????????????????????????????????????????????????

???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

??????????????????????????????????????????????????????????????????????????????????????????

??????????????????????????????????????????????????????????????????????????????????????????????????????????

???????????????????????????????????????????????????????




On Tue, Oct 29, 2019 at 2:57 PM Markus Nornes <nornes at umich.edu> wrote:

> Here is a more detailed announcement.
>
> M
>
> [image: PDF file]
> ???????20191030???????????.pd?
>
> <https://drive.google.com/a/umich.edu/file/d/0By9QGX7UmiKRXzNRb3NUUndjOUw1NzhZV0FpT0hXRU8tN2Nr/view?usp=drivesdk>
>
>
> On Tue, Oct 29, 2019 at 2:54 PM Markus Nornes <nornes at umich.edu> wrote:
>
>> Kawasaki is holding an open mic event on freedom of speech. Good for
>> them.
>>
>> M
>>
>> ???????????????????????????????????
>> ????10/30???18?30?? 19?00?? 21?00????
>> ??? ??????????3?
>> ?????? ??????
>> ??????
>> ??????????????????????????????????????
>>
>>
>>
>> On Mon, Oct 28, 2019 at 11:58 PM Jeremy Harley via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>> And it's all bound up together, right? There are few moments like this
>>> one <https://www.youtube.com/watch?v=SJtcutS7nT0&has_verified=1>at our
>>> protest in Sept 2011 where right wingers are yelling "arrest them! (and
>>> later "kill them!") upon which the police arrest people, but it kind of
>>> encapsulates the reality, no?
>>>
>>> Jeremy
>>>
>>> On Tue, Oct 29, 2019 at 11:21 AM Takenaka, Akiko via KineJapan <
>>> kinejapan at mailman.yale.edu> wrote:
>>>
>>>> This reminds me of the stuff that Peace Osaka went through before they
>>>> were forced to ?renew? their exhibit a few years ago. Many years ago, I
>>>> interviewed people at the Kawasaki City Museum who were in charge of the
>>>> exhibits?it seemed like most of them thought of themselves as activists who
>>>> needed to really get the ordinary people?s war experience out there. But
>>>> given what happened to Peace Osaka, I can understand their fear.
>>>>
>>>> --
>>>> Akiko Takenaka, Ph.D.
>>>> Associate Professor and Associate Department Chair
>>>>
>>>> Department of History
>>>> University of Kentucky
>>>> 1733 Patterson Office Tower
>>>> Lexington, KY 40506
>>>> a.takenaka at uky.edu
>>>> https://history.as.uky.edu/users/ata225
>>>>
>>>> On Oct 28, 2019, at 9:58 PM, Jeremy Harley via KineJapan <
>>>> kinejapan at mailman.yale.edu> wrote:
>>>>
>>>> The women who answered the phone (apologies for not getting her name,
>>>> calling people like this is not remotely my strong suit and I got nervous
>>>> and forgot to ask) mentioned many things, and I would heartily ask everyone
>>>> to call them and let them know what you think--->044-953-7652
>>>>
>>>> The background to what she said is quite possibly what Markus writes,
>>>> but one point she made was that as opposed to Image Forum or all the
>>>> independent screenings of the film, since tax money was involved they
>>>> thought they were particularly ?????? (I guess I would translate this as
>>>> "more likely to be targeted", although there are other ways to interpret
>>>> it).
>>>> Right-wingers in Japan can be really f**ing scary, I can vouch for
>>>> people's genuine fear in these situations, and I have activist friends who
>>>> volunteer as guards at screenings of films like these.
>>>>
>>>> Again, presumably there was pressure from many places.
>>>>
>>>> Jeremy
>>>>
>>>>
>>>>
>>>> On Tue, Oct 29, 2019 at 10:12 AM Jeremy Harley <jeremyharley at gmail.com>
>>>> wrote:
>>>>
>>>>> I see.
>>>>>
>>>>> On Tue, Oct 29, 2019 at 10:04 AM Markus Nornes <nornes at umich.edu>
>>>>> wrote:
>>>>>
>>>>>> They are concerned about problems at the screening? I mean, it's
>>>>>> still showing at Image Forum for months. If someone was going to burn the
>>>>>> theater down it'd be an empty lot by now. This stinks of political
>>>>>> interference?at least sponsors expressing enough concern that the festival
>>>>>> organizers fear for their funding down the road.
>>>>>>
>>>>>> 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
>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>>>>>>
>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>
>>>>>> *Ann Arbor, MI 48109
>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>>>>>
>>>>>>
>>>>>>
>>>>>> On Mon, Oct 28, 2019 at 8:50 PM Jeremy Harley <jeremyharley at gmail.com>
>>>>>> wrote:
>>>>>>
>>>>>>> We should call them. I will call later today, but what's the best
>>>>>>> question to ask, I wonder. The director blames concerns of Kawasaki City in
>>>>>>> the statement you posted. So would the question be to ask Kawasaki City why
>>>>>>> they couldn't work with the police to provide some degree of protection for
>>>>>>> the citizens working on the festival?
>>>>>>> What's the solution in these situations? Presumably they are
>>>>>>> genuinely afraid.
>>>>>>>
>>>>>>> Jeremy Harley
>>>>>>> Mabashi Wonderland Movie Festival
>>>>>>>
>>>>>>> On Tue, Oct 29, 2019 at 5:59 AM Markus Nornes via KineJapan <
>>>>>>> kinejapan at mailman.yale.edu> wrote:
>>>>>>>
>>>>>>>> Miki Dezaki's film just got pulled, Aichi Trienalle Style, from a
>>>>>>>> small film festival in Kawasaki. Disgusting.
>>>>>>>>
>>>>>>>>
>>>>>>>> https://english.kyodonews.net/news/2019/10/4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html?fbclid=IwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE
>>>>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fenglish.kyodonews.net%2Fnews%2F2019%2F10%2F4ea093c14799-japan-film-festival-decides-not-to-show-comfort-women-movie.html%3Ffbclid%3DIwAR0QO_OFQgc00DMQojyPnSQDuZjk8W4LfRXaonI64MYv-ZX_HLKWw6MUJkE&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=twfqgn%2FksF3BjxDq3GNBkYvOOpnvyRzfd66CFvf8AGM%3D&reserved=0>
>>>>>>>>
>>>>>>>> Wakamatsu Pro protested the action by pulling two of their films.
>>>>>>>>
>>>>>>>> Here is the festival's. official statement:
>>>>>>>> https://www.main.siff.jp/release <cinema-uma at siff.jp>
>>>>>>>>
>>>>>>>> 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
>>>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>>>>>>>>
>>>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>
>>>>>>>> *Ann Arbor, MI 48109
>>>>>>>> <https://www.google.com/maps/search/105+S.+State+Street+%0D%0A+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>>>>>>>
>>>>>>>> _______________________________________________
>>>>>>>> KineJapan mailing list
>>>>>>>> KineJapan at mailman.yale.edu
>>>>>>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>>>>>>> <https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617608109&sdata=hbbXuIs8wejPaoQpa3SYi55oi%2Be%2F5ZregtSp1IxWids%3D&reserved=0>
>>>>>>>>
>>>>>>> _______________________________________________
>>>> KineJapan mailing list
>>>> KineJapan at mailman.yale.edu
>>>>
>>>> https://nam04.safelinks.protection.outlook.com/?url=https%3A%2F%2Fmailman.yale.edu%2Fmailman%2Flistinfo%2Fkinejapan&amp;data=02%7C01%7Ca.takenaka%40uky.edu%7Cdf1af319a75a4077e43608d75c139a67%7C2b30530b69b64457b818481cb53d42ae%7C0%7C0%7C637079111617628097&amp;sdata=fQl4arHxFrqDWS2hkMlotok5lrVSuIuwcZ%2FaEDNJLag%3D&amp;reserved=0
>>>>
>>>>
>>>> _______________________________________________
>>>> KineJapan mailing list
>>>> KineJapan at mailman.yale.edu
>>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>>>
>>> _______________________________________________
>>> KineJapan mailing list
>>> KineJapan at mailman.yale.edu
>>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>>
>> --
>> ---
>>
>> *Markus Nornes*
>> *Professor of Asian Cinema*
>> Department of Film, Television and Media, Department of Asian Languages
>> and Cultures, Penny Stamps School of Art & Design
>>
>> *Department of Film, Television and Media*
>> *6348 North Quad*
>> *105 S. State Street*
>> *Ann Arbor, MI 48109-1285*
>>
>> --
> ---
>
> *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*
>
> --
---

*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*
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From nornes at umich.edu  Tue Oct 29 23:09:26 2019
From: nornes at umich.edu (Markus Nornes)
Date: Tue, 29 Oct 2019 23:09:26 -0400
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CANoSnpAwW14fFzvDf8zi5wuoXhQ1hWMFjswj6TgvTSW63UmNdA@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
 <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
 <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>
 <CANoSnpAwW14fFzvDf8zi5wuoXhQ1hWMFjswj6TgvTSW63UmNdA@mail.gmail.com>
Message-ID: <CANoSnpBrVAAFWJREXTXSU235_Vv6ZJ65PQeb0tJS3zY+E1AgmQ@mail.gmail.com>

I dropped Miki a line about previous showings. There have been threats, but
so far the film has been screened in over 50 Japanese cities without
incident.

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*
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From jasper_sharp at hotmail.com  Wed Oct 30 06:41:24 2019
From: jasper_sharp at hotmail.com (Jasper Sharp)
Date: Wed, 30 Oct 2019 10:41:24 +0000
Subject: [KineJapan] Cinema Is a Cat
In-Reply-To: <BYAPR04MB382976168489B7953D773C1FB6610@BYAPR04MB3829.namprd04.prod.outlook.com>
References: <BYAPR04MB3829E5C5BCAF1BC059CDD133B6820@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <D9BA7B08.345B3%stevehir@hawaii.edu>,
 <BYAPR04MB3829BC4650E91766C55CBC66B6610@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <BYAPR04MB382976168489B7953D773C1FB6610@BYAPR04MB3829.namprd04.prod.outlook.com>
Message-ID: <CWXP123MB2613C59A70D17567605AB660F7600@CWXP123MB2613.GBRP123.PROD.OUTLOOK.COM>

Interesting! I've been trying to programme a season on Japanese cat and dog movies for almost a decade now, but can't get any venues, festivals or funders interested, so anything this book can do to promote interest!



The Creeping Garden<http://www.creepinggarden.com/> - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp.
Available now on Dual-Format Blu-ray/DVD from Arrow Films<https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>.
The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.
"A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>.
"An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter<https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>.
"Strange, eccentric, diverting", Peter Bradshaw, The Guardian<https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>.

________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Miyao, Daisuke via KineJapan <kinejapan at mailman.yale.edu>
Sent: 29 October 2019 22:03
To: KineJapan <kinejapan-bounces at mailman.yale.edu>; Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: Miyao, Daisuke <dmiyao at ucsd.edu>
Subject: [KineJapan] Cinema Is a Cat

Dear KineJapan members,

This is a shameless self-promotion on the National Cat Day. My new book, Cinema Is a Cat: A Cat Lover's Introduction to Film Studies, is now available from the University of Hawai'i Press. Thank you, Aaron and Hiroshi, for your generous blurbs!

This book is not specifically about Japanese cinema, but there are several chapters in which I discuss Japanese films, including Neko to Shozo to futari no onna; Neko zamurai; and Janguru taitei Leo. I published a Japanese book (shinsho) with a very similar title in 2011, but this book is not a translated version of it. New chapters and new intro were added, and other chapters were significantly re-written for different target audiences. This book has more illustrations, too! I hope you enjoy, especially those of you cat lovers!

Thank you,
Daisuke

PS I have attached a 20% off order form.

Daisuke Miyao
Professor and the Hajime Mori Chair in Japanese Language and Literature
Director of the Japanese Studies Program
Director of Doctoral Studies, Department of Literature
University of California, San Diego
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From dmiyao at ucsd.edu  Wed Oct 30 13:58:03 2019
From: dmiyao at ucsd.edu (Miyao, Daisuke)
Date: Wed, 30 Oct 2019 17:58:03 +0000
Subject: [KineJapan] Cinema Is a Cat
In-Reply-To: <CWXP123MB2613C59A70D17567605AB660F7600@CWXP123MB2613.GBRP123.PROD.OUTLOOK.COM>
References: <BYAPR04MB3829E5C5BCAF1BC059CDD133B6820@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <D9BA7B08.345B3%stevehir@hawaii.edu>,
 <BYAPR04MB3829BC4650E91766C55CBC66B6610@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <BYAPR04MB382976168489B7953D773C1FB6610@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <CWXP123MB2613C59A70D17567605AB660F7600@CWXP123MB2613.GBRP123.PROD.OUTLOOK.COM>
Message-ID: <BYAPR04MB382935D78C531214A9CD644EB6600@BYAPR04MB3829.namprd04.prod.outlook.com>

Thank you for your kind message, Jasper. That series is a lovely idea!

Best,
Daisuke
________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Jasper Sharp via KineJapan <kinejapan at mailman.yale.edu>
Sent: Wednesday, October 30, 2019 3:41 AM
To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: Jasper Sharp <jasper_sharp at hotmail.com>
Subject: Re: [KineJapan] Cinema Is a Cat

Interesting! I've been trying to programme a season on Japanese cat and dog movies for almost a decade now, but can't get any venues, festivals or funders interested, so anything this book can do to promote interest!



The Creeping Garden<http://www.creepinggarden.com/> - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp.
Available now on Dual-Format Blu-ray/DVD from Arrow Films<https://arrowfilms.com/product-detail/the-creeping-garden-dual-format/FCD1435>.
The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing<http://www.alchimiapublishing.com/creeping-garden/>.
"A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times<http://www.nytimes.com/2015/09/30/movies/review-the-creeping-garden-on-the-wonders-of-the-slime-mold.html>.
"An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter<https://www.hollywoodreporter.com/review/creeping-garden-fantasia-review-724416>.
"Strange, eccentric, diverting", Peter Bradshaw, The Guardian<https://www.theguardian.com/film/2017/mar/09/creeping-garden-review-slime-mould-film>.

________________________________
From: KineJapan <kinejapan-bounces at mailman.yale.edu> on behalf of Miyao, Daisuke via KineJapan <kinejapan at mailman.yale.edu>
Sent: 29 October 2019 22:03
To: KineJapan <kinejapan-bounces at mailman.yale.edu>; Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
Cc: Miyao, Daisuke <dmiyao at ucsd.edu>
Subject: [KineJapan] Cinema Is a Cat

Dear KineJapan members,

This is a shameless self-promotion on the National Cat Day. My new book, Cinema Is a Cat: A Cat Lover's Introduction to Film Studies, is now available from the University of Hawai'i Press. Thank you, Aaron and Hiroshi, for your generous blurbs!

This book is not specifically about Japanese cinema, but there are several chapters in which I discuss Japanese films, including Neko to Shozo to futari no onna; Neko zamurai; and Janguru taitei Leo. I published a Japanese book (shinsho) with a very similar title in 2011, but this book is not a translated version of it. New chapters and new intro were added, and other chapters were significantly re-written for different target audiences. This book has more illustrations, too! I hope you enjoy, especially those of you cat lovers!

Thank you,
Daisuke

PS I have attached a 20% off order form.

Daisuke Miyao
Professor and the Hajime Mori Chair in Japanese Language and Literature
Director of the Japanese Studies Program
Director of Doctoral Studies, Department of Literature
University of California, San Diego
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From macyroger at yahoo.co.uk  Wed Oct 30 21:11:22 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Thu, 31 Oct 2019 01:11:22 +0000 (UTC)
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CANoSnpBrVAAFWJREXTXSU235_Vv6ZJ65PQeb0tJS3zY+E1AgmQ@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
 <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
 <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>
 <CANoSnpAwW14fFzvDf8zi5wuoXhQ1hWMFjswj6TgvTSW63UmNdA@mail.gmail.com>
 <CANoSnpBrVAAFWJREXTXSU235_Vv6ZJ65PQeb0tJS3zY+E1AgmQ@mail.gmail.com>
Message-ID: <1498128152.4259559.1572484282705@mail.yahoo.com>

 
Thanks, as ever, for the briefings on Shusenjo, not leastbecause it gave me the heads-up that I could watch the film with english subtitlesat the 2100 screenings at Image Forum.

My little take on comes near the end where more than one ofthe neo-imperialists (or whatever you like to call them) come out with aprecept that I might paraphrase as ?not doubting is doing well?. That?s one-upon the motto of the town I found myself living in where, to enter the townhall, you had to pass under the motto, ?Do Well and Doubt Not?. Since the neo-imperialistsalso claimed that not doubting was uniquely Japanese, I thought I?d mentionthat. Back, I think in the 90s, I even submitted a question to BBC ?BrainsTrust? that the motto of Tunbridge Wells was fundamentally immoral. Threepanellists brought their own fear of personal hesitation to the table and onlyBen Okri saw where an absence of doubt can lead.

There were a lot of names and backgrounds to take in for onesitting. If anyone could tell me the name and anything about theenglish-speaking woman of Japanese descent who reflects, I?d be obliged. https://www.shusenjo.com/click on ?Gallery?. She?s top row on the far right, the one who faced herdoubts, not the LDP member to her left who can?t.

Roger


    On Wednesday, 30 October 2019, 12:09:45 GMT+9, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 I dropped Miki a line about previous showings. There have been threats, but so far the film has been screened in over 50 Japanese cities without incident.?
Markus-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From jeremyharley at gmail.com  Wed Oct 30 22:18:58 2019
From: jeremyharley at gmail.com (Jeremy Harley)
Date: Thu, 31 Oct 2019 11:18:58 +0900
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <1498128152.4259559.1572484282705@mail.yahoo.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
 <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
 <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>
 <CANoSnpAwW14fFzvDf8zi5wuoXhQ1hWMFjswj6TgvTSW63UmNdA@mail.gmail.com>
 <CANoSnpBrVAAFWJREXTXSU235_Vv6ZJ65PQeb0tJS3zY+E1AgmQ@mail.gmail.com>
 <1498128152.4259559.1572484282705@mail.yahoo.com>
Message-ID: <CAD3BKu-icwBz_X9Kg8Cj371wA+GnhF_hj2dCsxmV1a9HG-AU=A@mail.gmail.com>

I believe you are referring to the photo of Sakurai Yoshiko?

Jeremy


On Thu, Oct 31, 2019 at 10:16 AM Roger Macy via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Thanks, as ever, for the briefings on Shusenjo, not least because it gave
> me the heads-up that I could watch the film with english subtitles at the
> 2100 screenings at Image Forum.
>
> My little take on comes near the end where more than one of the
> neo-imperialists (or whatever you like to call them) come out with a
> precept that I might paraphrase as ?not doubting is doing well?. That?s
> one-up on the motto of the town I found myself living in where, to enter
> the town hall, you had to pass under the motto, ?Do Well and Doubt Not?.
> Since the neo-imperialists also claimed that not doubting was uniquely
> Japanese, I thought I?d mention that. Back, I think in the 90s, I even
> submitted a question to BBC ?Brains Trust? that the motto of Tunbridge
> Wells was fundamentally immoral. Three panellists brought their own fear of
> personal hesitation to the table and only Ben Okri saw where an absence of
> doubt can lead.
>
> There were a lot of names and backgrounds to take in for one sitting. If
> anyone could tell me the name and anything about the english-speaking woman
> of Japanese descent who reflects, I?d be obliged.
> https://www.shusenjo.com/ click on ?Gallery?. She?s top row on the far
> right, the one who faced her doubts, not the LDP member to her left who
> can?t.
>
> Roger
>
>
> On Wednesday, 30 October 2019, 12:09:45 GMT+9, Markus Nornes via KineJapan
> <kinejapan at mailman.yale.edu> wrote:
>
>
> I dropped Miki a line about previous showings. There have been threats,
> but so far the film has been screened in over 50 Japanese cities without
> incident.
>
> 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
>
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From eija.niskanen at gmail.com  Thu Oct 31 02:59:11 2019
From: eija.niskanen at gmail.com (Eija Niskanen)
Date: Thu, 31 Oct 2019 15:59:11 +0900
Subject: [KineJapan] bringing a benshi to Finland
Message-ID: <CA+FavwMDf+21WzWt7Ka+oSzS55dqzQYYhGOUnk98eXPzFQhDhQ@mail.gmail.com>

Hi all,
we are in talks with Finnish National Audiovisual Archive on bringing a
benshi to perform with Japanese silent films. As we have to do a budget for
any support applications, if anyone has experience with Kataoka-benshi on
the costs (his fee basically, as the video translation into Finnish cost
and film rentals and shipping we we can figure out ourselves) please let me
know. You could email me off-list: eija.niskanen at gmail.com

Eija

-- 
Eija Niskanen
Helsinki Cine Aasia film festival
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From macyroger at yahoo.co.uk  Thu Oct 31 03:28:39 2019
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Thu, 31 Oct 2019 07:28:39 +0000 (UTC)
Subject: [KineJapan] More problems for Shusenjo
In-Reply-To: <CAD3BKu-icwBz_X9Kg8Cj371wA+GnhF_hj2dCsxmV1a9HG-AU=A@mail.gmail.com>
References: <CANoSnpBrHa4ejfNW_f75ZRnbLsjUZk=gso5x9H-Pg+fZ0Y268w@mail.gmail.com>
 <CAD3BKu_zxbenArJhq_h+pFS7UiO+2WQb=YxpEEaEuTs=ZaqH_A@mail.gmail.com>
 <CANoSnpAW+nvS8OOXeRL-neA7XD0_xA5CBGBH6fi8cDXEZMJc_g@mail.gmail.com>
 <CAD3BKu9rT4sfYvSKrpdjkXvREput8W9cE85byRV8y7BagzjmLw@mail.gmail.com>
 <CAD3BKu9cU7JkOZ4+uRjjwpZykry7M-Y6dL5Sor69+5cxC8cDxQ@mail.gmail.com>
 <7EAEA4F3-7AB0-425E-8B2A-318CD8B627E1@uky.edu>
 <CAD3BKu9YYo_sWqbLiQzV-bFTsgwr7Lun4__wQOD=cuDy2qEaVw@mail.gmail.com>
 <CANoSnpAiwQMnO3bYH5jYx_YFJ2G_jLEr3pd6pupJG529Rd2FFQ@mail.gmail.com>
 <CANoSnpCUmCMwJrch9jnZau-ECidvnfWqz3AyciBqbDvqELQWVw@mail.gmail.com>
 <CANoSnpAwW14fFzvDf8zi5wuoXhQ1hWMFjswj6TgvTSW63UmNdA@mail.gmail.com>
 <CANoSnpBrVAAFWJREXTXSU235_Vv6ZJ65PQeb0tJS3zY+E1AgmQ@mail.gmail.com>
 <1498128152.4259559.1572484282705@mail.yahoo.com>
 <CAD3BKu-icwBz_X9Kg8Cj371wA+GnhF_hj2dCsxmV1a9HG-AU=A@mail.gmail.com>
Message-ID: <1097185188.4339927.1572506919778@mail.yahoo.com>

 Accordingto en.wikipedia, Sakurai "denies the Nanking Massacre and sexualslavery". I meant the person who admitted to having denied them, butrecanted and acknowledged the evidence. 
Please excuse my posting again. (Btw, There seems to be some snag, if I click 'reply' to the email, below, it only goes to Jeremy.)

Roger

?
On Thursday, 31 October 2019, 11:19:12 GMT+9, Jeremy Harley <jeremyharley at gmail.com> wrote:  
 
 I believe you are referring to the photo of Sakurai Yoshiko?
Jeremy

On Thu, Oct 31, 2019 at 10:16 AM Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:

 
Thanks, as ever, for the briefings on Shusenjo, not leastbecause it gave me the heads-up that I could watch the film with english subtitlesat the 2100 screenings at Image Forum.

My little take on comes near the end where more than one ofthe neo-imperialists (or whatever you like to call them) come out with aprecept that I might paraphrase as ?not doubting is doing well?. That?s one-upon the motto of the town I found myself living in where, to enter the townhall, you had to pass under the motto, ?Do Well and Doubt Not?. Since the neo-imperialistsalso claimed that not doubting was uniquely Japanese, I thought I?d mentionthat. Back, I think in the 90s, I even submitted a question to BBC ?BrainsTrust? that the motto of Tunbridge Wells was fundamentally immoral. Threepanellists brought their own fear of personal hesitation to the table and onlyBen Okri saw where an absence of doubt can lead.

There were a lot of names and backgrounds to take in for onesitting. If anyone could tell me the name and anything about theenglish-speaking woman of Japanese descent who reflects, I?d be obliged. https://www.shusenjo.com/click on ?Gallery?. She?s top row on the far right, the one who faced herdoubts, not the LDP member to her left who can?t.

Roger


    On Wednesday, 30 October 2019, 12:09:45 GMT+9, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 I dropped Miki a line about previous showings. There have been threats, but so far the film has been screened in over 50 Japanese cities without incident.?
Markus-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn 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

  
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From nornes at umich.edu  Thu Oct 31 09:15:13 2019
From: nornes at umich.edu (Markus Nornes)
Date: Thu, 31 Oct 2019 09:15:13 -0400
Subject: [KineJapan] bringing a benshi to Finland
In-Reply-To: <CA+FavwMDf+21WzWt7Ka+oSzS55dqzQYYhGOUnk98eXPzFQhDhQ@mail.gmail.com>
References: <CA+FavwMDf+21WzWt7Ka+oSzS55dqzQYYhGOUnk98eXPzFQhDhQ@mail.gmail.com>
Message-ID: <CANoSnpDtEOgJn8PUV9DQeoJx_phvMBVH3STng9c2iYUyz=xgqg@mail.gmail.com>

Hi,

I have experience with this. The answer is that he is totally flexible, BUT
there is an ethical way to make this happen and treat him well.

Keep in mind that this is his career, and we want him to be doing this and
not voice acting and radio.

Also keep in mind that every day he?s not in Japan, he is not working in
Japan. And he always gets paid more in Japan than abroad. He can get
US$1,500 to $3,000 per performance in Japan.

So the answer to your question is this: pay as much as you possibly can
squeeze from your institution.

I think he would feel insulted if it was less than $500 per performance,
but he wouldn?t tell you that and would still do it for the cultural
capital.

So pay as much as you possibly can.

There is one way you can give him more money.

Ichiro collects silent films. He does this so he can keep costs down. If he
owns the print, then no rental fee is necessary and no paperwork as well.

However, I think about this a different way. I try to use his prints, but
keep a LINE in my budget for print rental. And I pay the print rental fee
to him, rather than a distributor. That way I max out my limits for
honorarium, while still giving him more money through the print rental
budget line.

Hope that helps.

Markus

On Thu, Oct 31, 2019 at 2:59 AM Eija Niskanen via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi all,
> we are in talks with Finnish National Audiovisual Archive on bringing a
> benshi to perform with Japanese silent films. As we have to do a budget for
> any support applications, if anyone has experience with Kataoka-benshi on
> the costs (his fee basically, as the video translation into Finnish cost
> and film rentals and shipping we we can figure out ourselves) please let me
> know. You could email me off-list: eija.niskanen at gmail.com
>
> Eija
>
> --
> Eija Niskanen
> Helsinki Cine Aasia film festival
>
>
> _______________________________________________
> 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*
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From jonathanmarkhall at gmail.com  Thu Oct 31 18:40:56 2019
From: jonathanmarkhall at gmail.com (Jonathan M. Hall)
Date: Thu, 31 Oct 2019 15:40:56 -0700
Subject: [KineJapan] bringing a benshi to Finland
In-Reply-To: <CANoSnpDtEOgJn8PUV9DQeoJx_phvMBVH3STng9c2iYUyz=xgqg@mail.gmail.com>
References: <CA+FavwMDf+21WzWt7Ka+oSzS55dqzQYYhGOUnk98eXPzFQhDhQ@mail.gmail.com>
 <CANoSnpDtEOgJn8PUV9DQeoJx_phvMBVH3STng9c2iYUyz=xgqg@mail.gmail.com>
Message-ID: <CAKENDRGOZq4gfowaJp1eiR=P0UTn6wVd-NALdq+p_Wv+2L5H+Q@mail.gmail.com>

Dear Eija,

Earlier this year, the UCLA Film & Television Archive had a three-day
series with benshi performance by Kataoka, but also Sakamoto Raiko and
Omori Kumiko, including one film where they performed together.

I'd recommend contacting Paul Malcom at the Archive to inquire more.

With best wishes,
Jonathan

Jonathan M. Hall
Visiting Assistant Professor
University of California Riverside

On Thu, Oct 31, 2019 at 6:15 AM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi,
>
> I have experience with this. The answer is that he is totally flexible,
> BUT there is an ethical way to make this happen and treat him well.
>
> Keep in mind that this is his career, and we want him to be doing this and
> not voice acting and radio.
>
> Also keep in mind that every day he?s not in Japan, he is not working in
> Japan. And he always gets paid more in Japan than abroad. He can get
> US$1,500 to $3,000 per performance in Japan.
>
> So the answer to your question is this: pay as much as you possibly can
> squeeze from your institution.
>
> I think he would feel insulted if it was less than $500 per performance,
> but he wouldn?t tell you that and would still do it for the cultural
> capital.
>
> So pay as much as you possibly can.
>
> There is one way you can give him more money.
>
> Ichiro collects silent films. He does this so he can keep costs down. If
> he owns the print, then no rental fee is necessary and no paperwork as
> well.
>
> However, I think about this a different way. I try to use his prints, but
> keep a LINE in my budget for print rental. And I pay the print rental fee
> to him, rather than a distributor. That way I max out my limits for
> honorarium, while still giving him more money through the print rental
> budget line.
>
> Hope that helps.
>
> Markus
>
> On Thu, Oct 31, 2019 at 2:59 AM Eija Niskanen via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Hi all,
>> we are in talks with Finnish National Audiovisual Archive on bringing a
>> benshi to perform with Japanese silent films. As we have to do a budget for
>> any support applications, if anyone has experience with Kataoka-benshi on
>> the costs (his fee basically, as the video translation into Finnish cost
>> and film rentals and shipping we we can figure out ourselves) please let me
>> know. You could email me off-list: eija.niskanen at gmail.com
>>
>> Eija
>>
>> --
>> Eija Niskanen
>> Helsinki Cine Aasia film festival
>>
>>
>> _______________________________________________
>> 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
>
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From komori at hamilton.edu  Thu Oct 31 19:29:57 2019
From: komori at hamilton.edu (Kyoko Omori)
Date: Thu, 31 Oct 2019 19:29:57 -0400
Subject: [KineJapan] bringing a benshi to Finland
In-Reply-To: <CAKENDRGOZq4gfowaJp1eiR=P0UTn6wVd-NALdq+p_Wv+2L5H+Q@mail.gmail.com>
References: <CA+FavwMDf+21WzWt7Ka+oSzS55dqzQYYhGOUnk98eXPzFQhDhQ@mail.gmail.com>
 <CANoSnpDtEOgJn8PUV9DQeoJx_phvMBVH3STng9c2iYUyz=xgqg@mail.gmail.com>
 <CAKENDRGOZq4gfowaJp1eiR=P0UTn6wVd-NALdq+p_Wv+2L5H+Q@mail.gmail.com>
Message-ID: <526FF2C0-547B-4084-A80E-B4DE996637B5@hamilton.edu>

As well as the kowairo kakeai that Jonathan mentions in his email, I would like to add that all three benshi performed Chikemuri Takada no Baba at three separate screenings during the event. So, those of us who were lucky enough to see all performances got to compare different benshi styles for the same movie. Inviting multiple benshi would cost more money, but I thought that was a big success. Michael Emmerich and Junko Yamazaki at UCLA, together with people from Waseda, did such a wonderful job.

And of course, there is an option to bring musicians as well. Ichiro has performed with musicians both in and outside Japan at benshi events. All these things without specific numbers might not be directly useful to Eija or anybody else thinking about hosting a benshi event, but I still mention it because that's one way to attract the interests of different schools and groups when one prepares an application for funding.

Cheers,

Kyoko
....................
Kyoko Omori

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

> On Oct 31, 2019, at 6:40 PM, Jonathan M. Hall via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> Dear Eija,
> 
> Earlier this year, the UCLA Film & Television Archive had a three-day series with benshi performance by Kataoka, but also Sakamoto Raiko and Omori Kumiko, including one film where they performed together.
> 
> I'd recommend contacting Paul Malcom at the Archive to inquire more. 
> 
> With best wishes,
> Jonathan
> 
> Jonathan M. Hall
> Visiting Assistant Professor 
> University of California Riverside
> 
> On Thu, Oct 31, 2019 at 6:15 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu <mailto:kinejapan at mailman.yale.edu>> wrote:
> Hi, 
> 
> I have experience with this. The answer is that he is totally flexible, BUT there is an ethical way to make this happen and treat him well. 
> 
> Keep in mind that this is his career, and we want him to be doing this and not voice acting and radio. 
> 
> Also keep in mind that every day he?s not in Japan, he is not working in Japan. And he always gets paid more in Japan than abroad. He can get US$1,500 to $3,000 per performance in Japan. 
> 
> So the answer to your question is this: pay as much as you possibly can squeeze from your institution. 
> 
> I think he would feel insulted if it was less than $500 per performance, but he wouldn?t tell you that and would still do it for the cultural capital.  
> 
> So pay as much as you possibly can. 
> 
> There is one way you can give him more money. 
> 
> Ichiro collects silent films. He does this so he can keep costs down. If he owns the print, then no rental fee is necessary and no paperwork as well. 
> 
> However, I think about this a different way. I try to use his prints, but keep a LINE in my budget for print rental. And I pay the print rental fee to him, rather than a distributor. That way I max out my limits for honorarium, while still giving him more money through the print rental budget line.
> 
> Hope that helps. 
> 
> Markus 
> 
> On Thu, Oct 31, 2019 at 2:59 AM Eija Niskanen via KineJapan <kinejapan at mailman.yale.edu <mailto:kinejapan at mailman.yale.edu>> wrote:
> Hi all,
> we are in talks with Finnish National Audiovisual Archive on bringing a benshi to perform with Japanese silent films. As we have to do a budget for any support applications, if anyone has experience with Kataoka-benshi on the costs (his fee basically, as the video translation into Finnish cost and film rentals and shipping we we can figure out ourselves) please let me know. You could email me off-list: eija.niskanen at gmail.com <mailto:eija.niskanen at gmail.com>
> 
> Eija
> 
> -- 
> Eija Niskanen
> Helsinki Cine Aasia film festival
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <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 <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From dmiyao at ucsd.edu  Tue Oct 29 17:57:37 2019
From: dmiyao at ucsd.edu (Miyao, Daisuke)
Date: Tue, 29 Oct 2019 21:57:37 +0000
Subject: [KineJapan] Cinema Is a Cat
In-Reply-To: <D9BA7B08.345B3%stevehir@hawaii.edu>
References: <BYAPR04MB3829E5C5BCAF1BC059CDD133B6820@BYAPR04MB3829.namprd04.prod.outlook.com>,
 <D9BA7B08.345B3%stevehir@hawaii.edu>
Message-ID: <BYAPR04MB3829BC4650E91766C55CBC66B6610@BYAPR04MB3829.namprd04.prod.outlook.com>

Dear KineJapan members,

This is a shameless self-promotion on the National Cat Day. My new book, Cinema Is a Cat: A Cat Lover's Introduction to Film Studies, is now available from the University of Hawai'i Press. Thank you, Aaron and Hiroshi, for your generous blurbs!

This book is not specifically about Japanese cinema, but there are several chapters in which I discuss Japanese films, including Neko to Shozo to futari no onna; Neko zamurai; and Janguru taitei Leo. I published a Japanese book (shinsho) with a very similar title in 2011, but this book is not a translated version of it. New chapters and new intro were added, and other chapters were significantly re-written for different target audiences. This book has more illustrations, too! I hope you enjoy, especially those of you cat lovers!

Thank you,
Daisuke

PS I have attached a 20% off order form.

Daisuke Miyao
Professor and the Hajime Mori Chair in Japanese Language and Literature
Director of the Japanese Studies Program
Director of Doctoral Studies, Department of Literature
University of California, San Diego
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From mmf9 at case.edu  Wed Oct 30 13:27:03 2019
From: mmf9 at case.edu (Margaret Fitzgerald)
Date: Wed, 30 Oct 2019 13:27:03 -0400
Subject: [KineJapan] Cinema Is a Cat
In-Reply-To: <BYAPR04MB382976168489B7953D773C1FB6610@BYAPR04MB3829.namprd04.prod.outlook.com>
References: <BYAPR04MB3829E5C5BCAF1BC059CDD133B6820@BYAPR04MB3829.namprd04.prod.outlook.com>
 <D9BA7B08.345B3%stevehir@hawaii.edu>
 <BYAPR04MB3829BC4650E91766C55CBC66B6610@BYAPR04MB3829.namprd04.prod.outlook.com>
 <BYAPR04MB382976168489B7953D773C1FB6610@BYAPR04MB3829.namprd04.prod.outlook.com>
Message-ID: <CAJ5N4HLaWHxT1e2NBK9vktWBcA=FyrdpqRQaKoZxA2azRPTK8g@mail.gmail.com>

??????
???????????????
???

Margaret 'Peggy' Fitzgerald
Lecturer, Japanese Language
Guilford House 202
Office: 216-368-5081

margaret.fitzgerald at case.edu

Modern Languages & Literatures
Case Western Reserve University
Cleveland, OH 44106-7118





On Tue, Oct 29, 2019 at 6:03 PM Miyao, Daisuke via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Dear KineJapan members,
>
> This is a shameless self-promotion on the National Cat Day. My new book, *Cinema
> Is a Cat: A Cat Lover's Introduction to Film Studies*, is now available
> from the University of Hawai'i Press. Thank you, Aaron and Hiroshi, for
> your generous blurbs!
>
> This book is not specifically about Japanese cinema, but there are several
> chapters in which I discuss Japanese films, including *Neko to Shozo to
> futari no onna*; *Neko zamurai*; and *Janguru taitei Leo*. I published a
> Japanese book (*shinsho*) with a very similar title in 2011, but this
> book is not a translated version of it. New chapters and new intro were
> added, and other chapters were significantly re-written for different
> target audiences. This book has more illustrations, too! I hope you enjoy,
> especially those of you cat lovers!
>
> Thank you,
> Daisuke
>
> PS I have attached a 20% off order form.
>
> Daisuke Miyao
> Professor and the Hajime Mori Chair in Japanese Language and Literature
> Director of the Japanese Studies Program
> Director of Doctoral Studies, Department of Literature
> University of California, San Diego
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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