From nornes at umich.edu Wed Apr 1 15:01:19 2020 From: nornes at umich.edu (Markus Nornes) Date: Wed, 1 Apr 2020 15:01:19 -0400 Subject: [KineJapan] =?utf-8?q?Visions_du_R=C3=A9el?= Message-ID: This year's Visions du R?el , like Ann Arbor Film Festival, is going online. They just announced the program; the festival starts on the 17th. It's a great festival. This edition is regrettably Eurocentric, perhaps because it's online? I wonder. In any case, there are a few Chinese films (all by exiles) and no other Asian films as far as I can tell. However, the French film *La Bobine 111004* is intriguing. It's about a short film about Hiroshima/Nagasaki that I don't think I've heard of. The synopsis calls it the first instance of film censorship of the atomic bombings, but the director probably doesn't know about "The Effects of the Atomic Bomb on Hiroshima and Nagasaki." The film she's talking about was edited from the footage that Dan McGovern and Harry Mimura shot...which is clear from the wonderful still for the film (see below). There will also be retrospectives and master classes with Peter Mettler and Pedro Costa. Markus [image: Screen Shot 2020-04-01 at 2.52.19 PM.png] La Bobine 11004 The Reel 11004 Mirabelle Fr?ville 2020, France, 19? https://www.visionsdureel.ch/en/2020/film/la-bobine-11004 --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2020-04-01 at 2.52.19 PM.png Type: image/png Size: 1198340 bytes Desc: not available URL: From eija.niskanen at gmail.com Thu Apr 2 02:07:28 2020 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Thu, 2 Apr 2020 09:07:28 +0300 Subject: [KineJapan] Natsuzora online Message-ID: Dear Kinejapaners, is the NHK Natsuzora viewable anywhere on streaming services or similar? Free or with payment OK. Eija Niskanen helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From hfuji at nagoya-u.jp Thu Apr 2 20:45:24 2020 From: hfuji at nagoya-u.jp (Hideaki Fujiki) Date: Fri, 3 Apr 2020 09:45:24 +0900 Subject: [KineJapan] THE JAPANESE CINEMA BOOK Message-ID: <5E8F9D58-74B1-4178-BE21-9EF4E41608C8@nagoya-u.jp> Dear KinJapan list members, We are very pleased to announce the imminent publication of The Japanese Cinema Book (BFI/Bloomsbury, 2020). An e-book edition will be available very soon and paperback and hardback copies will be available to order from the 16th April in the UK and the 28th May in other territories. For further details, please see: https://www.bloomsbury.com/uk/the-japanese-cinema-book-9781844576784/ Many KineJapan list members have taken part in this enormous project and we are very grateful to them and all the other list colleagues who have so kindly encouraged and supported us. We especially wish to thank Markus for providing such a supportive endorsement. We hope this book will be of lasting value to everyone interested in the diverse scholarly and pedagogical contexts whereby Japanese cinema finds a location. For those who wish to use the book in a Japanese language environment, the Japanese edition of Introduction is currently available in the 11th issue of the journal JunCture?online . (Introduction?????????????????????????) Best wishes, Hideaki and Alastair ************************************************************ Hideaki Fujiki and Alastair Phillips, eds. The Japanese Cinema Book (London: BFI/Bloomsbury, 2020) "With its preponderance of Japanese authors and the impressive variety of approaches it models, this volume marks a new era in the study of Japanese cinema. It presents new spins on old topics, and opens up any number of new avenues of inquiry. I can think of no other book that reveals the sheer richness of Japanese cinema to this degree. The Japanese Cinema Book is, simply, superb.? ? Markus Nornes, Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design, University of Michigan, USA. ?Fujiki and Phillips' edited collection of wide-ranging essays represents a timely intervention into the field of Japanese cinema studies by a diverse group of international scholars. Its breadth and coverage will ensure it assumes a prominent position as a standard text within the field.? ? Isolde Standish PhD Emeritus Reader in Film and Media Studies SOAS, University of London, UK. The Japanese Cinema Book provides a new and comprehensive survey of one of the world's most fascinating and widely admired filmmaking regions. In terms of its historical coverage, broad thematic approach and the significant international range of its authors, it is the largest and most wide-ranging publication of its kind to date. Ranging from renowned directors such as Akira Kurosawa to neglected popular genres such as the film musical and encompassing topics such as ecology, spectatorship, home-movies, colonial history and relations with Hollywood and Europe, The Japanese Cinema Book presents a set of new, and often surprising, perspectives on Japanese film. With its plural range of interdisciplinary perspectives based on the expertise of established and emerging scholars and critics, The Japanese Cinema Book provides a groundbreaking picture of the different ways in which Japanese cinema may be understood as a local, regional, national, transnational and global phenomenon. The book's innovative structure combines general surveys of a particular historical topic or critical approach with various micro-level case studies. It argues there is no single fixed Japanese cinema, but instead a fluid and varied field of Japanese filmmaking cultures that continue to exist in a dynamic relationship with other cinemas, media and regions. The Japanese Cinema Book is divided into seven inter-related sections: ? Theories and Approaches ? Institutions and Industry ? Film Style ? Genre ? Times and Spaces of Representation ? Social Contexts ? Flows and Interactions ******************************************** Hideaki Fujiki , PhD Professor, Cinema Studies Center for Transregional Culture and Society, Graduate School of Humanities, Nagoya University Furo-cho, Chikusa-ku, Nagoya, Aichi JAPAN 464-8601 hfuji at nagoya-u.jp NEW: Nagoya-Warwick PhD Global Screen Studies -------------- next part -------------- An HTML attachment was scrubbed... URL: From esragokcesahin at gmail.com Fri Apr 3 16:11:50 2020 From: esragokcesahin at gmail.com (Esra Gokce Sahin) Date: Fri, 3 Apr 2020 23:11:50 +0300 Subject: [KineJapan] looking for a pdf copy of Yamane Sadao's essay Message-ID: Dear KineJapan list members, Does any of you have a pdf copy of Yamane Sadao's essay "Changes in 1960s Documentary Cinema from PR films to Image Guerialla" by any change? It was a publication of the Yamagata Film Festival (1993) in *Japanese Documentaries of the 1960s.* thanks, Esra -- Esra-G?k?e ?ahin, PhD -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Apr 3 19:25:37 2020 From: nornes at umich.edu (Markus Nornes) Date: Fri, 3 Apr 2020 19:25:37 -0400 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv Message-ID: Toei?s Tokyo studio is closing, presumably temporarily, because someone there tested positive for Convidado-19. https://www.nikkansports.com/entertainment/news/202003310000383.html What other effects on the film industry have people seen? Any reports from the ground? Markus -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Fri Apr 3 19:50:39 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sat, 4 Apr 2020 08:50:39 +0900 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: References: Message-ID: <4A7BD6D2-039E-4D1F-A48B-F51A1BFACF47@gmail.com> about the mini-theaters situation (well at least about Cinema Skhole) https://note.com/miyaraku/n/n4f3dd1da0978 Matteo Boscarol Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Apr 4, 2020, at 8:25, Markus Nornes via KineJapan wrote: > > ? > Toei?s Tokyo studio is closing, presumably temporarily, because someone there tested positive for Convidado-19. > > https://www.nikkansports.com/entertainment/news/202003310000383.html > > What other effects on the film industry have people seen? Any reports from the ground? > > Markus > -- > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From jimharper666 at yahoo.co.uk Fri Apr 3 20:13:22 2020 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Sat, 4 Apr 2020 00:13:22 +0000 (UTC) Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: References: Message-ID: <1226321624.330938.1585959202431@mail.yahoo.com> The information I've had is that movies planned for shooting in the fall/winter are still being (cautiously) planned and pre-produced, but that the postponement of the Olympics is causing problems for the summer 2021 release schedule. Jim. On Saturday, 4 April 2020, 08:25:55 GMT+9, Markus Nornes via KineJapan wrote: Toei?s Tokyo studio is closing, presumably temporarily, because someone there tested positive for Convidado-19. https://www.nikkansports.com/entertainment/news/202003310000383.html What other effects on the film industry have people seen? Any reports from the ground? 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Apr 4 00:13:22 2020 From: nornes at umich.edu (Markus Nornes) Date: Sat, 4 Apr 2020 00:13:22 -0400 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <1226321624.330938.1585959202431@mail.yahoo.com> References: <1226321624.330938.1585959202431@mail.yahoo.com> Message-ID: Soda Kazuhiro is in Japan for the PR campaign for the release of his new film Zero. On social media he has posted a screenshot of doing interviews by video conferencing, and speculated that the release of the film in May is very much a question. The mini theaters are in a very tough spot, as the article from Matteo reveals. Asai Takashi from Uplink posted this on Twitter: ?????????????????????????????????????????????????????????????????????????????????????????????????15????????60????4??0???2????????????????????? Many theaters across the country have always been at the brink of bankruptcy. It could very well be that many will fold this year. Needless to say, this will affect both indie distributors and theaters as well. Markus On Fri, Apr 3, 2020 at 8:13 PM Jim Harper via KineJapan < kinejapan at mailman.yale.edu> wrote: > The information I've had is that movies planned for shooting in the > fall/winter are still being (cautiously) planned and pre-produced, but that > the postponement of the Olympics is causing problems for the summer 2021 > release schedule. > > > Jim. > On Saturday, 4 April 2020, 08:25:55 GMT+9, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Toei?s Tokyo studio is closing, presumably temporarily, because someone > there tested positive for Convidado-19. > > https://www.nikkansports.com/entertainment/news/202003310000383.html > > What other effects on the film industry have people seen? Any reports from > the ground? > > Markus > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street > * > *Ann Arbor, MI 48109 > -1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From Alastair.Phillips at warwick.ac.uk Sat Apr 4 03:18:54 2020 From: Alastair.Phillips at warwick.ac.uk (Phillips, Alastair) Date: Sat, 4 Apr 2020 07:18:54 +0000 Subject: [KineJapan] OBAYASHI NOBUKHIKO Message-ID: Hello everyone, I have a Masters student writing his dissertation on Obayashi Nobuhiko. As you know, we are in total lockdown in the UK and so I was wondering in the first place if anyone knows of any accessible online English language resources or then, for a future date, any accessible print resources. Any help appreciated! All best wishes, Alastair Professor Alastair Phillips Department of Film and Television Studies Millburn House University of Warwick Coventry CV4 7HS UK T: 02476 522434 E: Alastair.Phillips at warwick.ac.uk W: http://www2.warwick.ac.uk/fac/arts/film/staff/phillips/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sat Apr 4 04:59:29 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sat, 4 Apr 2020 08:59:29 +0000 (UTC) Subject: [KineJapan] OBAYASHI NOBUKHIKO In-Reply-To: References: Message-ID: <759399540.446090.1585990769972@mail.yahoo.com> Hi, Alastair, You don?t mention whether he?s found anythingyet, so I can give a few basic leads. I?m sure he?s already looked up the entryin Alex?s A Critical Handbook of Japanese Film Directors. Donald Richie?s , 1987, Different Peoplementions Obayashi in the chapter on ?Oshima?; Paul Roquet, 2010, has a whole essay on him, ?Unhinged Desire (At homewith Obayashi)?, essay in Master of Cinema booklet in the House DVD , developedfrom his ?Nobuhiko Obayashi, Vagabond of Time?, 2009 at MidnightEye | | | | | | | | | | | Midnight Eye feature: Nobuhiko Obayashi, Vagabond of Time In Japan, he is the director of such perennial favorites as House and The Girl Who Leapt Through Time. In the re... | | | Obayashi?s films have also been frequent at festivals, such as NipponConnection, whose catalogues are generally online. In particular, Mark Schillingmentions Obayashi in the FEFF publications, Beyond Godzilla: Alternative Futures and Fantasies in Japanese Cinema, 2016,and also at Asia Sings! A Survey of Asian Musical Films, GARCIA,Roger, ed., 2006, p131. They?re printed books which I couldlook at, if he needs it. Jorg also referred to Riy?, 2004, on KineJapan on 1st March 2017. Roger . ? On Saturday, 4 April 2020, 08:19:06 BST, Phillips, Alastair via KineJapan wrote: Hello everyone, I have a Masters student writing his dissertation on Obayashi Nobuhiko.? As you know, we are in total lockdown in the UK and so I was wondering in the first place if anyone knows of any accessible online English language resources or then, for a future date, any accessible print resources. Any help appreciated! All best wishes, Alastair Professor Alastair Phillips Department of Film and Television Studies Millburn House University of Warwick Coventry CV4 7HS UK T: 02476 522434 E: Alastair.Phillips at warwick.ac.uk W: http://www2.warwick.ac.uk/fac/arts/film/staff/phillips/ _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From susanneschermann at yahoo.co.jp Mon Apr 6 08:30:59 2020 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Mon, 6 Apr 2020 21:30:59 +0900 (JST) Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: References: Message-ID: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> Answering Markus' question: From my personal experience, film shooting continues almost as if nothing is happening in the world. However, there are two differences:Everybody who feels ill or has a slight fever is required to stay at home until the condition gets better (this kindness is new...) Many locations refuse now to have the film team coming or are temporarily closed - the search for new locations is sometimes difficult and therefore, the shooting might slow down a little. As all of you probably know, the shooting of Yamada Yoji's new film is stopped due to the tragic corona-death of the main actor, Shimura Ken. Abe announced today that he will probably declare a state of emergency for seven prefectures including Tokyo, Osaka, and Fukuoka. I will keep you informed if this has an impact on film shooting. Best from JapanSusanne ----- Original Message ----- From: Markus Nornes via KineJapan To: Japanese Cinema Discussion Forum Cc: Markus Nornes Date: 2020/4/4, Sat 08:25 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv Toei?s Tokyo studio is closing, presumably temporarily, because someone there tested positive for Convidado-19. https://www.nikkansports.com/entertainment/news/202003310000383.html What other effects on the film industry have people seen? Any reports from the ground? 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From shota.ogawa at gmail.com Mon Apr 6 20:04:56 2020 From: shota.ogawa at gmail.com (shota ogawa) Date: Tue, 7 Apr 2020 09:04:56 +0900 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: Hello everyone There was a short segment on Cinema Skhole in TV Asahi news that apparently aired on April 3 (which I had missed, but now I realize it might have been because of this coverage that there appeared to be a larger turnout when I visited the following day) There are also two campaigns focusing on small independent movie theaters. Both of these offer a good way to keep supporting these vital institutions short of attending their screenings (which is difficult of course even for those of us in the region). SAVE THE CINEMA SAVE OUR LOCAL CINEMAS Stay safe everyone! Shota On Mon, Apr 6, 2020 at 9:31 PM Schermann Susanne via KineJapan < kinejapan at mailman.yale.edu> wrote: > Answering Markus' question: From my personal experience, film shooting > continues almost as if nothing is happening in the world. > > However, there are two differences: > Everybody who feels ill or has a slight fever is required to stay at home > until the condition gets better (this kindness is new...) > Many locations refuse now to have the film team coming or are temporarily > closed - the search for new locations is sometimes difficult and therefore, > the shooting might slow down a little. > > As all of you probably know, the shooting of Yamada Yoji's new film is > stopped due to the tragic corona-death of the main actor, Shimura Ken. > > Abe announced today that he will probably declare a state of emergency for > seven prefectures including Tokyo, Osaka, and Fukuoka. I will keep you > informed if this has an impact on film shooting. > > Best from Japan > Susanne > > > > ----- Original Message ----- > *From:* Markus Nornes via KineJapan > *To:* Japanese Cinema Discussion Forum > *Cc:* Markus Nornes > *Date:* 2020/4/4, Sat 08:25 > *Subject:* [KineJapan] The effects of Coved-19 on Japanese film & tv > > Toei?s Tokyo studio is closing, presumably temporarily, because someone > there tested positive for Convidado-19. > > https://www.nikkansports.com/entertainment/news/202003310000383.html > > What other effects on the film industry have people seen? Any reports from > the ground? > > Markus > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- ------------------------------------ Shota Ogawa, Ph.D. Graduate School of Letters Nagoya University Furo-cho, Chikusa-ku Nagoya 464-8601 ?????????????? ?464-0814 ?????????????? ???????? 080-8440-7119 ------------------------------------ -------------- next part -------------- An HTML attachment was scrubbed... URL: From susanneschermann at yahoo.co.jp Mon Apr 6 23:53:44 2020 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Tue, 7 Apr 2020 12:53:44 +0900 (JST) Subject: [KineJapan] Technical problems with online teaching In-Reply-To: References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: <1820904989.335552.1586231624856.JavaMail.yahoo@mail.yahoo.co.jp> Dear all, I prepare online classes now and I face two problems - any help or advice is highly appreciated!I use a MacPro High Sierra 10.13.6, and the software is updated. 1) In Power Point presentations, I use hyperlinks. However, those links don't work anymore when I use the presenter's mode (the mode when you can see the next slide at the right side of the PC screen, while the public sees only the current slide). Is there a way to jump to the internet by hyperlinks in the presenter's mode? 2) On my Mac, I would like to get a second desktop for online teaching (a clean one, just in case I happen to show it to students - which will happen at 100% in online lessons, I think). This is easy with Spaces, I just add another space. However, this new space looks exactly like the first space, and everything I do is synchronized. Any file I erase is also erased on my first desktop.... I just managed to change the background. If the second desktop is exactly like the first, I see no need to have a second desktop. I searched the net and could not get an answer. How can I stop the synchronizing in Spaces? If you can help me, thank you very much in advance! Susanne Schermann -------------- next part -------------- An HTML attachment was scrubbed... URL: From elofgren at bucknell.edu Tue Apr 7 06:23:33 2020 From: elofgren at bucknell.edu (Erik R. Lofgren) Date: Tue, 7 Apr 2020 06:23:33 -0400 Subject: [KineJapan] Technical problems with online teaching In-Reply-To: <1820904989.335552.1586231624856.JavaMail.yahoo@mail.yahoo.co.jp> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <1820904989.335552.1586231624856.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: Dear Susanne, To your second question: I am not sure it is possible to do what you want to do in the way that you are seeing to do it. I can offer, however, a kludgy workaround. 1) go to System Preferences ?> Users & Groups; unlock the control panel (bottom left), if necessary 2) Add a new account (say, "Teaching") and make it an Administrator (this is not, strictly speaking, necessary, but it will allow you deal with system-level emergencies, should they arise) 3) Click Login Options (below the list of users). In the resulting pane, click the "Show fast user switching menu as" box 4) Close System Preferences You should now see, in the upper right end of the menu bar, a dropdown menu of all users. Choose your "Teaching" user and that will open to a "new" user with a fully customizable environment (including, of course, the desktop). HOWEVER, it will NOT have access to "your" files. I think it is possible to get around this limitation if you have, for example, Dropbox. Simply log into your Dropbox account from the "new" account and it should sync with your Dropbox. As long as your teaching materials are in your Dropbox folder on "your" account, you should have access to them on your "new" account. Correspondingly, any changes you make to the file in your "new" account will be reflected in the copy of the file you have on "your" account when you switch back. As I noted, this is hardly an elegant solution. If anyone has a better one, I would love to hear it. Best, Erik On Mon, Apr 6, 2020 at 11:53 PM Schermann Susanne via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear all, > > I prepare online classes now and I face two problems - any help or advice > is highly appreciated! > I use a MacPro High Sierra 10.13.6, and the software is updated. > > 1) In Power Point presentations, I use hyperlinks. However, those links > don't work anymore when I use the presenter's mode (the mode when you can > see the next slide at the right side of the PC screen, while the public > sees only the current slide). > Is there a way to jump to the internet by hyperlinks in the presenter's > mode? > > 2) On my Mac, I would like to get a second desktop for online teaching (a > clean one, just in case I happen to show it to students - which will happen > at 100% in online lessons, I think). This is easy with Spaces, I just add > another space. > However, this new space looks exactly like the first space, and everything > I do is synchronized. Any file I erase is also erased on my first > desktop.... I just managed to change the background. > If the second desktop is exactly like the first, I see no need to have a > second desktop. I searched the net and could not get an answer. > How can I stop the synchronizing in Spaces? > > If you can help me, thank you very much in advance! > Susanne Schermann > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Erik R. Lofgren Associate Professor and Chair (on leave, AY19?20) East Asian Studies Department ---------- * ---------- * ---------- * ---------- * ---------- Bucknell University Lewisburg, PA 17837 Tel: 570-577-1765 ---------- * ---------- * ---------- * ---------- * ---------- -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue Apr 7 15:30:44 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 7 Apr 2020 15:30:44 -0400 Subject: [KineJapan] Ijichi Kei Message-ID: The film producer Ijichi Kei, who produced many great films from Kazuhiko Hasegawa's The Man Who Stole the Sun to Somai Shinji's Tonda Couple, Sailor Suit and Machine Gun, and Moving, passed away at the age of 84. He started out as an assistant director at Nikkatsu before becoming a producer, where he produced a number of Roman Porno films, including the classic Walker in the Attic. He also was active in television, producing the Abunai deka series. https://www.nikkansports.com/entertainment/news/202004080000013.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 website: www.aarongerow.com From nornes at umich.edu Wed Apr 8 09:40:37 2020 From: nornes at umich.edu (Markus Nornes) Date: Wed, 8 Apr 2020 09:40:37 -0400 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: There has been an interesting development on the film front of the Covid-19 crisis. For years, the art house theater system in Japan has been hanging on by a thread. Several years ago, the survival of several theaters was attributed to a single indie hit (the documentary Life is Fruity). So the current crisis is unnerving the entire indie film production, distribution and exhibition sector. Today, Soda Kazuhiro and his distributor Tofoo announced that Soda?s new film Zero will be distributed in a ?temporary theater.? They will flip the usual scenario and distribute the film first through streaming and then in physical theaters when the situation is safe. People will go to the home pages of their local theaters to stream the film for the same price as a ticket (1,800 yen, about US$17), and the theater keeps a portion of the ?box office.? The hope and prayer is that if enough filmmakers and audiences participated in such a scheme there will still be theaters left after this crisis. It is a great idea, evidenced by the way media outlets have immediately picked up the story (some links at the bottom). *Zero* is the perfect film to kick this off. Appropriately enough, it won the ecumenical prize at Berlin just as the virus was taking root in human societies around the planet. It is a tender, beautiful film about love and the fragility of the human, about living a full and meaningful life amidst illness. Markus PS: Soda?s statement follows: ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ??????????????? ??? ???????????????? ???0???????????????? ?????????? ???????????????????????????????????????????????????????????? ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? 5?2??????????0??????????????????????????????????????????????????????????????????????????????? ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? ?????????????????????????? ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ??????????5?2??????0????????????????????????????????????? ????????????????????????????????????? ?????????????????????????????????????????????????????????????????????????????????? ?????????????????????????????????????????????????????????? 1800????????????? 1800???????????????????????????????????????????????????????????3????????????????????? ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ??????????????????????????????????????????????????????????????????????????????????????? ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????????????????? ==================================== ?????????????????????????????????????????????????????????? ???????????2020/4/8? ????????????????5????? ??????????????? https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e ??????2020/4/8? ?????????????????????? ????????????0???? https://mainichi.jp/articles/20200408/k00/00m/040/198000c ?????????2020/4/8 12:00? ????????????????????????????????0??? https://www.cinematoday.jp/news/N0115250 ?http://xn--liv394a.com/?2020/4/8 12:00? ?????????0?5?2?????????????????????? https://eiga.com/news/20200408/5/ ?CINRA.NET?2020/4/8 12:00? ??????????????0????????????????? https://www.cinra.net/news/20200408-seishinzero ????????2020/4/8 12:00? ????????0????????????????????????????? https://natalie.mu/eiga/news/374540 ????????2020/4/8 12:00? ?????????0????????????????? ??????????????? https://www.crank-in.net/news/75563 ?fjmovie.com ?????????????????????????????????0?????????? http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html ????????????2020/4/8? ??????????0??????????????? ?????????????????? https://realsound.jp/movie/2020/04/post-535514.html -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From baird at umass.edu Wed Apr 8 09:55:51 2020 From: baird at umass.edu (Bruce Baird) Date: Wed, 8 Apr 2020 07:55:51 -0600 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> It is likely that many people know about this already, but our art house cinema her in Amherst, MA is participating in a similar system called ?Virtual Cinema? by which we can stream movies and the local cinema splits the profit with the film distributor. https://amherstcinema.org/Virtual-Cinema > On Apr 8, 2020, at 7:40 AM, Markus Nornes via KineJapan wrote: > > There has been an interesting development on the film front of the Covid-19 crisis. For years, the art house theater system in Japan has been hanging on by a thread. Several years ago, the survival of several theaters was attributed to a single indie hit (the documentary Life is Fruity). So the current crisis is unnerving the entire indie film production, distribution and exhibition sector. > > Today, Soda Kazuhiro and his distributor Tofoo announced that Soda?s new film Zero will be distributed in a ?temporary theater.? They will flip the usual scenario and distribute the film first through streaming and then in physical theaters when the situation is safe. People will go to the home pages of their local theaters to stream the film for the same price as a ticket (1,800 yen, about US$17), and the theater keeps a portion of the ?box office.? The hope and prayer is that if enough filmmakers and audiences participated in such a scheme there will still be theaters left after this crisis. > > It is a great idea, evidenced by the way media outlets have immediately picked up the story (some links at the bottom). > > Zero is the perfect film to kick this off. Appropriately enough, it won the ecumenical prize at Berlin just as the virus was taking root in human societies around the planet. It is a tender, beautiful film about love and the fragility of the human, about living a full and meaningful life amidst illness. > > Markus > > PS: Soda?s statement follows: > > > ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ??????????????? > > ??? > > ???????????????? > ???0???????????????? > ?????????? > > ???????????????????????????????????????????????????????????? > > ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? > > ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > 5?2??????????0??????????????????????????????????????????????????????????????????????????????? > > ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? > > ?????????????????????????? > > ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? > > ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ??????????5?2??????0????????????????????????????????????? > > ????????????????????????????????????? > > ?????????????????????????????????????????????????????????????????????????????????? > > ?????????????????????????????????????????????????????????? 1800????????????? 1800???????????????????????????????????????????????????????????3????????????????????? > > ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? > > ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? > > ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? > > ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ??????????????????????????????????????????????????????????????????????????????????????? > > ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? > > ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ???????????????????????????????????????????????????????????????? > > ==================================== > > ?????????????????????????????????????????????????????????? > > ???????????2020/4/8? > ????????????????5????????????????????? > https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e > > ??????2020/4/8? > ???????????????????????????????????0???? > https://mainichi.jp/articles/20200408/k00/00m/040/198000c > > ?????????2020/4/8 12:00? > ????????????????????????????????0??? > https://www.cinematoday.jp/news/N0115250 > > ?http://xn--liv394a.com/ ?2020/4/8 12:00? > ?????????0?5?2?????????????????????? > https://eiga.com/news/20200408/5/ > > ?CINRA.NET ?2020/4/8 12:00? > ??????????????0????????????????? > https://www.cinra.net/news/20200408-seishinzero > > ????????2020/4/8 12:00? > ????????0????????????????????????????? > https://natalie.mu/eiga/news/374540 > > ????????2020/4/8 12:00? > ?????????0????????????????????????????????? > https://www.crank-in.net/news/75563 > > ?fjmovie.com > ?????????????????????????????????0?????????? > http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html > > ????????????2020/4/8? > ??????????0?????????????????????????????????? > https://realsound.jp/movie/2020/04/post-535514.html -- > --- > > 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 Bruce Baird Associate Professor East Asian Languages and Cultures University of Massachusetts Amherst But?, Japanese Theater, Intellectual History 439 Herter Hall 161 Presidents Drive University of Massachusetts Amherst Amherst, MA 01003-9312 Phone: 413-577-2117 Fax: 413-545-3178 baird at umass.edu Recently Released: The Routledge Companion to Butoh Performance https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 Now out in paperback and e-book: Hijikata Tatsumi and Butoh: http://www.palgrave.com/us/book/9780230120402 -------------- next part -------------- An HTML attachment was scrubbed... URL: From suzannebeth at gmail.com Wed Apr 8 10:01:46 2020 From: suzannebeth at gmail.com (suzanne beth) Date: Wed, 8 Apr 2020 10:01:46 -0400 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> Message-ID: <6eea361d-c587-18d9-d534-d904b6bc09b5@gmail.com> Hi! I was wondering if we have to be in the U.S. to watch the films in your "Virtual Cinema" program (I am in Canada). Thank you! suzanne Le 2020-04-08 ? 09:55, Bruce Baird via KineJapan a ?crit?: > It is likely that many people know about this already, but our art > house cinema her in Amherst, MA is participating in a similar system > called ?Virtual Cinema? by which we can stream movies and the local > cinema splits the profit with the film distributor. > > https://amherstcinema.org/Virtual-Cinema > >> On Apr 8, 2020, at 7:40 AM, Markus Nornes via KineJapan >> wrote: >> >> There has been an interesting development on the film front of the >> Covid-19 crisis. For years, the art house theater system in Japan has >> been hanging on by a thread. Several years ago, the survival of >> several theaters was attributed to a single indie hit (the >> documentary Life is Fruity). So the current crisis is unnerving the >> entire indie film production, distribution and exhibition sector. >> >> Today, Soda Kazuhiro and his distributor Tofoo announced that Soda?s >> new film Zero will be distributed in a ?temporary theater.? They will >> flip the usual scenario and distribute the film first through >> streaming and then in physical theaters when the situation is safe. >> People will go to the home pages of their local theaters to stream >> the film for the same price as a ticket (1,800 yen, about US$17), and >> the theater keeps a portion of the ?box office.? The hope and prayer >> is that if enough filmmakers and audiences participated in such a >> scheme there will still be theaters left after this crisis. >> >> It is a great idea, evidenced by the way media outlets have >> immediately picked up the story (some links at the bottom). >> >> /Zero/ is the perfect film to kick this off. Appropriately enough, it >> won the ecumenical prize at Berlin just as the virus was taking root >> in human societies around the planet. It is a tender, beautiful film >> about love and the fragility of the human, about living a full and >> meaningful life amidst illness. >> >> Markus >> >> PS: Soda?s statement follows: >> >> >> ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> ??????????????? >> >> ??? >> >> ???????????????? >> ???0???????????????? >> ?????????? >> >> ???????????????????????????????????????????????????????????? >> >> ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? >> >> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> 5?2??????????0??????????????????????????????????????????????????????????????????????????????? >> >> ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? >> >> ?????????????????????????? >> >> ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? >> >> ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> ??????????5?2??????0????????????????????????????????????? >> >> ????????????????????????????????????? >> >> ?????????????????????????????????????????????????????????????????????????????????? >> >> ?????????????????????????????????????????????????????????? >> 1800????????????? >> 1800???????????????????????????????????????????????????????????3????????????????????? >> >> ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? >> >> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? >> >> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> ??????????????????????????????????????????????????????????????????????????????????????? >> >> ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >> >> ???????????????????????????????????????????????????????????????? >> >> ==================================== >> >> ?????????????????????????????????????????????????????????? >> >> ???????????2020/4/8? >> ????????????????5????????????????????? >> https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e >> >> ??????2020/4/8? >> ???????????????????????????????????0???? >> https://mainichi.jp/articles/20200408/k00/00m/040/198000c >> >> ?????????2020/4/8 12:00? >> ????????????????????????????????0??? >> https://www.cinematoday.jp/news/N0115250 >> >> ?http://xn--liv394a.com/?2020/4/8 12:00? >> ?????????0?5?2?????????????????????? >> https://eiga.com/news/20200408/5/ >> >> ?CINRA.NET ?2020/4/8 12:00? >> ??????????????0????????????????? >> https://www.cinra.net/news/20200408-seishinzero >> >> ????????2020/4/8 12:00? >> ????????0????????????????????????????? >> https://natalie.mu/eiga/news/374540 >> >> ????????2020/4/8 12:00? >> ?????????0????????????????????????????????? >> https://www.crank-in.net/news/75563 >> >> ?fjmovie.com >> ?????????????????????????????????0?????????? >> http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html >> >> ????????????2020/4/8? >> ??????????0?????????????????????????????????? >> https://realsound.jp/movie/2020/04/post-535514.html >> -- >> --- >> * >> * >> *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 > > Bruce Baird > Associate Professor > East Asian Languages and Cultures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 439 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-2117 > Fax: 413-545-3178 > baird at umass.edu > > Recently Released:/The Routledge Companion to Butoh Performance/ > > https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 > > Now out in paperback and e-book:/Hijikata Tatsumi and Butoh/: > > http://www.palgrave.com/us/book/9780230120402 > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From baird at umass.edu Wed Apr 8 23:57:36 2020 From: baird at umass.edu (Bruce Baird) Date: Wed, 8 Apr 2020 21:57:36 -0600 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <6eea361d-c587-18d9-d534-d904b6bc09b5@gmail.com> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> <6eea361d-c587-18d9-d534-d904b6bc09b5@gmail.com> Message-ID: <1299859B-BE08-44E0-A5A2-FC5132DC967D@umass.edu> HI Suzanne, I really don?t know. You might just try it, but of course, you would be supporting my town?s indy theater. Otherwise, you might search for Virtual Cinema and see if there is a parent company that lists all the theaters who are participating, and see if you can find one closer to home. Good luck, Bruce > On Apr 8, 2020, at 8:01 AM, suzanne beth via KineJapan wrote: > > Hi! > I was wondering if we have to be in the U.S. to watch the films in your "Virtual Cinema" program (I am in Canada). > Thank you! > suzanne > > Le 2020-04-08 ? 09:55, Bruce Baird via KineJapan a ?crit : >> It is likely that many people know about this already, but our art house cinema her in Amherst, MA is participating in a similar system called ?Virtual Cinema? by which we can stream movies and the local cinema splits the profit with the film distributor. >> >> https://amherstcinema.org/Virtual-Cinema >> >>> On Apr 8, 2020, at 7:40 AM, Markus Nornes via KineJapan wrote: >>> >>> There has been an interesting development on the film front of the Covid-19 crisis. For years, the art house theater system in Japan has been hanging on by a thread. Several years ago, the survival of several theaters was attributed to a single indie hit (the documentary Life is Fruity). So the current crisis is unnerving the entire indie film production, distribution and exhibition sector. >>> >>> Today, Soda Kazuhiro and his distributor Tofoo announced that Soda?s new film Zero will be distributed in a ?temporary theater.? They will flip the usual scenario and distribute the film first through streaming and then in physical theaters when the situation is safe. People will go to the home pages of their local theaters to stream the film for the same price as a ticket (1,800 yen, about US$17), and the theater keeps a portion of the ?box office.? The hope and prayer is that if enough filmmakers and audiences participated in such a scheme there will still be theaters left after this crisis. >>> >>> It is a great idea, evidenced by the way media outlets have immediately picked up the story (some links at the bottom). >>> >>> Zero is the perfect film to kick this off. Appropriately enough, it won the ecumenical prize at Berlin just as the virus was taking root in human societies around the planet. It is a tender, beautiful film about love and the fragility of the human, about living a full and meaningful life amidst illness. >>> >>> Markus >>> >>> PS: Soda?s statement follows: >>> >>> >>> ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> ??????????????? >>> >>> ??? >>> >>> ???????????????? >>> ???0???????????????? >>> ?????????? >>> >>> ???????????????????????????????????????????????????????????? >>> >>> ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? >>> >>> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> 5?2??????????0??????????????????????????????????????????????????????????????????????????????? >>> >>> ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? >>> >>> ?????????????????????????? >>> >>> ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? >>> >>> ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> ??????????5?2??????0????????????????????????????????????? >>> >>> ????????????????????????????????????? >>> >>> ?????????????????????????????????????????????????????????????????????????????????? >>> >>> ?????????????????????????????????????????????????????????? 1800????????????? 1800???????????????????????????????????????????????????????????3????????????????????? >>> >>> ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? >>> >>> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? >>> >>> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> ??????????????????????????????????????????????????????????????????????????????????????? >>> >>> ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>> >>> ???????????????????????????????????????????????????????????????? >>> >>> ==================================== >>> >>> ?????????????????????????????????????????????????????????? >>> >>> ???????????2020/4/8? >>> ????????????????5????????????????????? >>> https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e >>> >>> ??????2020/4/8? >>> ???????????????????????????????????0???? >>> https://mainichi.jp/articles/20200408/k00/00m/040/198000c >>> >>> ?????????2020/4/8 12:00? >>> ????????????????????????????????0??? >>> https://www.cinematoday.jp/news/N0115250 >>> >>> ?http://xn--liv394a.com/ ?2020/4/8 12:00? >>> ?????????0?5?2?????????????????????? >>> https://eiga.com/news/20200408/5/ >>> >>> ?CINRA.NET ?2020/4/8 12:00? >>> ??????????????0????????????????? >>> https://www.cinra.net/news/20200408-seishinzero >>> >>> ????????2020/4/8 12:00? >>> ????????0????????????????????????????? >>> https://natalie.mu/eiga/news/374540 >>> >>> ????????2020/4/8 12:00? >>> ?????????0????????????????????????????????? >>> https://www.crank-in.net/news/75563 >>> >>> ?fjmovie.com >>> ?????????????????????????????????0?????????? >>> http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html >>> >>> ????????????2020/4/8? >>> ??????????0?????????????????????????????????? >>> https://realsound.jp/movie/2020/04/post-535514.html -- >>> --- >>> >>> 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 >> >> Bruce Baird >> Associate Professor >> East Asian Languages and Cultures >> University of Massachusetts Amherst >> But?, Japanese Theater, Intellectual History >> >> 439 Herter Hall >> 161 Presidents Drive >> University of Massachusetts Amherst >> Amherst, MA 01003-9312 >> Phone: 413-577-2117 >> Fax: 413-545-3178 >> baird at umass.edu >> >> Recently Released: The Routledge Companion to Butoh Performance >> >> https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 >> >> Now out in paperback and e-book: Hijikata Tatsumi and Butoh: >> >> http://www.palgrave.com/us/book/9780230120402 >> >> >> _______________________________________________ >> 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 Bruce Baird Associate Professor East Asian Languages and Cultures University of Massachusetts Amherst But?, Japanese Theater, Intellectual History 439 Herter Hall 161 Presidents Drive University of Massachusetts Amherst Amherst, MA 01003-9312 Phone: 413-577-2117 Fax: 413-545-3178 baird at umass.edu Recently Released: The Routledge Companion to Butoh Performance https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 Now out in paperback and e-book: Hijikata Tatsumi and Butoh: http://www.palgrave.com/us/book/9780230120402 -------------- next part -------------- An HTML attachment was scrubbed... URL: From susanneschermann at yahoo.co.jp Thu Apr 9 02:11:11 2020 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Thu, 9 Apr 2020 15:11:11 +0900 (JST) Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: <1428477484.497211.1586412671831.JavaMail.yahoo@mail.yahoo.co.jp> Hi all, Mark Schilling has an interesting article on the situation in today's Japan Timeshttps://www.japantimes.co.jp/culture/2020/04/09/films/japansese-film-tv-coronavirus/?fbclid=IwAR3k4I85BH6-aQNQZKfyb4-_nY-Q79R-SQchKqcsmgSUgcK4ozkcrqwW5R0#.Xo66427gosl Since Mark does not mention it, let me add that after Toei, Toho studios also ended shooting, with Nikkatsu following as last in Tokyo on April 7th. I did not get informations for Shochiku in Kyoto (online teaching stressss...), though. The studios are not completely closed, so you still can go there and get you stuff, but the film shootings are halted for the whole emergency period. Susanne ----- Original Message ----- From: Schermann Susanne via KineJapan To: Japanese Cinema Discussion Forum Cc: Schermann Susanne Date: 2020/4/6, Mon 21:30 Subject: Re: [KineJapan] The effects of Coved-19 on Japanese film & tv Answering Markus' question: From my personal experience, film shooting continues almost as if nothing is happening in the world. However, there are two differences:Everybody who feels ill or has a slight fever is required to stay at home until the condition gets better (this kindness is new...) Many locations refuse now to have the film team coming or are temporarily closed - the search for new locations is sometimes difficult and therefore, the shooting might slow down a little. As all of you probably know, the shooting of Yamada Yoji's new film is stopped due to the tragic corona-death of the main actor, Shimura Ken. Abe announced today that he will probably declare a state of emergency for seven prefectures including Tokyo, Osaka, and Fukuoka. I will keep you informed if this has an impact on film shooting. Best from JapanSusanne ----- Original Message ----- From: Markus Nornes via KineJapan To: Japanese Cinema Discussion Forum Cc: Markus Nornes Date: 2020/4/4, Sat 08:25 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv Toei?s Tokyo studio is closing, presumably temporarily, because someone there tested positive for Convidado-19. https://www.nikkansports.com/entertainment/news/202003310000383.html What other effects on the film industry have people seen? Any reports from the ground? 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From susanneschermann at yahoo.co.jp Thu Apr 9 02:16:44 2020 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Thu, 9 Apr 2020 15:16:44 +0900 (JST) Subject: [KineJapan] Technical problems with online teaching In-Reply-To: References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <1820904989.335552.1586231624856.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: <1110015849.495713.1586413004719.JavaMail.yahoo@mail.yahoo.co.jp> Thanks to everybody who tried to help me with my problems, on and off list. I did not really solve them, but thanks to Erik, I can swindle around (?) problem 2.Problem 1 only occurs when I try to record my presentation in Power Point, not in normal presentations. But nothing seems to be normal nowadays.... BestSusanne On Mon, Apr 6, 2020 at 11:53 PM Schermann Susanne via KineJapan wrote: Dear all, I prepare online classes now and I face two problems - any help or advice is highly appreciated!I use a MacPro High Sierra 10.13.6, and the software is updated. 1) In Power Point presentations, I use hyperlinks. However, those links don't work anymore when I use the presenter's mode (the mode when you can see the next slide at the right side of the PC screen, while the public sees only the current slide). Is there a way to jump to the internet by hyperlinks in the presenter's mode? 2) On my Mac, I would like to get a second desktop for online teaching (a clean one, just in case I happen to show it to students - which will happen at 100% in online lessons, I think). This is easy with Spaces, I just add another space. However, this new space looks exactly like the first space, and everything I do is synchronized. Any file I erase is also erased on my first desktop.... I just managed to change the background. If the second desktop is exactly like the first, I see no need to have a second desktop. I searched the net and could not get an answer. How can I stop the synchronizing in Spaces? If you can help me, thank you very much in advance! Susanne Schermann _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -- Erik R. Lofgren Associate Professor and Chair (on leave, AY19?20) East Asian Studies Department ---------- * ---------- * ---------- * ---------- * ---------- Bucknell University Lewisburg, PA ?17837 ? ? ? Tel: 570-577-1765 ---------- * ---------- * ---------- * ---------- * ---------- -------------- next part -------------- An HTML attachment was scrubbed... URL: From baird at umass.edu Thu Apr 9 09:59:38 2020 From: baird at umass.edu (Bruce Baird) Date: Thu, 9 Apr 2020 07:59:38 -0600 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <26508_1586404664_5E8E9D38_26508_1608_1_1299859B-BE08-44E0-A5A2-FC5132DC967D@umass.edu> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> <6eea361d-c587-18d9-d534-d904b6bc09b5@gmail.com> <26508_1586404664_5E8E9D38_26508_1608_1_1299859B-BE08-44E0-A5A2-FC5132DC967D@umass.edu> Message-ID: <516EAA3A-12F7-4684-B9BE-8556FF9278B1@umass.edu> This page (dated March 20) lists one Canadian theater. https://www.broadwayworld.com/bwwtv/article/Film-Movement-Launches-a-Virtual-Cinema-for-First-Run-Releases-20200320 But here is the parent company: https://www.filmmovement.com/in-theaters And here are the instructions: https://www.filmmovement.com/virtual-cinema It looks like you have to access the film from an indy theater, or select a theater from a dropdown menu. > On Apr 8, 2020, at 9:57 PM, Bruce Baird via KineJapan wrote: > > HI Suzanne, > > I really don?t know. You might just try it, but of course, you would be supporting my town?s indy theater. Otherwise, you might search for Virtual Cinema and see if there is a parent company that lists all the theaters who are participating, and see if you can find one closer to home. > > Good luck, > > Bruce > >> On Apr 8, 2020, at 8:01 AM, suzanne beth via KineJapan > wrote: >> >> Hi! >> I was wondering if we have to be in the U.S. to watch the films in your "Virtual Cinema" program (I am in Canada). >> Thank you! >> suzanne >> >> Le 2020-04-08 ? 09:55, Bruce Baird via KineJapan a ?crit : >>> It is likely that many people know about this already, but our art house cinema her in Amherst, MA is participating in a similar system called ?Virtual Cinema? by which we can stream movies and the local cinema splits the profit with the film distributor. >>> >>> https://amherstcinema.org/Virtual-Cinema >>> >>>> On Apr 8, 2020, at 7:40 AM, Markus Nornes via KineJapan wrote: >>>> >>>> There has been an interesting development on the film front of the Covid-19 crisis. For years, the art house theater system in Japan has been hanging on by a thread. Several years ago, the survival of several theaters was attributed to a single indie hit (the documentary Life is Fruity). So the current crisis is unnerving the entire indie film production, distribution and exhibition sector. >>>> >>>> Today, Soda Kazuhiro and his distributor Tofoo announced that Soda?s new film Zero will be distributed in a ?temporary theater.? They will flip the usual scenario and distribute the film first through streaming and then in physical theaters when the situation is safe. People will go to the home pages of their local theaters to stream the film for the same price as a ticket (1,800 yen, about US$17), and the theater keeps a portion of the ?box office.? The hope and prayer is that if enough filmmakers and audiences participated in such a scheme there will still be theaters left after this crisis. >>>> >>>> It is a great idea, evidenced by the way media outlets have immediately picked up the story (some links at the bottom). >>>> >>>> Zero is the perfect film to kick this off. Appropriately enough, it won the ecumenical prize at Berlin just as the virus was taking root in human societies around the planet. It is a tender, beautiful film about love and the fragility of the human, about living a full and meaningful life amidst illness. >>>> >>>> Markus >>>> >>>> PS: Soda?s statement follows: >>>> >>>> >>>> ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ??????????????? >>>> >>>> ??? >>>> >>>> ???????????????? >>>> ???0???????????????? >>>> ?????????? >>>> >>>> ???????????????????????????????????????????????????????????? >>>> >>>> ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? >>>> >>>> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> 5?2??????????0??????????????????????????????????????????????????????????????????????????????? >>>> >>>> ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? >>>> >>>> ?????????????????????????? >>>> >>>> ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? >>>> >>>> ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ??????????5?2??????0????????????????????????????????????? >>>> >>>> ????????????????????????????????????? >>>> >>>> ?????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ?????????????????????????????????????????????????????????? 1800????????????? 1800???????????????????????????????????????????????????????????3????????????????????? >>>> >>>> ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? >>>> >>>> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? >>>> >>>> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ??????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>> >>>> ???????????????????????????????????????????????????????????????? >>>> >>>> ==================================== >>>> >>>> ?????????????????????????????????????????????????????????? >>>> >>>> ???????????2020/4/8? >>>> ????????????????5????????????????????? >>>> https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e >>>> >>>> ??????2020/4/8? >>>> ???????????????????????????????????0???? >>>> https://mainichi.jp/articles/20200408/k00/00m/040/198000c >>>> >>>> ?????????2020/4/8 12:00? >>>> ????????????????????????????????0??? >>>> https://www.cinematoday.jp/news/N0115250 >>>> >>>> ?http://xn--liv394a.com/ ?2020/4/8 12:00? >>>> ?????????0?5?2?????????????????????? >>>> https://eiga.com/news/20200408/5/ >>>> >>>> ?CINRA.NET ?2020/4/8 12:00? >>>> ??????????????0????????????????? >>>> https://www.cinra.net/news/20200408-seishinzero >>>> >>>> ????????2020/4/8 12:00? >>>> ????????0????????????????????????????? >>>> https://natalie.mu/eiga/news/374540 >>>> >>>> ????????2020/4/8 12:00? >>>> ?????????0????????????????????????????????? >>>> https://www.crank-in.net/news/75563 >>>> >>>> ?fjmovie.com >>>> ?????????????????????????????????0?????????? >>>> http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html >>>> >>>> ????????????2020/4/8? >>>> ??????????0?????????????????????????????????? >>>> https://realsound.jp/movie/2020/04/post-535514.html -- >>>> --- >>>> >>>> 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 >>> >>> Bruce Baird >>> Associate Professor >>> East Asian Languages and Cultures >>> University of Massachusetts Amherst >>> But?, Japanese Theater, Intellectual History >>> >>> 439 Herter Hall >>> 161 Presidents Drive >>> University of Massachusetts Amherst >>> Amherst, MA 01003-9312 >>> Phone: 413-577-2117 >>> Fax: 413-545-3178 >>> baird at umass.edu >>> >>> Recently Released: The Routledge Companion to Butoh Performance >>> >>> https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 >>> >>> Now out in paperback and e-book: Hijikata Tatsumi and Butoh: >>> >>> http://www.palgrave.com/us/book/9780230120402 >>> >>> >>> _______________________________________________ >>> 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 > > Bruce Baird > Associate Professor > East Asian Languages and Cultures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 439 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-2117 > Fax: 413-545-3178 > baird at umass.edu > > Recently Released: The Routledge Companion to Butoh Performance > > https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 > > Now out in paperback and e-book: Hijikata Tatsumi and Butoh: > > http://www.palgrave.com/us/book/9780230120402 > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan Bruce Baird Associate Professor East Asian Languages and Cultures University of Massachusetts Amherst But?, Japanese Theater, Intellectual History 439 Herter Hall 161 Presidents Drive University of Massachusetts Amherst Amherst, MA 01003-9312 Phone: 413-577-2117 Fax: 413-545-3178 baird at umass.edu Recently Released: The Routledge Companion to Butoh Performance https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 Now out in paperback and e-book: Hijikata Tatsumi and Butoh: http://www.palgrave.com/us/book/9780230120402 -------------- next part -------------- An HTML attachment was scrubbed... URL: From suzannebeth at gmail.com Thu Apr 9 10:14:15 2020 From: suzannebeth at gmail.com (suzanne beth) Date: Thu, 9 Apr 2020 10:14:15 -0400 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <516EAA3A-12F7-4684-B9BE-8556FF9278B1@umass.edu> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> <6eea361d-c587-18d9-d534-d904b6bc09b5@gmail.com> <26508_1586404664_5E8E9D38_26508_1608_1_1299859B-BE08-44E0-A5A2-FC5132DC967D@umass.edu> <516EAA3A-12F7-4684-B9BE-8556FF9278B1@umass.edu> Message-ID: <32c07683-bb67-31ad-1627-3644e8a3e611@gmail.com> Hi! thank you very much for your messages. I'm sorry I realize that I had not seen your first reply.... (strange) a movie theater in Montreal, where I live, also has an online program now (https://www.cinemamoderne.com/en/). but I was very interested in viewing "Do?a Flor", therefore my inquiry -- I will simply try! good luck with the current situation, and please take care, suzanne Le 2020-04-09 ? 09:59, Bruce Baird via KineJapan a ?crit?: > This page (dated March 20) lists one Canadian theater. > https://www.broadwayworld.com/bwwtv/article/Film-Movement-Launches-a-Virtual-Cinema-for-First-Run-Releases-20200320 > > > But here is the parent company: https://www.filmmovement.com/in-theaters > > And here are the instructions: https://www.filmmovement.com/virtual-cinema > > It looks like you have to access the film from an indy theater, or > select a theater from a dropdown menu. > > > > >> On Apr 8, 2020, at 9:57 PM, Bruce Baird via KineJapan >> > wrote: >> >> HI Suzanne, >> >> I really don?t know. You might just try it, but of course, you would >> be supporting my town?s indy theater. Otherwise, you might search for >> Virtual Cinema and see if there is a parent company that lists all >> the theaters who are participating, and see if you can find one >> closer to home. >> >> Good luck, >> >> Bruce >> >>> On Apr 8, 2020, at 8:01 AM, suzanne beth via KineJapan >>> > wrote: >>> >>> Hi! >>> I was wondering if we have to be in the U.S. to watch the films in >>> your "Virtual Cinema" program (I am in Canada). >>> Thank you! >>> suzanne >>> >>> Le 2020-04-08 ? 09:55, Bruce Baird via KineJapan a ?crit?: >>>> It is likely that many people know about this already, but our art >>>> house cinema her in Amherst, MA is participating in a similar >>>> system called ?Virtual Cinema? by which we can stream movies and >>>> the local cinema splits the profit with the film distributor. >>>> >>>> https://amherstcinema.org/Virtual-Cinema >>>> >>>>> On Apr 8, 2020, at 7:40 AM, Markus Nornes via KineJapan >>>>> wrote: >>>>> >>>>> There has been an interesting development on the film front of the >>>>> Covid-19 crisis. For years, the art house theater system in Japan >>>>> has been hanging on by a thread. Several years ago, the survival >>>>> of several theaters was attributed to a single indie hit (the >>>>> documentary Life is Fruity). So the current crisis is unnerving >>>>> the entire indie film production, distribution and exhibition sector. >>>>> >>>>> Today, Soda Kazuhiro and his distributor Tofoo announced that >>>>> Soda?s new film Zero will be distributed in a ?temporary theater.? >>>>> They will flip the usual scenario and distribute the film first >>>>> through streaming and then in physical theaters when the situation >>>>> is safe. People will go to the home pages of their local theaters >>>>> to stream the film for the same price as a ticket (1,800 yen, >>>>> about US$17), and the theater keeps a portion of the ?box office.? >>>>> The hope and prayer is that if enough filmmakers and audiences >>>>> participated in such a scheme there will still be theaters left >>>>> after this crisis. >>>>> >>>>> It is a great idea, evidenced by the way media outlets have >>>>> immediately picked up the story (some links at the bottom). >>>>> >>>>> /Zero/ is the perfect film to kick this off. Appropriately enough, >>>>> it won the ecumenical prize at Berlin just as the virus was taking >>>>> root in human societies around the planet. It is a tender, >>>>> beautiful film about love and the fragility of the human, about >>>>> living a full and meaningful life amidst illness. >>>>> >>>>> Markus >>>>> >>>>> PS: Soda?s statement follows: >>>>> >>>>> >>>>> ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ??????????????? >>>>> >>>>> ??? >>>>> >>>>> ???????????????? >>>>> ???0???????????????? >>>>> ?????????? >>>>> >>>>> ???????????????????????????????????????????????????????????? >>>>> >>>>> ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? >>>>> >>>>> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> 5?2??????????0??????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? >>>>> >>>>> ?????????????????????????? >>>>> >>>>> ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? >>>>> >>>>> ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ??????????5?2??????0????????????????????????????????????? >>>>> >>>>> ????????????????????????????????????? >>>>> >>>>> ?????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ?????????????????????????????????????????????????????????? >>>>> 1800????????????? >>>>> 1800???????????????????????????????????????????????????????????3????????????????????? >>>>> >>>>> ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? >>>>> >>>>> ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? >>>>> >>>>> ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ??????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? >>>>> >>>>> ???????????????????????????????????????????????????????????????? >>>>> >>>>> ==================================== >>>>> >>>>> ?????????????????????????????????????????????????????????? >>>>> >>>>> ???????????2020/4/8? >>>>> ????????????????5????????????????????? >>>>> https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e >>>>> >>>>> ??????2020/4/8? >>>>> ???????????????????????????????????0???? >>>>> https://mainichi.jp/articles/20200408/k00/00m/040/198000c >>>>> >>>>> ?????????2020/4/8 12:00? >>>>> ????????????????????????????????0??? >>>>> https://www.cinematoday.jp/news/N0115250 >>>>> >>>>> ?http://xn--liv394a.com/?2020/4/8 12:00? >>>>> ?????????0?5?2?????????????????????? >>>>> https://eiga.com/news/20200408/5/ >>>>> >>>>> ?CINRA.NET ?2020/4/8 12:00? >>>>> ??????????????0????????????????? >>>>> https://www.cinra.net/news/20200408-seishinzero >>>>> >>>>> ????????2020/4/8 12:00? >>>>> ????????0????????????????????????????? >>>>> https://natalie.mu/eiga/news/374540 >>>>> >>>>> ????????2020/4/8 12:00? >>>>> ?????????0????????????????????????????????? >>>>> https://www.crank-in.net/news/75563 >>>>> >>>>> ?fjmovie.com >>>>> ?????????????????????????????????0?????????? >>>>> http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html >>>>> >>>>> ????????????2020/4/8? >>>>> ??????????0?????????????????????????????????? >>>>> https://realsound.jp/movie/2020/04/post-535514.html >>>>> -- >>>>> --- >>>>> * >>>>> * >>>>> *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 >>>> >>>> Bruce Baird >>>> Associate Professor >>>> East Asian Languages and Cultures >>>> University of Massachusetts Amherst >>>> But?, Japanese Theater, Intellectual History >>>> >>>> 439 Herter Hall >>>> 161 Presidents Drive >>>> University of Massachusetts Amherst >>>> Amherst, MA 01003-9312 >>>> Phone: 413-577-2117 >>>> Fax: 413-545-3178 >>>> baird at umass.edu >>>> >>>> Recently Released:/The Routledge Companion to Butoh Performance/ >>>> >>>> https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 >>>> >>>> Now out in paperback and e-book:/Hijikata Tatsumi and Butoh/: >>>> >>>> http://www.palgrave.com/us/book/9780230120402 >>>> >>>> >>>> _______________________________________________ >>>> 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 >> >> Bruce Baird >> Associate Professor >> East Asian Languages and Cultures >> University of Massachusetts Amherst >> But?, Japanese Theater, Intellectual History >> >> 439 Herter Hall >> 161 Presidents Drive >> University of Massachusetts Amherst >> Amherst, MA 01003-9312 >> Phone: 413-577-2117 >> Fax: 413-545-3178 >> baird at umass.edu >> >> Recently Released:/The Routledge Companion to Butoh Performance/ >> >> https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 >> >> Now out in paperback and e-book:/Hijikata Tatsumi and Butoh/: >> >> http://www.palgrave.com/us/book/9780230120402 >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan > > Bruce Baird > Associate Professor > East Asian Languages and Cultures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 439 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-2117 > Fax: 413-545-3178 > baird at umass.edu > > Recently Released:/The Routledge Companion to Butoh Performance/ > > https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 > > Now out in paperback and e-book:/Hijikata Tatsumi and Butoh/: > > http://www.palgrave.com/us/book/9780230120402 > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From reavolution at gmail.com Fri Apr 10 09:32:37 2020 From: reavolution at gmail.com (Rea Amit) Date: Fri, 10 Apr 2020 08:32:37 -0500 Subject: [KineJapan] British Postdoctoral Fellowships - Deadline 4th May 2020 Message-ID: This might be of interest to many list members: *** Apologies for cross-posting *** Dear colleagues, The Department of Cultures and Languages at Birkbeck, University of London is inviting expressions of interest in a British Academy Postdoctoral Fellowship in Japanese Studies. These Fellowships are designed to support outstanding early career researchers in the humanities and social sciences. We are now inviting applications for the 2020-21 outline round of these fellowships, for information available here. The Department brings together a community of scholars with shared interests in interdisciplinary topics and transnational phenomena, covering French, German, Japanese, Portuguese and Spanish-speaking cultures. Our Japanese section welcomes applications from candidates with research interests in Japanese cinema, visual culture, comparative literature, transculturality, gender, history and memory, minorities and diversity. This Fellowship is subject to a Departmental and also internal College competition (please see the link for further details). All applicants must get agreement from an academic in their proposed host department to act as a mentor and follow the timeline below: i. Please contact your potential mentor by asap. ii. Please complete this pro-forma describing your research and submit it, along with your CV, to your potential mentor. It may need a number of iterations before you?re both happy with it, but the finalised version needs to be with your Mentor by 5pm, Monday 4th May 2020. They will submit these, together with a short statement of support, to the Departmental panel for consideration. iii. The Departmental panel will meet shortly after this deadline to decide who is put forward for consideration by the College Research Strategy Group (RSG) and you will be notified of the outcome. iv. If you are chosen to go forward, your Mentor will work with you further on your pro-forma. v. The RSG makes an ultimate decision on who is put forward to the British Academy, and they will notify you of the outcome and any feedback shortly after the meeting (normally in early July). If you are chosen to be put forward to the British Academy, your Mentor and School Research Manager will help you complete the full application. All applications will be considered on merit, candidates will need to demonstrate in their CV a clear research trajectory and some standing in the field, as such it is extremely unusual for Birkbeck to select a candidate without any relevant post-doctoral experience. Informal enquiries are welcome and should be directed to Dr. Marcos Centeno (m.centeno at bbk.ac.uk). From aaron.gerow at yale.edu Fri Apr 10 14:58:27 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 10 Apr 2020 14:58:27 -0400 Subject: [KineJapan] Obayashi Nobuhiko Message-ID: <578E813B-7653-4D83-86D7-D4096E044AD7@yale.edu> Very sad to hear of the passing of the great film director Obayashi Nobuhiko, whom I've welcomed to Yale and my house. His new film, Umibe no eigakan, was about to hit theaters, but was delayed because of the coronavirus crisis. I will write more about this later, but I offer his family, who were so kind to us, our deepest condolences. https://www.nikkansports.com/entertainment/news/202004110000014.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 website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Apr 10 18:14:24 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 10 Apr 2020 18:14:24 -0400 Subject: [KineJapan] =?utf-8?b?4oCcUmXigJ1yZWxlYXNlIHdpdGggY29sb3IgaW1h?= =?utf-8?q?ges=2C_and_2_discounts?= References: Message-ID: Linda Ehrlich has sent me this notice about a new release of her book on Koreeda Hirokazu, now with color images. Palgrave is offering discounts: Special offer / Get 20% off the printed book or eBook! Use the following token on palgrave.com: khQmNFPwTTAkSd3 / Valid Apr 19, 2020 ? May 17, 2020 Palgrave Daily Deal offer / Get the eBook for ? 9,99 / ? 9,99/ $9.99! Offer valid on palgrave.com only on Jun 6, 2020 -------------- next part -------------- A non-text attachment was scrubbed... Name: Ehrlich discount flyer color with Daily Deal info1-2.pdf Type: application/pdf Size: 374603 bytes Desc: not available URL: -------------- next part -------------- Linda Ehrlich linda.ehrlich at gmail.com braidednarrative.com From mekerpan2 at gmail.com Fri Apr 10 18:58:55 2020 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Fri, 10 Apr 2020 18:58:55 -0400 Subject: [KineJapan] =?utf-8?b?4oCcUmXigJ1yZWxlYXNlIHdpdGggY29sb3IgaW1h?= =?utf-8?q?ges=2C_and_2_discounts?= In-Reply-To: References: Message-ID: I assume the one-day June 9 deal is based strictly on UK time. I will have to make an entry on Google calendar -- I'd hate to miss this bargain. ;-) Michael Kerpan Boston On Fri, Apr 10, 2020 at 6:14 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > Linda Ehrlich has sent me this notice about a new release of her book on > Koreeda Hirokazu, now with color images. > > Palgrave is offering discounts: > > Special offer / Get 20% off the printed book or eBook! > Use the following token on palgrave.com: > khQmNFPwTTAkSd3 / Valid Apr 19, 2020 ? May 17, 2020 > Palgrave Daily Deal offer / Get the eBook for ? 9,99 / ? 9,99/ $9.99! > Offer valid on palgrave.com only on Jun 6, 2020 > > > > Linda Ehrlich > linda.ehrlich at gmail.com > braidednarrative.com > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Sat Apr 11 04:54:59 2020 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Sat, 11 Apr 2020 11:54:59 +0300 Subject: [KineJapan] The effects of Coved-19 on Japanese film & tv In-Reply-To: <32c07683-bb67-31ad-1627-3644e8a3e611@gmail.com> References: <2099478834.320204.1586176259804.JavaMail.yahoo@mail.yahoo.co.jp> <6E6A2B30-6FE3-46FF-AA7D-27B8CCBEF07C@umass.edu> <6eea361d-c587-18d9-d534-d904b6bc09b5@gmail.com> <26508_1586404664_5E8E9D38_26508_1608_1_1299859B-BE08-44E0-A5A2-FC5132DC967D@umass.edu> <516EAA3A-12F7-4684-B9BE-8556FF9278B1@umass.edu> <32c07683-bb67-31ad-1627-3644e8a3e611@gmail.com> Message-ID: In Finland some independent smaller distributors seem to be making deals with mobile phone company Elisa, sort of Finland's Softbank, to stream their films, like here Cinema Mondo, who bring Japanese anime and Kore-eda's films to Finland, are doing here with Lulu Wang's film. https://app.gruvi.tv/movies/10305/ Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 to 9. huhtik. 2020 klo 17.14 suzanne beth via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > Hi! > thank you very much for your messages. I'm sorry I realize that I had not > seen your first reply.... (strange) > a movie theater in Montreal, where I live, also has an online program now ( > https://www.cinemamoderne.com/en/). > but I was very interested in viewing "Do?a Flor", therefore my inquiry -- > I will simply try! > good luck with the current situation, and please take care, > suzanne > Le 2020-04-09 ? 09:59, Bruce Baird via KineJapan a ?crit : > > This page (dated March 20) lists one Canadian theater. > https://www.broadwayworld.com/bwwtv/article/Film-Movement-Launches-a-Virtual-Cinema-for-First-Run-Releases-20200320 > > But here is the parent company: https://www.filmmovement.com/in-theaters > > And here are the instructions: https://www.filmmovement.com/virtual-cinema > > It looks like you have to access the film from an indy theater, or select > a theater from a dropdown menu. > > > > > On Apr 8, 2020, at 9:57 PM, Bruce Baird via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > HI Suzanne, > > I really don?t know. You might just try it, but of course, you would be > supporting my town?s indy theater. Otherwise, you might search for Virtual > Cinema and see if there is a parent company that lists all the theaters who > are participating, and see if you can find one closer to home. > > Good luck, > > Bruce > > On Apr 8, 2020, at 8:01 AM, suzanne beth via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Hi! > I was wondering if we have to be in the U.S. to watch the films in your > "Virtual Cinema" program (I am in Canada). > Thank you! > suzanne > Le 2020-04-08 ? 09:55, Bruce Baird via KineJapan a ?crit : > > It is likely that many people know about this already, but our art house > cinema her in Amherst, MA is participating in a similar system called > ?Virtual Cinema? by which we can stream movies and the local cinema splits > the profit with the film distributor. > > https://amherstcinema.org/Virtual-Cinema > > On Apr 8, 2020, at 7:40 AM, Markus Nornes via KineJapan > wrote: > > There has been an interesting development on the film front of the > Covid-19 crisis. For years, the art house theater system in Japan has been > hanging on by a thread. Several years ago, the survival of several theaters > was attributed to a single indie hit (the documentary Life is Fruity). So > the current crisis is unnerving the entire indie film production, > distribution and exhibition sector. > > Today, Soda Kazuhiro and his distributor Tofoo announced that Soda?s new > film Zero will be distributed in a ?temporary theater.? They will flip the > usual scenario and distribute the film first through streaming and then in > physical theaters when the situation is safe. People will go to the home > pages of their local theaters to stream the film for the same price as a > ticket (1,800 yen, about US$17), and the theater keeps a portion of the > ?box office.? The hope and prayer is that if enough filmmakers and > audiences participated in such a scheme there will still be theaters left > after this crisis. > > It is a great idea, evidenced by the way media outlets have immediately > picked up the story (some links at the bottom). > > *Zero* is the perfect film to kick this off. Appropriately enough, it won > the ecumenical prize at Berlin just as the virus was taking root in human > societies around the planet. It is a tender, beautiful film about love and > the fragility of the human, about living a full and meaningful life amidst > illness. > > Markus > > PS: Soda?s statement follows: > > > > ????????????????????????????????????5?2???1800?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ??????????????? > > ??? > > ???????????????? > ???0???????????????? > ?????????? > > ???????????????????????????????????????????????????????????? > > > ????????????????????????????????????????????????????????????????1??0??????????????????????????????????????????????????? > > > ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > > 5?2??????????0??????????????????????????????????????????????????????????????????????????????? > > > ?????????????????????????????1???????????????????????????????????????????????????????????????????????????????????0?????????????????????????????????????????? > > ?????????????????????????? > > > ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????1??????0???????????????????????????????????????????????????????? > > > ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ??????????5?2??????0????????????????????????????????????? > > ????????????????????????????????????? > > > ?????????????????????????????????????????????????????????????????????????????????? > > ?????????????????????????????????????????????????????????? > 1800????????????? > 1800???????????????????????????????????????????????????????????3????????????????????? > > > ???????????????????????????????????????????????????????????????????0?????????????????????????????????????????????????????????????????????????????????????????????????????? > > > ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0?????????????? > > > ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????0??????????????????????????????????????? > > > ????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > > ??????????????????????????????????????????????????????????????????????????????????????? > > > ???0?????????????????????????????????????????????????????????????????????????????????????????????????????? > > > ?????????????????????????0????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > > ???????????????????????????????????????????????????????????????? > > ==================================== > > ?????????????????????????????????????????????????????????? > > ???????????2020/4/8? > ????????????????5????? ??????????????? > https://www.huffingtonpost.jp/entry/story_jp_5e8d5cb0c5b62459a930f27e > > ??????2020/4/8? > ?????????????????????? ????????????0???? > https://mainichi.jp/articles/20200408/k00/00m/040/198000c > > ?????????2020/4/8 12:00? > ????????????????????????????????0??? > https://www.cinematoday.jp/news/N0115250 > > ?http://xn--liv394a.com/?2020/4/8 12:00? > ?????????0?5?2?????????????????????? > https://eiga.com/news/20200408/5/ > > ?CINRA.NET ?2020/4/8 12:00? > ??????????????0????????????????? > https://www.cinra.net/news/20200408-seishinzero > > ????????2020/4/8 12:00? > ????????0????????????????????????????? > https://natalie.mu/eiga/news/374540 > > ????????2020/4/8 12:00? > ?????????0????????????????? ??????????????? > https://www.crank-in.net/news/75563 > > ?fjmovie.com > ?????????????????????????????????0?????????? > http://www.fjmovie.com/main/news/2020/news04_temporarycinema.html > > ????????????2020/4/8? > ??????????0??????????????? ?????????????????? > https://realsound.jp/movie/2020/04/post-535514.html > -- > --- > > *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 > > > Bruce Baird > Associate Professor > East Asian Languages and Cultures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 439 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-2117 > Fax: 413-545-3178 > baird at umass.edu > > Recently Released: *The Routledge Companion to Butoh Performance* > > > https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 > > Now out in paperback and e-book: *Hijikata Tatsumi and Butoh*: > > http://www.palgrave.com/us/book/9780230120402 > > > _______________________________________________ > KineJapan mailing listKineJapan at mailman.yale.eduhttps://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > Bruce Baird > Associate Professor > East Asian Languages and Cultures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 439 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-2117 > Fax: 413-545-3178 > baird at umass.edu > > Recently Released: *The Routledge Companion to Butoh Performance* > > > https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 > > Now out in paperback and e-book: *Hijikata Tatsumi and Butoh*: > > http://www.palgrave.com/us/book/9780230120402 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > Bruce Baird > Associate Professor > East Asian Languages and Cultures > University of Massachusetts Amherst > But?, Japanese Theater, Intellectual History > > 439 Herter Hall > 161 Presidents Drive > University of Massachusetts Amherst > Amherst, MA 01003-9312 > Phone: 413-577-2117 > Fax: 413-545-3178 > baird at umass.edu > > Recently Released: *The Routledge Companion to Butoh Performance* > > > https://www.routledge.com/The-Routledge-Companion-to-Butoh-Performance/Baird-Candelario/p/book/9781138691094 > > Now out in paperback and e-book: *Hijikata Tatsumi and Butoh*: > > http://www.palgrave.com/us/book/9780230120402 > > > _______________________________________________ > KineJapan mailing listKineJapan at mailman.yale.eduhttps://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Apr 11 09:45:39 2020 From: nornes at umich.edu (Markus Nornes) Date: Sat, 11 Apr 2020 09:45:39 -0400 Subject: [KineJapan] Obayashi RIP Message-ID: I was waiting on Aaron, who was a friend of the director, but the world situation must be putting him off his game. This was not unexpected, but the great Obayashi Nobuhiko passed this week. These days, we immediately wonder if it was the virus. But it was the stage 4 lung cancer he was diagnosed with four years ago, and through which he tirelessly worked. Here is Mark?s obit in Variety: https://variety.com/2020/film/asia/nobuhiko-obayashi-dies-dead-japanese-director-1234577784/ And the Reporter: https://www.hollywoodreporter.com/news/nobuhiko-obayashi-dead-japanese-filmmaker-was-82-1289895 And JT: https://www.japantimes.co.jp/news/2020/04/11/national/director-nobuhiko-obayashi-dies/#.XpHH8yUpDDs Incredibly, Obayashi has a new film. It was to have been in theaters now, but the release date has been postponed because of the pandemic. Here is the homepage. Looks like loads of fun. Naturally. https://umibenoeigakan.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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From alexanderjacoby at brookes.ac.uk Sat Apr 11 09:53:33 2020 From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby) Date: Sat, 11 Apr 2020 14:53:33 +0100 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: Dear Markus, Aaron had actually announced this yesterday; perhaps it somehow slipped out of your inbox. In case that happened to others too, his message read as follows: "Very sad to hear of the passing of the great film director Obayashi Nobuhiko, whom I've welcomed to Yale and my house. His new film, Umibe no eigakan, was about to hit theaters, but was delayed because of the coronavirus crisis. I will write more about this later, but I offer his family, who were so kind to us, our deepest condolences." https://www.nikkansports.com/entertainment/news/202004110000014.html Although I never myself met Obayashi personally, it is very sad news. There are many engaging films in his output, and they convey a sense of an agreeable personality behind them. Best wishes, ALEX -------------- next part -------------- An HTML attachment was scrubbed... URL: From jimharper666 at yahoo.co.uk Sat Apr 11 11:05:25 2020 From: jimharper666 at yahoo.co.uk (Jim Harper) Date: Sat, 11 Apr 2020 15:05:25 +0000 (UTC) Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: <355228896.7053043.1586617525891@mail.yahoo.com> Very sad to hear this, although not unexpected. Even though it's one of his more neglected movies, Ijintachi tono natsu was the first Japanese film I saw, in what was probably its only UK TV screening back in 1990, when I was 16 years old and watching late night TV instead of revising for my GCSE exams that week. It blew me away, and there's a good chance that without that film, I wouldn't now be writing about Japanese cinema (especially horror) and living in Hiroshima with a Japanese wife. So I have a lot to thank Obayashi for. RIP. Jim Harper. On Saturday, 11 April 2020, 22:45:58 GMT+9, Markus Nornes via KineJapan wrote: I was waiting on Aaron, who was a friend of the director, but the world situation must be putting him off his game. This was not unexpected, but the great Obayashi Nobuhiko passed this week. These days, we immediately wonder if it was the virus. But it was the stage 4 lung cancer he was diagnosed with four years ago, and through which he tirelessly worked.? Here is Mark?s obit in Variety: https://variety.com/2020/film/asia/nobuhiko-obayashi-dies-dead-japanese-director-1234577784/ And the Reporter: https://www.hollywoodreporter.com/news/nobuhiko-obayashi-dead-japanese-filmmaker-was-82-1289895 And JT:?https://www.japantimes.co.jp/news/2020/04/11/national/director-nobuhiko-obayashi-dies/#.XpHH8yUpDDs Incredibly, Obayashi has a new film. It was to have been in theaters now, but the release date has been postponed because of the pandemic. Here is the homepage. Looks like loads of fun. Naturally.? https://umibenoeigakan.jp 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From wct1 at columbia.edu Sat Apr 11 11:42:50 2020 From: wct1 at columbia.edu (William C. Thompson) Date: Sat, 11 Apr 2020 11:42:50 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: <355228896.7053043.1586617525891@mail.yahoo.com> References: <355228896.7053043.1586617525891@mail.yahoo.com> Message-ID: The Japan Society in New York had a small retrospective of Obayashi films in late 2015. You can enjoy his smiling face as he playfully introduces his films: https://www.youtube.com/watch?list=RDCMUCTaShPsubqMP0IdcvzSTqeg&v=Wm7bO255MTQ&feature=emb_rel_end Here is a Q&A he did there with Aaron Gerow: https://www.youtube.com/watch?v=jI4RsT89cz8&feature=emb_rel_end And the program itself: https://www.japansociety.org/page/programs/film/obayashi-retrospective Enjoy, Bill Thompson On Sat, Apr 11, 2020 at 11:05 AM Jim Harper via KineJapan < kinejapan at mailman.yale.edu> wrote: > Very sad to hear this, although not unexpected. Even though it's one of > his more neglected movies, Ijintachi tono natsu was the first Japanese film > I saw, in what was probably its only UK TV screening back in 1990, when I > was 16 years old and watching late night TV instead of revising for my GCSE > exams that week. It blew me away, and there's a good chance that without > that film, I wouldn't now be writing about Japanese cinema (especially > horror) and living in Hiroshima with a Japanese wife. So I have a lot to > thank Obayashi for. > > RIP. > > Jim Harper. > On Saturday, 11 April 2020, 22:45:58 GMT+9, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > I was waiting on Aaron, who was a friend of the director, but the world > situation must be putting him off his game. This was not unexpected, but > the great Obayashi Nobuhiko passed this week. These days, we immediately > wonder if it was the virus. But it was the stage 4 lung cancer he was > diagnosed with four years ago, and through which he tirelessly worked. > > Here is Mark?s obit in Variety: > > > https://variety.com/2020/film/asia/nobuhiko-obayashi-dies-dead-japanese-director-1234577784/ > > And the Reporter: > > > https://www.hollywoodreporter.com/news/nobuhiko-obayashi-dead-japanese-filmmaker-was-82-1289895 > > And JT: > > https://www.japantimes.co.jp/news/2020/04/11/national/director-nobuhiko-obayashi-dies/#.XpHH8yUpDDs > > Incredibly, Obayashi has a new film. It was to have been in theaters now, > but the release date has been postponed because of the pandemic. Here is > the homepage. Looks like loads of fun. Naturally. > > https://umibenoeigakan.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 > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Apr 11 11:45:48 2020 From: nornes at umich.edu (Markus Nornes) Date: Sat, 11 Apr 2020 11:45:48 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: Oops. Don?t know how I missed that. I?m glad to hear Aaron will write more. Not to put pressure on him (!), but I know he made a concerted effort to seek out and systematically watch every Obayashi film he could get his hands on before the Yale event. He has many interesting things to say about them and the visit to New Haven. Has anyone seen the new film? There were surely previews before the postponement... Markus On Sat, Apr 11, 2020 at 9:54 AM Alexander Jacoby < alexanderjacoby at brookes.ac.uk> wrote: > Dear Markus, > > Aaron had actually announced this yesterday; perhaps it somehow slipped > out of your inbox. In case that happened to others too, his message read as > follows: > > > "Very sad to hear of the passing of the great film director Obayashi > Nobuhiko, whom I've welcomed to Yale and my house. His new film, Umibe no > eigakan, was about to hit theaters, but was delayed because of the > coronavirus crisis. > > I will write more about this later, but I offer his family, who were so > kind to us, our deepest condolences." > > https://www.nikkansports.com/entertainment/news/202004110000014.html > > > Although I never myself met Obayashi personally, it is very sad news. > There are many engaging films in his output, and they convey a sense of an > agreeable personality behind them. > > Best wishes, > > > > ALEX > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From wct1 at columbia.edu Sat Apr 11 11:55:31 2020 From: wct1 at columbia.edu (William C. Thompson) Date: Sat, 11 Apr 2020 11:55:31 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: Marcus, Per your Hollywood Reporter link, *Labyrinth of Cinema *was featured in a special presentation at the TIFF last year, so some KJers should have seen it: *Labyrinth of Cinema* had been scheduled to be released in Japan on the day of his death. The date has been pushed back because of the coronavirus pandemic, which has closed theaters. "Director Obayashi fought his sickness to the day of the scheduled release of his film. Rest in peace, director Obayashi, you who loved films so much you kept on making them," the announcement said. The film was showcased at the Tokyo International Film Festival last year, which honored him as a "cinematic magician" and screened several of his other works. Bill On Sat, Apr 11, 2020 at 11:46 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Oops. Don?t know how I missed that. I?m glad to hear Aaron will write > more. Not to put pressure on him (!), but I know he made a concerted > effort to seek out and systematically watch every Obayashi film he could > get his hands on before the Yale event. He has many interesting things to > say about them and the visit to New Haven. > > Has anyone seen the new film? There were surely previews before the > postponement... > > Markus > > > > On Sat, Apr 11, 2020 at 9:54 AM Alexander Jacoby < > alexanderjacoby at brookes.ac.uk> wrote: > >> Dear Markus, >> >> Aaron had actually announced this yesterday; perhaps it somehow slipped >> out of your inbox. In case that happened to others too, his message read as >> follows: >> >> >> "Very sad to hear of the passing of the great film director Obayashi >> Nobuhiko, whom I've welcomed to Yale and my house. His new film, Umibe no >> eigakan, was about to hit theaters, but was delayed because of the >> coronavirus crisis. >> >> I will write more about this later, but I offer his family, who were so >> kind to us, our deepest condolences." >> >> https://www.nikkansports.com/entertainment/news/202004110000014.html >> >> >> Although I never myself met Obayashi personally, it is very sad news. >> There are many engaging films in his output, and they convey a sense of an >> agreeable personality behind them. >> >> Best wishes, >> >> >> >> ALEX >> > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From linda.ehrlich at gmail.com Sat Apr 11 14:29:02 2020 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Sat, 11 Apr 2020 14:29:02 -0400 Subject: [KineJapan] =?utf-8?b?4oCcUmXigJ1yZWxlYXNlIHdpdGggY29sb3IgaW1h?= =?utf-8?q?ges=2C_and_2_discounts?= In-Reply-To: References: Message-ID: an interesting question Michael. I'll ask the editor. They're easy to communicate with, but I'm finding the shipping very slow. I hope it's just these odd times. June 6 is Kore-eda's birthday. Stay well. Linda E. Braided Narrative Amazon Author Page On Fri, Apr 10, 2020 at 6:59 PM Michael Kerpan via KineJapan < kinejapan at mailman.yale.edu> wrote: > I assume the one-day June 9 deal is based strictly on UK time. I will > have to make an entry on Google calendar -- I'd hate to miss this bargain. > ;-) > > Michael Kerpan > Boston > > On Fri, Apr 10, 2020 at 6:14 PM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Linda Ehrlich has sent me this notice about a new release of her book on >> Koreeda Hirokazu, now with color images. >> >> Palgrave is offering discounts: >> >> Special offer / Get 20% off the printed book or eBook! >> Use the following token on palgrave.com: >> khQmNFPwTTAkSd3 / Valid Apr 19, 2020 ? May 17, 2020 >> Palgrave Daily Deal offer / Get the eBook for ? 9,99 / ? 9,99/ $9.99! >> Offer valid on palgrave.com only on Jun 6, 2020 >> >> >> >> Linda Ehrlich >> linda.ehrlich at gmail.com >> braidednarrative.com >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pieterjanvanhaecke at gmail.com Sat Apr 11 17:54:11 2020 From: pieterjanvanhaecke at gmail.com (Pieter-Jan Van Haecke) Date: Sun, 12 Apr 2020 06:54:11 +0900 Subject: [KineJapan] Obayashi rip. In-Reply-To: References: Message-ID: Dear all, I saw his latest movie as part of the IFFR. You can feel his urgency at every step of the way. He needed to makes this movie before his death. He needed to make this final statement, this final plea with cinema for world peace. I was shocked by his death as well. I wrote something myself to honour him - it is by far not the level of Mr. Schilling's wonderful piece: https://psychocinematography.com/2020/04/11/atom-bombs-and-world-peace-obayashi-nobuhiko-1938-2020/ Op zo 12 apr. 2020 03:29 schreef : > Send KineJapan mailing list submissions to > kinejapan at mailman.yale.edu > > To subscribe or unsubscribe via the World Wide Web, visit > https://mailman.yale.edu/mailman/listinfo/kinejapan > or, via email, send a message with subject or body 'help' to > kinejapan-request at mailman.yale.edu > > You can reach the person managing the list at > kinejapan-owner at mailman.yale.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of KineJapan digest..." > > > Today's Topics: > > 1. Re: Obayashi RIP (William C. Thompson) > 2. Re: ?Re?release with color images, and 2 discounts > (Linda Ehrlich) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Sat, 11 Apr 2020 11:55:31 -0400 > From: "William C. Thompson" > To: Japanese Cinema Discussion Forum > Subject: Re: [KineJapan] Obayashi RIP > Message-ID: > < > CAOXQ2fQmJk-pntQM84ySjq1tZnfNvuNvxPSzAkN7RsjEn8GjSw at mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > Marcus, > > Per your Hollywood Reporter link, *Labyrinth of Cinema *was featured in a > special presentation at the TIFF last year, so some KJers should have seen > it: > > *Labyrinth of Cinema* had been scheduled to be released in Japan on the day > of his death. The date has been pushed back because of the coronavirus > pandemic, which has closed theaters. > > "Director Obayashi fought his sickness to the day of the scheduled release > of his film. Rest in peace, director Obayashi, you who loved films so much > you kept on making them," the announcement said. > > The film was showcased at the Tokyo International Film Festival last year, > which honored him as a "cinematic magician" and screened several of his > other works. > > > > Bill > > On Sat, Apr 11, 2020 at 11:46 AM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Oops. Don?t know how I missed that. I?m glad to hear Aaron will write > > more. Not to put pressure on him (!), but I know he made a concerted > > effort to seek out and systematically watch every Obayashi film he could > > get his hands on before the Yale event. He has many interesting things to > > say about them and the visit to New Haven. > > > > Has anyone seen the new film? There were surely previews before the > > postponement... > > > > Markus > > > > > > > > On Sat, Apr 11, 2020 at 9:54 AM Alexander Jacoby < > > alexanderjacoby at brookes.ac.uk> wrote: > > > >> Dear Markus, > >> > >> Aaron had actually announced this yesterday; perhaps it somehow slipped > >> out of your inbox. In case that happened to others too, his message > read as > >> follows: > >> > >> > >> "Very sad to hear of the passing of the great film director Obayashi > >> Nobuhiko, whom I've welcomed to Yale and my house. His new film, Umibe > no > >> eigakan, was about to hit theaters, but was delayed because of the > >> coronavirus crisis. > >> > >> I will write more about this later, but I offer his family, who were so > >> kind to us, our deepest condolences." > >> > >> https://www.nikkansports.com/entertainment/news/202004110000014.html > >> > >> > >> Although I never myself met Obayashi personally, it is very sad news. > >> There are many engaging films in his output, and they convey a sense of > an > >> agreeable personality behind them. > >> > >> Best wishes, > >> > >> > >> > >> ALEX > >> > > -- > > --- > > > > *Markus Nornes* > > *Professor of Asian Cinema* > > Department of Film, Television and Media, Department of Asian Languages > > and Cultures, Penny Stamps School of Art & Design > > > > *Department of Film, Television and Media* > > *6348 North Quad* > > *105 S. State Street* > > *Ann Arbor, MI 48109-1285* > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at mailman.yale.edu > > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20200411/c63c9432/attachment-0001.html > > > > ------------------------------ > > Message: 2 > Date: Sat, 11 Apr 2020 14:29:02 -0400 > From: Linda Ehrlich > To: mekerpan at kerpan.com, Japanese Cinema Discussion Forum > > Subject: Re: [KineJapan] ?Re?release with color images, and 2 > discounts > Message-ID: > zqTmfnn_4uxXOhxpA_ksmvZe6G1vOOowmCS_og at mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > an interesting question Michael. I'll ask the editor. > They're easy to communicate with, but I'm finding the shipping very slow. I > hope it's just these odd times. > June 6 is Kore-eda's birthday. > > Stay well. > Linda E. > > > Braided Narrative > Amazon Author Page > > > On Fri, Apr 10, 2020 at 6:59 PM Michael Kerpan via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > I assume the one-day June 9 deal is based strictly on UK time. I will > > have to make an entry on Google calendar -- I'd hate to miss this > bargain. > > ;-) > > > > Michael Kerpan > > Boston > > > > On Fri, Apr 10, 2020 at 6:14 PM Gerow Aaron via KineJapan < > > kinejapan at mailman.yale.edu> wrote: > > > >> Linda Ehrlich has sent me this notice about a new release of her book on > >> Koreeda Hirokazu, now with color images. > >> > >> Palgrave is offering discounts: > >> > >> Special offer / Get 20% off the printed book or eBook! > >> Use the following token on palgrave.com: > >> khQmNFPwTTAkSd3 / Valid Apr 19, 2020 ? May 17, 2020 > >> Palgrave Daily Deal offer / Get the eBook for ? 9,99 / ? 9,99/ $9.99! > >> Offer valid on palgrave.com only on Jun 6, 2020 > >> > >> > >> > >> Linda Ehrlich > >> linda.ehrlich at gmail.com > >> braidednarrative.com > >> > >> > >> > >> > >> > >> _______________________________________________ > >> KineJapan mailing list > >> KineJapan at mailman.yale.edu > >> https://mailman.yale.edu/mailman/listinfo/kinejapan > >> > > _______________________________________________ > > KineJapan mailing list > > KineJapan at mailman.yale.edu > > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20200411/3ca7ba36/attachment.html > > > > ------------------------------ > > Subject: Digest Footer > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > ------------------------------ > > End of KineJapan Digest, Vol 23, Issue 19 > ***************************************** > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sun Apr 12 11:55:08 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 12 Apr 2020 11:55:08 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: I wrote up a small piece commemorating Obayashi Nobuko on the occasion of his death. This was also a personal loss. http://www.aarongerow.com/news/obayashi-nobuhiko-a-movie.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 website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From mekerpan2 at gmail.com Sun Apr 12 12:10:46 2020 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Sun, 12 Apr 2020 12:10:46 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: Thank you for this, Aaron. Any hope we will ever see even a few more of his films appear on BluRay (or even DVD) with subs? Michael Kerpan Boston On Sun, Apr 12, 2020 at 11:55 AM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > I wrote up a small piece commemorating Obayashi Nobuko on the occasion of > his death. This was also a personal loss. > > http://www.aarongerow.com/news/obayashi-nobuhiko-a-movie.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 > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From steven.elworth at gmail.com Sun Apr 12 12:20:04 2020 From: steven.elworth at gmail.com (Steven Elworth) Date: Sun, 12 Apr 2020 12:20:04 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: Aaron Just an amazing tribute to a great film maker that made me think of his work and be incredibly moved Steve On Sun, Apr 12, 2020 at 12:11 PM Michael Kerpan via KineJapan < kinejapan at mailman.yale.edu> wrote: > Thank you for this, Aaron. > > Any hope we will ever see even a few more of his films appear on BluRay > (or even DVD) with subs? > > Michael Kerpan > Boston > > On Sun, Apr 12, 2020 at 11:55 AM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> I wrote up a small piece commemorating Obayashi Nobuko on the occasion of >> his death. This was also a personal loss. >> >> http://www.aarongerow.com/news/obayashi-nobuhiko-a-movie.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 >> website: www.aarongerow.com >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sun Apr 12 13:22:19 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 12 Apr 2020 13:22:19 -0400 Subject: [KineJapan] Obayashi RIP In-Reply-To: References: Message-ID: <68ABE3C3-5EB5-453D-9FD1-8A8E7D14F016@yale.edu> Ahhh. I realized I misspelled the name: Nobuhiko, not Nobuko. Too many things to do today. Aaron > 2020/04/12 ??11:55?Gerow Aaron ????: > > I wrote up a small piece commemorating Obayashi Nobuko on the occasion of his death. This was also a personal loss. > > http://www.aarongerow.com/news/obayashi-nobuhiko-a-movie.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 > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From fujiokasako at gmail.com Mon Apr 13 09:25:38 2020 From: fujiokasako at gmail.com (Fujioka Asako) Date: Mon, 13 Apr 2020 22:25:38 +0900 Subject: [KineJapan] Save the Cinema petition Message-ID: <9debc0c9-08f3-2616-e9a8-3841e5be663b@gmail.com> Dear Friends of Japanese cinema, I'm sure a lot of you know about some of the actions the Japanese film community is raising to support independent film in the face of the COVID-19 pandemic. One is a crowdfunding campaign to provide emergency funding to cinemas around Japan who are facing immediate threat of bankruptcy -- today there was a 90-minute online appeal with project initiators (and filmmakers) Fukada Koji and Hamaguchi Ryusuke, bringing in, live, Saito Takumi and Watanabe Makiko, and managers from mini-theaters Nagoya Cinema Schole, Kyoto Demachiza, Osaka Cine Nouveau, Cinema Onomichi, and Oita Cinema 10. The campaign, offering to support? is here https://motion-gallery.net/projects/minitheateraid Fukada Koji himself was making phone calls to seijin cinemas around Japan to ask if they wanted to take part in the project (any regular-running cinema can benefit from this campaign). Meanwhile, there's the petition Save the Cinema which aims to deliver 100,000 signatories to the Japanese government and lawmakers to demand support for cinemas suffering from government policies re COVID-19. The cut-off date is midnight April 7 Japan time, and we are currently at 52,000. Anyone can sign the petition -- please support the cause. Link to Change.org petition at end of this email. April 6th, 2020 To: The Government of Japan and its lawmakers *URGENT: We Request Emergency Financial Aid for Small Art-House Theaters (?mini theaters?) amid the COVID-19 Outbreak.* After the new coronavirus pandemic reached Japan, the government requested the cancellation, postponement or downsizing of sports and cultural events in the country.?This has caused immense damage to the country?s art-house movie theater industry, hurting productions, distribution, advertising and screenings. Independent art-house theaters, which are the hub of cinematic diversity, are especially at risk, with some facing extinction. We are seriously concerned about them. Since the new virus outbreak, audience numbers at cinemas have declined by 30 percent to 50 percent. After the government set the quarantine measures on March 26, the numbers dropped even more rapidly. Some theaters say they have seen an 80 percent decline in audiences, while others say no one turned up for screenings. ?All the distributors that work with the cinemas providing quality art-house movies have had to postpone their schedules. This has pushed mini theaters to the edge of a cliff. At this extremely difficult time, managers and owners of the cinemas have been forced to shut their doors temporarily to cooperate with the government?s health advisory. But as of April 6, the government had not offered compensation for their losses. For many, this could mean their doors will stay closed forever. If this ordeal continues till June, many cinemas will go bankrupt before summer. Germany?s culture minister, Monika Gr?tters, said, ?For our society, artists are necessary, no, not only ?necessary,? but ?indispensable? to maintain our lives. Especially now.? She added that it is the most important cultural and political priority for the German government to maintain cultural organizations and facilities as well as support those who make their living by art. Mini theaters have taken root everywhere in our country and have been the core of Japan?s film culture. They are not just for amusement. They offer diverse art experiences, which provide local communities with ?cultural rights.? Their facilities are just as important for a democratic society as art museums, drama theaters, and concert halls. Their workers are equally important as theater group members, orchestra musicians and group artists. Now we are facing the VERY MOMENT when cinema?s precious cultural cores are extinguishing. We, all filmmakers and cinema supporters, request the following to Japanese government. *?As emergency financial support, the government should compensate for the loss and decline of box office at each venue after the quarantine policy was implemented.? (Mini theaters reduced seats and numbers of screenings to cooperate with the antivirus campaign.) * *??The government should provide financial support to help the mini theaters recover after the pandemic is over. Such support would cover advertising, special screenings and guest invitations at special events.* ? ???????? ??????????? PETITIONERS? #SaveTheCinema Arai Haruhiko (Director/Screenwriter) Ando Sakura (Actor) Iura Arata (Actor) Inoue Junichi (Director/Screenwriter) Irie Yu (Director) Iwasaki Yuko (Managing Director, Japan Community Cinema Center) Ueda Shinichiro (Director) Eda Yuuka (Director) Emoto Akira (Actor) Otaka Takeshi (Producer/President, MotionGallery/ Co-Founder, POPCORN) Kamimura Naho (Director) Koreeda Hirokazu (Director) Saeki Toshimichi (Screenwriter/Managing Director, Japan Writers Guild) Shio Mutsuko(President of Cinematheque Takasaki/Director of Takasaki Movie Festival)/ Board Member, Japan Community Cinema Center) Shiraishi Kazuya (Director) Suwa Nobuhiro (Director) Soda Kazuhiro (Director) Tai Hajime(President, Oita_Cinema5/President, Japan Community Cinema Center) Tsuchiya Yutaka (Director / Co-President, Independent Cinema Guild Japan) Terai Takatoshi (President, CINEMA PLANNERS) Nishihara Takashi (Director) Hamaguchi Ryusuke (Director) Fukada Koji (Director/ Co-President, Independent Cinema Guild Japan) Fujii Michihito (Director) Funahashi Atsushi (Director/Independent Cinema Guild Japan) Hojo Masato (Manager, EuroSpace/Board Member, Japan Community Cinema Center) Matsumoto Masamichi (Athenee France Culture Center/ Board Member, Japan Community Cinema Center) Managi Izutaro (Lawyer/Producer) Mori Tatsuya (Director) Japan Community Cinema Center Uzumasa (Distributor) Independent Cinema Guild Japan ?????????????????????????????? (As of April 1.) Germany?s government gives cultural/art organizations, small media companies, freelancers, or art individuals a one-time subsidy (NO need for repayment): 9,000 euros (1.07 million yen) for three months for individuals, freelancers, or small art companies with a maximum of five employees. It pays 15,000 euros (1.8 million yen) for three months to small/midsize art companies with a maximum of 10 employees. The American Art Foundation is preparing support worth $75 million (8 billion yen) to aid the running costs of nonprofit art organizations. The British government has come up with a nationwide bailout plan: Regular employees get 80 percent of their salaries, to a maximum limit of 2,500 pounds (330,000 yen) a month. Plus, Arts Council England will give 160 million pounds (21.3 billion yen) to artists and art organizations as an emergency support package. Here's where you can sign up. https://www.change.org/p/savethecinema-%E3%83%9F%E3%83%8B%E3%82%B7%E3%82%A2%E3%82%BF%E3%83%BC%E3%82%92%E6%95%91%E3%81%88-%E3%83%97%E3%83%AD%E3%82%B8%E3%82%A7%E3%82%AF%E3%83%88-%E6%96%B0%E5%9E%8B%E3%82%B3%E3%83%AD%E3%83%8A%E3%82%A6%E3%82%A3%E3%83%AB%E3%82%B9%E3%81%AB%E3%82%88%E3%81%A3%E3%81%A6%E5%A4%A7%E3%81%8D%E3%81%AA%E6%89%93%E6%92%83%E3%82%92%E5%8F%97%E3%81%91%E3%81%A6%E3%81%84%E3%82%8B-%E5%B0%8F%E8%A6%8F%E6%A8%A1%E6%98%A0%E7%94%BB%E9%A4%A8-%E3%83%9F%E3%83%8B%E3%82%B7%E3%82%A2%E3%82%BF%E3%83%BC-%E7%AD%89%E3%81%B8%E3%81%AE%E7%B7%8A%E6%80%A5%E6%94%AF%E6%8F%B4%E3%82%92%E6%B1%82%E3%82%81%E3%81%BE%E3%81%99?recruiter=1071422718 -- ***** FUJIOKA Asako Documentary Dream Center Yamagata International Documentary Film Festival www.ddcenter.org www.yidff.jp From timiles2003 at yahoo.com Tue Apr 14 15:22:04 2020 From: timiles2003 at yahoo.com (Tim Iles) Date: Tue, 14 Apr 2020 19:22:04 +0000 (UTC) Subject: [KineJapan] New Content on the ejcjs References: <1157583785.334659.1586892124400.ref@mail.yahoo.com> Message-ID: <1157583785.334659.1586892124400@mail.yahoo.com> Friends, we are pleased to announce the publication of Volume 20, Issue 1 of the electronic journal of contemporary japanese studies, available at: Content includes: Peer-reviewed articles Christopher Burgess: Keeping the Door Closed: The 2018 Revisions to the ?Immigration? Control Act as a Continuation of Japan?s ?No-Immigration? Principle Patrick Foss: The ?Ghost Roads? of Alan Booth: Walking into the Unknown in Looking for the Lost Simon Gough and Anne Lee: Material Multiplicities and Sanrio Danshi: The Evolution of Sanrio?s Media Mix Book Reviews Gwyn McClelland: The Unfinished Atomic Bomb Translations Timothy Iles: The Shadow, by Akutagawa Ry?nosuke Many thanks to our readers, contributors, and volunteer production team members around the world. Timothy Iles General Editor, the ejcjs From nornes at umich.edu Tue Apr 14 20:09:32 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 14 Apr 2020 20:09:32 -0400 Subject: [KineJapan] looking for a pdf copy of Yamane Sadao's essay In-Reply-To: References: Message-ID: I happen to have a very old computer file that has this. I'll paste it below. Others might be interested in it. Markus *From Political to Private: Japanese Documentary Filmmakers in the Own Words* Introduction-- Changes in 1960s Documentary Cinema: From PR Films to Image Guerillas Yamane Sadao THIS IS MISSING SECTION NUMBERS, EXCEPT FOR #4 In December 1960, an event occurred that marked an end to one period of Japanese documentary film history. The Educational Filmmaker's Association ("Kyoiku Eiga Sakka Kyokai"), started in 1955 as an organization of directors of educational and culture films, changed its name to the Documentary Producer's Association of Japan ("Kiroku Eiga Sakka Kyokai"). While at the time it was only a modification in name, the group remaining essentially the same, it symbolically intimates the new developments documentary film would realize through the 1960s. 1960 was, of course, the year when the fight against the renewal of the U.S.-Japan Security Treaty hit its peak in June. The struggle took place on a society-wide scale and in its course, fundamentally questioned not only politics, but all ways of thought and culture. The shift in emphasis from "educational" films to "documentary" films was produced within this intellectual and cultural atmosphere. On the editor's afterword page in the February 1961 issue of the Association's official organ, *Kiroku Eiga *("Documentary Cinema"), the following statement appeared after an announcement concerning the name change and touching on the Security Treaty conflict: "We will break the various bonds that dog us due to the use of the word 'educational' and start again as a collection of documentarists." Incidentally, the editorial chair at the time was Noda Shinkichi and the editorial board was composed of Kuroki Kazuo, Tokunaga Mizuo, Matsumoto Toshio, Nishie Takayuki, Kumagai Mitsuyuki, and Nagano Chiaki. Certainly this new movement did not simply appear out of the blue in 1960, but was augured by events in the latter half of the 1950s. Here is a list of the debut films and years of several documentary filmmakers who were active in the sixties: Matsumoto Toshio: *The Bends *("Senkan," 1956) Haneda Sumiko: *Village Women's Classroom *("Mura no fujin gakkyu," 1957) Kuroki Kazuo: *Electric Rolling Stock of Toshiba *(1958) Onuma Tetsuro: *The World of Microbes *("Mikuro no sekai," 1958) Mamiya Norio: *A Shopping Street Reborn *("Umarekawaru shotengai," 1959) Tsuchimoto Noriaki: *A Steelyard Built in the Sea *("Umi ni kizuku tekkojo," 1959); *An Engineer's Assistant *("Aru kikan joshi," 1962) Matsukawa Yasuo: *The Story of Printing Paper *("Ingashi no hanashi," 1960) Fujiwara Tomoko: *The Wisdom of the Orangutan *("Oranutan no chie," 1960) While this is only a list I made up off the top of my head, it is worth noticing that almost all of these are PR films. In contrast to the flourishing of documentary cinema in the mid-fifties, which centered on independent productions connected to left-wing or labor movements, from the late 50s on, industry and association publicity films became the center of activity for both "educational" and "documentary" filmmakers. Needless to say, this was related to the fundamental revival in the Japanese economy spurred on by the demand created by the Korean War. For instance, at the beginning of the roundtable discussion printed in the December 1961 issue of *Kiroku Eiga, *entitled "Looking Back on 1961--Trends in the World of Documentary and Educational Cinema," the moderator Noda Shinkichi noted that, "According to the records of the Japan Film Education Association, there were 837 film shorts made last year, including educational, documentary, and PR films?and already 439 in the first half of this year? ?becoming, in terms of quantity, a kind of boom." He connects this phenomenon to "the aftereffects of the policies of economic growth" and to "the mood of consumption." Again, in the same journal's August 1963 issue, one can see figures indicating the number of short films produced each year as 1018 for 1961 and 1163 for 1962. Whichever is more accurate, such figures simultaneously speak of the numerical vitality and, paradoxically, the economic downturn in the industry. This vitality rapidly rising in step with the Japanese economic revival in the late 1950s, the appearance of new filmmakers, and a "kind of boom" coupled with recession--all these elements within the turbulent context of those "documentary" filmmakers clearly attest to one thing. What is visible here is none other than the state of the general film industry centered on fiction film. The prosperity of ordinary dramatic films reached its postwar Japanese peak between 1958 and 1960. This is indicated by the fact that the "film population" (the total tickets sold in all the theaters) set a record in 1958 as well as by statistics indicating that 1961 saw a peak in the number of both theaters and Japanese films produced. This increase in quantity marked the decisive start of competition among the six major studios--Shochiku, Toho, Daici, Shin Toho, Toei, and Nikkatsu, which resumed production in 1954--and was spurred by a policy begun in the mid-50s of each studio releasing films in double bills. The start in 1960 of "Toei Two" by Toei--which itself began releasing two films a week--represented the extreme limit of this expansion in volume. What must be noted is that the filmmakers who later became the center of 1960s Japanese cinema appeared one after another as a result of the essential changes that accompanied this kind of power through numbers. The following is a list of those filmmakers who helped form this new essence, placed in order according to their debut year: 1956: Nakahira Ko, Suzuki Seijun (Nikkatsu) 1957: Masumura Yasuzo (Daichi); Sawajima Tadashi (Toei); Kurahara Koreyoshi (Nikkatsu); Ishii Teruo (Shin Toho) 1958: Okamoto Kihachi, Sugawa Eizo (Toho); Tanaka Tokuzo (Daichi); Imamura Shohei, Masuda Toshio (Nikkatsu) 1959: Oshima Nagisa (Shochiku); Kudo Eiichi (Toei) 1960: Yoshida Yoshishige, Shinoda Masahiro, Tamura Tsutomu, Morikawa Hidetaro, Takahashi Osamu (Shochiku); Ikehiro Kazuo (Daichi) 1961: Onchi Hideo (Toho); Yamashita Kosaku, Fukusaku Kinji (Toei); Yamagiwa Eizo (Shin Toho) While I do not have any space here to describe through the films themselves what kind of "new essence" these filmmakers shaped, it should be clear to anyone's eyes that this was a season marked by a large generational shift in the Japanese film world. The lead-off man was Masamura Yasuzo, who took up a position challenging previous Japanese cinema and revealed an allegiance to figures like Nakahira Ko, Sawajima Tadashi, and Imamura Shohei. To accompany the activities of these directors, there also was a generational shift among actors at each studio, with young audiences cheering the Nikkatsu youth action films of Ishihara Yujiro, the Toei films starring Nakamura Kinnosuke that introduced a modern sensibility to the period film, and the "new sensualist" samurai films at Daici featuring Ichikawa Raizo and Katsu Shintaro. Within this trend, Oshima Nagisa, a member of the next generation, became active by criticizing Masumura Yasuzo and others, forming with his colleagues at Shochiku what was to be called the "Nouvelle Vague" (New Wave) of Japanese cinema. It was not a coincidence that the name "Nouvelle Vague" was born among journalistic circles in June 1960. The anti-Security Treaty demonstrations involved a fundamental requestioning of the entire postwar course and were clearly associated with the generational shift in the film world. A straight line also connected them to the events leading up to the December 1960 change from Educational Filmmaker's Association to Documentary Producer's Association. As I mentioned earlier, the numerical expansion of postwar Japanese cinema hit its peak in that year of 1960, but afterwards, "Toei Two" significantly broke up the next year and Shin Toho went bankrupt in 1961. This change intimates how quickly the momentum behind Japanese cinema shifted downhill, projecting nothing but those shadows beginning to fall upon the "studio system" of the major film companies. Within this, the classical division between documentary and fiction film gradually began to lose its meaning. For instance, Hani Susumu, who was at the center of 1950s documentary cinema, filmed his first dramatic motion picture in 1960, *Bad Boys *("Furyo shonen"), a theatrical feature evidently built on the basis of documentary modes of expression. Hani pushed his way even further into the realm of fiction film after that. In another example, Matsumoto Toshio took part in the filming of Oshima Nagisa's first independent work after leaving Shochiku, *The Catch *("Shiiku," 1961), by cooperating on the screenplay. Yamagiwa Eizo then built on that by producing a unique review in the January 1961 *Kiroku Eiga *that discussed *The Catch *and Matsumoto's documentary *Nishijin *(1961) on an equal basis. The exchanges between documentary and fiction film would become more and more prominent as the sixties progressed. The "New Wave" of documentary film began rolling with the divorce from the name "educational," but it soon ended up confronting a different problem: the yoke of PR cinema. One could see articles relating to this question in basically every issue of the monthly *Kiroku Eiga, *discussing in very serious tones such topics as "PR Cinema and Our Creative Task" (the title of a roundtable discussion in the July 1962 issue) and "The Possibilities of PR Cinema" (the name of the January 1963 special issue). For example, in an article entitled "The 'Me' of 1962--How To Shoot PR Films" (*Kiroku Eiga*(November 1962)), Mamiya Norio emphasized the conception that "a PR film is ultimately a PR film and in no way involves the essence of a filmmaker's activity." He also argued that: In order to make independent production ultimately the main issue and to then concentrate one's life essence in that area, one must dare to confront with all one's might a PR cinema that is limited. [IS THIS A CONTINUATION OF THE QUOTE] Firmly testing, one by one, the experiments aligned with an artistic program valorizing the self constitutes a major element in expanding the boundaries of PR cinema. In broadening those limits, the experiments will bear another kind of fruit: namely, conflict with the sponsor of a PR film that can itself become a starting point leading to the artistic development of the self. Kuroki Kazuo, in the aforementioned "PR Cinema and Our Creative Task" roundtable, also presumed that "PR films are not our goal--in the end it is documentary as an art that is the issue." He then asked if it was best to overlook publicity films as a "foothold for developing creative action," saying that, "Trying a different experiment in a chosen scene, no matter how dull the film, is one of the methods of becoming an artist who can twist a PR film into something that is his own." In an article entitled "Where We Stand" (*Kiroku Eiga *(December 1962)), Kuroki further analyzed in the following way the relationship between documentary and PR cinema based on his feelings as an artist: Documentary is weakened by PR cinema. And it is by thinking of PR films as unrelated to documentary that documentary becomes even further estranged and more debilitated. Moreover, to consciously renounce documentary film in a situation where the majority of filmmakers are producing publicity films is equivalent to deepening the crisis surrounding one's existence as an artist. Such statements truly relate how the filmmakers fought against the "yoke" of PR cinema. It was then only natural that the criticism concerning particular works would also place their focus on that struggle. For instance, Fujiwara Tomoko wrote the following about Kuroki Kazuo's PR film, *Japan on 10 Dollars a Day *("Nihon 10 doru ryoko"): One can say that *Japan on 10 Dollars a Day *resembles an escape from a sewer, a film that creates an effective way out of the fight amid sewage with PR cinema. After seeing this film, one is possessed for a while by the thought that as far as PR films are concerned, the question is not one of knowing that an exit "exists," but of having to do all one can to pry one open. When that happens, one can possibly see a new position in the present struggle, a mode of action that less complains about sinking up to one's waist in the stench and filth of sewage, than tries to open up an exit. ("Short Film Reviews," *Kiroku Eiga *(May 1963)). Fujiwara Tomoko also lauded in the following way Tsuchimoto Noriaki's *An Engineer's Assistant *by emphasizing that it was a PR film for Japan National Rail's "safe driving" campaign: The film thoroughly pursues in a full frontal attack the theme of "safe driving" which the sponsor provided through elements chosen by the filmmaker: the steam engine workers. This result is that the truth of the situation is forced to the surface through these intense images. The filmmaker does not do anything like chip his teeth by recklessly biting into the situation. His intention flows deep beneath the surface. As Japan Rail demands, he affirmatively films the work of the engineers fulfilling their duty, yet all the while frontally pressing in on the image of them tackling the problem of safe driving. To this degree, the image that surfaces in reverse possesses tremendous persuasive power. ("Short Film Reviews," *Kiroku Eiga *(June 1963)). The phrase "resistance within the industry" comes to mind when I look at these articles. The term was used at the time--that is, around 1962?63--by Ogawa Toru and others when reviewing fiction films. It refers to the phenomenon of directors who, compelled to follow studio plans, produced popular entertainment films like *chanbara *(samurai films), melodramas, or gangster films, but still managed to express ideas opposed to the system in a form that people who were likely to understand could understand. Clearly many documentary filmmakers also troubled over how to effect what we could call a "resistance within PR cinema." There was of course criticism against this. Sasaki Mamoru, for example, building on his experience as a free-lance assistant director, pointed out in his "Sasaki Mamoru's Theory of PR Cinema" *(Kiroku Eiga *(July 1963)) that the discussions of PR films in that journal all ended up falling into the same pattern: "PR film = sponsored film = publicity film = troubles for the filmmaker." He questioned whether the definition of PR cinema was at all clear in this formula, countering that To offer my albeit obvious definition of a PR film, it is "film where the film itself is not a commodity." That is the decisive difference between PR cinema and other genres like fiction, educational, and instructional film. To put it plainly, while one has to sell the film itself in all forms of cinema other than PR cinema, with publicity films, one doesn't necessarily have to sell the film itself. As the criticism of this soon pointed out, as long as Sasaki Mamoru's theory only discussed the economic aspect of PR films, it also did not provide a definition of the genre. But the economic aspect was what he was emphasizing in his definition, and by doing so, he clarified the struggle with the bonds of PR cinema as one in which one had to grit one's teeth and complete the film the sponsor wanted. Amid all this the Documentary Producer's Association split up in February 1964, the journal *Kiroku Eiga *continuing until March when it too stopped publication. The upshot was that the cause for the breakup lay in a clash between the association members, who were broadening their intellectual activities through the journal, and the Japanese Communist Party, a conflict that had existed since the 1960 anti-Security Treaty movement and had erupted all at once at that point. In May 1964, the former members of *Kiroku Eiga *formed a new "Image Arts Society" ("Eizo Geijutsu no Kai") and began publishing the journal *Eizo Geijutsu *("Image Arts") in December. Along with the year 1960, 1964 can also probably be considered a major turning point in postwar Japanese history for various reasons. Needless to say, it was the year both the Tokaido Shinkansen (bullet train) began running and the year the Tokyo Olympics were held, a moment in which was condensed all the vigor of so-called "high economic growth." The documentary film world seemingly doubled this periodization perfectly, with 1960 seeing the movement from "educational" to "documentary" film, and 1964 the shift from "documentary" film to "image art." This change can possibly suggest many things. If one places emphasis on the fact that the Image Arts Society formed as a result of the battle with the Japanese Communist Party, then it is at least possible to see here a turnabout from the path of classical leftism. The dilemma surrounding the production of PR films also arose from a situation stained with the ideas of the old left. One can then think that, in a contrary fashion, they were able to break free of that dilemma precisely by taking up the name "image art." A group called "Film Independent" was also organized in 1964. Made up of members like Iimura Takahiko, Obayashi Nobuhiko, Takabayashi Yoichi, Kanesaka Kenji, and Adachi Masao, it overlapped in many areas with the Image Arts Society, and from that point on its activities ran parallel to those of the other group. Although, of course, strictly speaking it was not an assembly of documentary filmmakers, its interests were also preoccupied with documentary and one can sense in the word "independent," which signified factors like "independent production" and "independent exhibition" as well as the Old Left notion of "independence," a movement that pointed to a breakaway from the fixation with PR films. One can also see a major turnaround in the world of fiction films around 1964. As the strength of film was beginning its downhill slide, the fundamental elements that had supported the industry up until that point began to waver. There is no more appropriate example of this than the fact the mainstay of Tool's production abruptly shifted from period films to *yakuza *gangster films. Toei prospered as the "kingdom of the period film" during the 1950s, the heyday of Japanese postwar cinema, going so far as to start "Toei Two." But with the basic transfiguration of society, the rupture between the form of the period film and the new customs deepened and the glory of Toei quickly faded. What then appeared was the so-called "group conflict period film," which added luster to the fascination of *chanbara*through its intense realism but whose flowering proved short lived. In this context, the series of *yakuza *films, seemingly a compromise between the period film and the contemporary drama, became wildly popular as a sentimental drama featuring gruesome sword fights. The power of Toei *yakuza *films was soon disseminated to other studios and even the floundering Nikkatsu or Daiei began making films with similar plots. Within this, the *yakuza *film boom in the late 1960s helped realize the work of individualistic directors at every studio, such as in the case of the singular filmic world of Suzuki Seijun. At the same time, the "pink film" (soft core pornography) was flourishing in another sector. These were films created by small independent production companies that made sex their selling point. In 1963, when the term "pink film" was coined, there were not even 20 of these films produced in a year, but the number increased to about 60 in 1964, and then in 1965, jumped all at once to nearly 200. With extremely low budgets and all-location shooting, the "pink films" may have been inferior in terms of image quality, but they appealed graphically to the desires of audiences with powerful violence and provocative sexuality. In this sense, there is no doubt that the explosive popularity of pink films had points in common with the yakuza film boom. The influence of pink films was such that even the major studios were forced to shoot films with bold sexual depictions, but one other facet must be mentioned: the fact that this flourishing genre was produced completely outside the "studio system." The significance of the prosperity of pink films was matched by another institution similarly separated from the "studio system": ATG (Nihon Art Theater Guild). Started in 1962 as a distributor of only foreign films, it began distributing Japanese films in 1963 and helped hatch a system distinct from that of the big five studios. Needless to say this separation from the "studio system" signified nothing less than the move towards independent production and distribution. As if to give proof to this, one after the other many ambitious directors asserted their independence from the studios as Yoshida Kiju (Yoshishige) and Shinoda Masahiro followed Oshima Nagisa in leaving Shochiku and Imamura Shohei broke away from Nikkatsu. To take up the case of Oshima among them, he accomplished various cross-over activities outside the studio system by producing such works as the television documentary *The Forgotten Imperial Army *("Wasurerata kogun," 1963), the PR film A *Small Adventure Trip *("Chiisana boken ryoko," 1964), and the documentary *The Diary of Yunbogi *("Yunbogi no nikki," 1965). Between 1963 and 1964, one more feverish movement was swirling among young documentarists. Within the Ao no Kai ("Blue Group"), a gathering of friends who had all started out at Iwanami Productions, Kuroki Kazuo, Tsuchimoto Noriaki, Higashi Yoichi, Ogawa Shinsuke, Akihama Satoshi, Iwasa Hisaya, Ozu Koshiro, Kubota Yukio and others formed a research group and launched from there a new movement for independent distribution and production. Its productivity was dynamically represented by the filming in 1965 of Tsuchimoto Noriaki's independent film *Chua Swee Lin, Exchange Student *("Ryugakusei Chua Sui Rin") after he had completed the 1963 *Document: On the Road *("Dokyumento rojo": a film aptly termed "the PR film that transcends PR cinema"), by the filming between 1964 and 1965 of Kuroki Kazuo's first dramatic film *Silence has No Wings *("Tobenai chinmoku") with assistance from Ao no Kai members, and then by the start of production of Ogawa Shinsuke's first film in 1965. While they had all originated at Iwanami Productions, their filmmaking was clearly separated from that of PR cinema. Nineteen sixty-five was the year Ichikawa Kon's Tokyo Olympics was released, sparking the imbroglio over whether it was a "record" or "art" and the widespread debate over films on the Olympics. 4 Ogawa Shinsuke's *Sea of Youth--Four Correspondence Course Students *("Seinen no umi--Yonnin no tsushin kyoikuseitachi," 1966), *The Oppressed Students--A Record of the Struggle at Takasaki College of Economics *("Assatsu no mori--Takasaki Keizai Daigaku Toso no kiroku," 1967), and *Report from Haneda *("Gennin hokokusho--Haneda Toso no kiroku;' 1967)--that is, his first three films--were all exhibited by the "Society for Organizing Independent Exhibition." That society was a political action group centered around students that was born amidst the filming of *Sea of Youth *and which was involved at the production stage with *The Oppressed Students. *This was not simply an accidental state of affairs, but was no doubt something prompted by transformations in the contemporary context. For as in the case of the aforementioned *Diary of Yunbogi *and *Chua Swee Lin, Exchange Student *in 1965, *Sea of Youth *and Matsukawa Yasuo's *The Satyrical Animal Scrolls *("Choju giga") in 1966, and Kasu Sanpei's *Ghost World *("Onryoden") and Tokieda Toshie's *Land of the Dawn *("Yoakemae no kuni") in 1967, movements for independent production or distribution made a true comeback in the late 1960s. As a related development, the so-called Cnematheque movement was born in various contexts, and developed a diversity of modes of independent exhibition. For example, in May 1965 the Sogetsu Cinematheque held the World Prewar Avant-Garde Film Festival and showed about 100 famous, pioneering works from abroad, the variegated modes of cinematic expression--including documentary--providing a stimulus for many. One phenomenon that evinces the impact of this festival is the fact that contemporary film journals began discussing Dziga Vertov alongside French *cinema verite. *Following up on this in June the next year, the Sogetsu Cinematheque opened a film festival that collected in one program numerous American underground films. From that point an "underground boom" suddenly made its appearance. Nineteen sixty-six also saw the inauguration of the SOMETHING MISSING HERE It is precisely when the side being filmed possesses such a volition that a documentary worth watching at becomes possible. Or, at the same time, perhaps one should also say that it is precisely the unprecedented cinematic volition on the side that is filming that can provide an impulse for the side being filmed. Ogawa Shinsuke wrote the following in the same pamphlet: When we in the staff planted the camera in Sanrizuka and started filming, we talked about trying to stick to the following points. First, to clearly place the camera on the side of the struggling farmers so that if the authorities add pressure and the riot police inflict a violent blow on the fighting farmers, the camera will receive it head on. In that case, authority will then be directly conversing with the audience through the screen. Second, to stop shooting in secret when filming was not going according to plan. That meant avoiding using a long lens to film the subject when they weren't looking or refraining from filming while hidden in the shadows, and to instead play fair and bring the camera out in front and use it to participate on the site of the farmer's battle. While the above points seem obvious and a rather small place to start from, it was truly difficult for us in the staff not to yeild one step of ground from even this site. This was certainly the starting point of our struggle too. Of course the farmers started to "converse" with us from this point, appearing before the camera with a single will, and adding the camera as a wing of the Sanrizuka-Shibayama United Opposition League, as a messenger from the scene of the struggle. The close relationship between us in the staff and the farmers that was born during the period of photography now exists in the form of a completed one hour and 40 minutes film, *Summer in Narita.* At the time Ogawa Productions was putting out the "Sanrizuka" (Narita) series and Tsuchimoto Noriaki's *Pre-Partisan *("Paruchizan zenshi," 1969), various forms of "fighting" documentaries were arriving from abroad. In 1968, *Loin du Vietnam, *a film by Jean-Luc Godard and others, was released and focused much attention on the French "cinema napalm." The next year saw the exhibition of works like the "cinetracts"--also termed "bullet films"--which recorded the May 1968 struggle in France, and the American "Newsreel" films concerning Black Panther activities. Among these, the "bullet films" were imported by Ogawa Productions in exchange for one of its own films, announcing a new development in fighting documentary cinema. Within this context, terms such as "anti-war film," "cinema guerilla," and "image guerilla" were born, referring to films like Ogawa Shinsuke's *The Oppressed Students *and *Summer in Narita, *Kuroki Zazuo's A *Cuban Lover *("Kyuba no koibito"), Higashi Yoichi's *People *of *the Okinawa Islands *("Okinawa Retto") and Group Vision's *Dead, Come and Cut *Off *My Retreat *("Shisha yo, kitarite Waga tairo o tate"), all from 1969. >From PR films to image guerilla. Perhaps this best symbolizes the course of documentary film in the 1960s. The swirling chaos of the 1970s, then, continued to ask how much more mature this vitality could become. --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Fri, Apr 3, 2020 at 4:12 PM Esra Gokce Sahin via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear KineJapan list members, > > Does any of you have a pdf copy of Yamane Sadao's essay "Changes in 1960s > Documentary Cinema from PR films to Image Guerialla" by any change? It was > a publication of the Yamagata Film Festival (1993) in *Japanese > Documentaries of the 1960s.* > > thanks, > Esra > > > -- > Esra-G?k?e ?ahin, PhD > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From mathieucapel at gmail.com Tue Apr 14 20:56:48 2020 From: mathieucapel at gmail.com (Mathieu Capel) Date: Wed, 15 Apr 2020 09:56:48 +0900 Subject: [KineJapan] looking for a pdf copy of Yamane Sadao's essay In-Reply-To: References: Message-ID: Many thanks for sharing this text Markus. Would you know its references ? Best regards, Mathieu Le mer. 15 avr. 2020 ? 09:09, Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > I happen to have a very old computer file that has this. I'll paste it > below. Others might be interested in it. > > Markus > > > *From Political to Private: Japanese Documentary Filmmakers in the Own > Words* > Introduction-- > > > Changes in 1960s Documentary Cinema: From PR Films to Image Guerillas > > Yamane Sadao > > THIS IS MISSING SECTION NUMBERS, EXCEPT FOR #4 > > In December 1960, an event occurred that marked an end to one period of > Japanese documentary film history. The Educational Filmmaker's Association > ("Kyoiku Eiga Sakka Kyokai"), started in 1955 as an organization of > directors of educational and culture films, changed its name to the > Documentary Producer's Association of Japan ("Kiroku Eiga Sakka Kyokai"). > While at the time it was only a modification in name, the group remaining > essentially the same, it symbolically intimates the new developments > documentary film would realize through the 1960s. > > 1960 was, of course, the year when the fight against the renewal of the > U.S.-Japan Security Treaty hit its peak in June. The struggle took place on > a society-wide scale and in its course, fundamentally questioned not only > politics, but all ways of thought and culture. The shift in emphasis from > "educational" films to "documentary" films was produced within this > intellectual and cultural atmosphere. On the editor's afterword page in the > February 1961 issue of the Association's official organ, *Kiroku Eiga *("Documentary > Cinema"), the following statement appeared after an announcement concerning > the name change and touching on the Security Treaty conflict: "We will > break the various bonds that dog us due to the use of the word > 'educational' and start again as a collection of documentarists." > Incidentally, the editorial chair at the time was Noda Shinkichi and the > editorial board was composed of Kuroki Kazuo, Tokunaga Mizuo, Matsumoto > Toshio, Nishie Takayuki, Kumagai Mitsuyuki, and Nagano Chiaki. > > Certainly this new movement did not simply appear out of the blue in 1960, > but was augured by events in the latter half of the 1950s. Here is a list > of the debut films and years of several documentary filmmakers who were > active in the sixties: > > Matsumoto Toshio: *The Bends *("Senkan," 1956) > > Haneda Sumiko: *Village Women's Classroom *("Mura no fujin gakkyu," 1957) > > Kuroki Kazuo: *Electric Rolling Stock of Toshiba *(1958) > > Onuma Tetsuro: *The World of Microbes *("Mikuro no sekai," 1958) > > Mamiya Norio: *A Shopping Street Reborn *("Umarekawaru shotengai," 1959) > > Tsuchimoto Noriaki: *A Steelyard Built in the Sea *("Umi ni kizuku > tekkojo," 1959); *An Engineer's Assistant *("Aru kikan joshi," 1962) > > Matsukawa Yasuo: *The Story of Printing Paper *("Ingashi no hanashi," > 1960) > > Fujiwara Tomoko: *The Wisdom of the Orangutan *("Oranutan no chie," 1960) > > While this is only a list I made up off the top of my head, it is worth > noticing that almost all of these are PR films. In contrast to the > flourishing of documentary cinema in the mid-fifties, which centered on > independent productions connected to left-wing or labor movements, from the > late 50s on, industry and association publicity films became the center of > activity for both "educational" and "documentary" filmmakers. Needless to > say, this was related to the fundamental revival in the Japanese economy > spurred on by the demand created by the Korean War. For instance, at the > beginning of the roundtable discussion printed in the December 1961 issue > of *Kiroku Eiga, *entitled "Looking Back on 1961--Trends in the World of > Documentary and Educational Cinema," the moderator Noda Shinkichi noted > that, "According to the records of the Japan Film Education Association, > there were 837 film shorts made last year, including educational, > documentary, and PR films?and already 439 in the first half of this year? > ?becoming, in terms of quantity, a kind of boom." He connects this > phenomenon to "the aftereffects of the policies of economic growth" and to > "the mood of consumption." Again, in the same journal's August 1963 issue, > one can see figures indicating the number of short films produced each year > as 1018 for 1961 and 1163 for 1962. Whichever is more accurate, such > figures simultaneously speak of the numerical vitality and, paradoxically, > the economic downturn in the industry. This vitality rapidly rising in step > with the Japanese economic revival in the late 1950s, the appearance of new > filmmakers, and a "kind of boom" coupled with recession--all these elements > within the turbulent context of those "documentary" filmmakers clearly > attest to one thing. What is visible here is none other than the state of > the general film industry centered on fiction film. > > The prosperity of ordinary dramatic films reached its postwar Japanese > peak between 1958 and 1960. This is indicated by the fact that the "film > population" (the total tickets sold in all the theaters) set a record in > 1958 as well as by statistics indicating that 1961 saw a peak in the number > of both theaters and Japanese films produced. This increase in quantity > marked the decisive start of competition among the six major > studios--Shochiku, Toho, Daici, Shin Toho, Toei, and Nikkatsu, which > resumed production in 1954--and was spurred by a policy begun in the > mid-50s of each studio releasing films in double bills. The start in 1960 > of "Toei Two" by Toei--which itself began releasing two films a > week--represented the extreme limit of this expansion in volume. > > What must be noted is that the filmmakers who later became the center of > 1960s Japanese cinema appeared one after another as a result of the > essential changes that accompanied this kind of power through numbers. The > following is a list of those filmmakers who helped form this new essence, > placed in order according to their debut year: > > 1956: Nakahira Ko, Suzuki Seijun (Nikkatsu) > > 1957: Masumura Yasuzo (Daichi); Sawajima Tadashi (Toei); Kurahara > Koreyoshi (Nikkatsu); Ishii Teruo (Shin Toho) > > 1958: Okamoto Kihachi, Sugawa Eizo (Toho); Tanaka Tokuzo (Daichi); Imamura > Shohei, Masuda Toshio (Nikkatsu) > > 1959: Oshima Nagisa (Shochiku); Kudo Eiichi (Toei) > > 1960: Yoshida Yoshishige, Shinoda Masahiro, Tamura Tsutomu, Morikawa > Hidetaro, Takahashi Osamu (Shochiku); Ikehiro Kazuo (Daichi) > > 1961: Onchi Hideo (Toho); Yamashita Kosaku, Fukusaku Kinji (Toei); > Yamagiwa Eizo (Shin Toho) > > While I do not have any space here to describe through the films > themselves what kind of "new essence" these filmmakers shaped, it should be > clear to anyone's eyes that this was a season marked by a large > generational shift in the Japanese film world. The lead-off man was > Masamura Yasuzo, who took up a position challenging previous Japanese > cinema and revealed an allegiance to figures like Nakahira Ko, Sawajima > Tadashi, and Imamura Shohei. To accompany the activities of these > directors, there also was a generational shift among actors at each studio, > with young audiences cheering the Nikkatsu youth action films of Ishihara > Yujiro, the Toei films starring Nakamura Kinnosuke that introduced a modern > sensibility to the period film, and the "new sensualist" samurai films at > Daici featuring Ichikawa Raizo and Katsu Shintaro. Within this trend, > Oshima Nagisa, a member of the next generation, became active by > criticizing Masumura Yasuzo and others, forming with his colleagues at > Shochiku what was to be called the "Nouvelle Vague" (New Wave) of Japanese > cinema. > > It was not a coincidence that the name "Nouvelle Vague" was born among > journalistic circles in June 1960. The anti-Security Treaty demonstrations > involved a fundamental requestioning of the entire postwar course and were > clearly associated with the generational shift in the film world. A > straight line also connected them to the events leading up to the December > 1960 change from Educational Filmmaker's Association to Documentary > Producer's Association. > > As I mentioned earlier, the numerical expansion of postwar Japanese cinema > hit its peak in that year of 1960, but afterwards, "Toei Two" significantly > broke up the next year and Shin Toho went bankrupt in 1961. This change > intimates how quickly the momentum behind Japanese cinema shifted downhill, > projecting nothing but those shadows beginning to fall upon the "studio > system" of the major film companies. > > Within this, the classical division between documentary and fiction film > gradually began to lose its meaning. For instance, Hani Susumu, who was at > the center of 1950s documentary cinema, filmed his first dramatic motion > picture in 1960, *Bad Boys *("Furyo shonen"), a theatrical feature > evidently built on the basis of documentary modes of expression. Hani > pushed his way even further into the realm of fiction film after that. In > another example, Matsumoto Toshio took part in the filming of Oshima > Nagisa's first independent work after leaving Shochiku, *The Catch *("Shiiku," > 1961), by cooperating on the screenplay. Yamagiwa Eizo then built on that > by producing a unique review in the January 1961 *Kiroku Eiga *that > discussed *The Catch *and Matsumoto's documentary *Nishijin *(1961) on an > equal basis. The exchanges between documentary and fiction film would > become more and more prominent as the sixties progressed. > > The "New Wave" of documentary film began rolling with the divorce from the > name "educational," but it soon ended up confronting a different problem: > the yoke of PR cinema. One could see articles relating to this question in > basically every issue of the monthly *Kiroku Eiga, *discussing in very > serious tones such topics as "PR Cinema and Our Creative Task" (the title > of a roundtable discussion in the July 1962 issue) and "The Possibilities > of PR Cinema" (the name of the January 1963 special issue). > > For example, in an article entitled "The 'Me' of 1962--How To Shoot PR > Films" (*Kiroku Eiga*(November 1962)), Mamiya Norio emphasized the > conception that "a PR film is ultimately a PR film and in no way involves > the essence of a filmmaker's activity." He also argued that: > > In order to make independent production ultimately the main issue and to > then concentrate one's life essence in that area, one must dare to confront > with all one's might a PR cinema that is limited. > > [IS THIS A CONTINUATION OF THE QUOTE] Firmly testing, one by one, the > experiments aligned with an artistic program valorizing the self > constitutes a major element in expanding the boundaries of PR cinema. In > broadening those limits, the experiments will bear another kind of fruit: > namely, conflict with the sponsor of a PR film that can itself become a > starting point leading to the artistic development of the self. > > Kuroki Kazuo, in the aforementioned "PR Cinema and Our Creative Task" > roundtable, also presumed that "PR films are not our goal--in the end it is > documentary as an art that is the issue." He then asked if it was best to > overlook publicity films as a "foothold for developing creative action," > saying that, "Trying a different experiment in a chosen scene, no matter > how dull the film, is one of the methods of becoming an artist who can > twist a PR film into something that is his own." In an article entitled > "Where We Stand" (*Kiroku Eiga *(December 1962)), Kuroki further analyzed > in the following way the relationship between documentary and PR cinema > based on his feelings as an artist: > > Documentary is weakened by PR cinema. And it is by thinking of PR films as > unrelated to documentary that documentary becomes even further estranged > and more debilitated. > > Moreover, to consciously renounce documentary film in a situation where > the majority of filmmakers are producing publicity films is equivalent to > deepening the crisis surrounding one's existence as an artist. > > Such statements truly relate how the filmmakers fought against the "yoke" > of PR cinema. It was then only natural that the criticism concerning > particular works would also place their focus on that struggle. > > For instance, Fujiwara Tomoko wrote the following about Kuroki Kazuo's PR > film, *Japan on 10 Dollars a Day *("Nihon 10 doru ryoko"): > > One can say that *Japan on 10 Dollars a Day *resembles an escape from a > sewer, a film that creates an effective way out of the fight amid sewage > with PR cinema. After seeing this film, one is possessed for a while by the > thought that as far as PR films are concerned, the question is not one of > knowing that an exit "exists," but of having to do all one can to pry one > open. When that happens, one can possibly see a new position in the present > struggle, a mode of action that less complains about sinking up to one's > waist in the stench and filth of sewage, than tries to open up an exit. > ("Short Film Reviews," *Kiroku Eiga *(May 1963)). > > Fujiwara Tomoko also lauded in the following way Tsuchimoto Noriaki's *An > Engineer's Assistant *by emphasizing that it was a PR film for Japan National > Rail's "safe driving" campaign: > > The film thoroughly pursues in a full frontal attack the theme of "safe > driving" which the sponsor provided through elements chosen by the > filmmaker: the steam engine workers. This result is that the truth of the > situation is forced to the surface through these intense images. > > The filmmaker does not do anything like chip his teeth by recklessly > biting into the situation. His intention flows deep beneath the surface. As > Japan Rail demands, he affirmatively films the work of the engineers > fulfilling their duty, yet all the while frontally pressing in on the image > of them tackling the problem of safe driving. To this degree, the image > that surfaces in reverse possesses tremendous persuasive power. ("Short > Film Reviews," *Kiroku Eiga *(June 1963)). > > The phrase "resistance within the industry" comes to mind when I look at > these articles. The term was used at the time--that is, around 1962?63--by > Ogawa Toru and others when reviewing fiction films. It refers to the > phenomenon of directors who, compelled to follow studio plans, produced > popular entertainment films like *chanbara *(samurai films), melodramas, > or gangster films, but still managed to express ideas opposed to the system > in a form that people who were likely to understand could understand. > Clearly many documentary filmmakers also troubled over how to effect what > we could call a "resistance within PR cinema." > > There was of course criticism against this. Sasaki Mamoru, for example, > building on his experience as a free-lance assistant director, pointed out > in his "Sasaki Mamoru's Theory of PR Cinema" *(Kiroku Eiga *(July 1963)) > that the discussions of PR films in that journal all ended up falling into > the same pattern: "PR film = sponsored film = publicity film = troubles for > the filmmaker." He questioned whether the definition of PR cinema was at > all clear in this formula, countering that > > To offer my albeit obvious definition of a PR film, it is "film where the > film itself is not a commodity." That is the decisive difference between PR > cinema and other genres like fiction, educational, and instructional film. > To put it plainly, while one has to sell the film itself in all forms of > cinema other than PR cinema, with publicity films, one doesn't necessarily > have to sell the film itself. > > As the criticism of this soon pointed out, as long as Sasaki Mamoru's > theory only discussed the economic aspect of PR films, it also did not > provide a definition of the genre. But the economic aspect was what he > was emphasizing in his definition, and by doing so, he clarified the > struggle with the bonds of PR cinema as one in which one had to grit one's > teeth and complete the film the sponsor wanted. > > Amid all this the Documentary Producer's Association split up in February > 1964, the journal *Kiroku Eiga *continuing until March when it too > stopped publication. The upshot was that the cause for the breakup lay in a > clash between the association members, who were broadening their > intellectual activities through the journal, and the Japanese Communist > Party, a conflict that had existed since the 1960 anti-Security Treaty > movement and had erupted all at once at that point. In May 1964, the former > members of *Kiroku Eiga *formed a new "Image Arts Society" ("Eizo > Geijutsu no Kai") and began publishing the journal *Eizo Geijutsu *("Image > Arts") in December. > > Along with the year 1960, 1964 can also probably be considered a major > turning point in postwar Japanese history for various reasons. Needless to > say, it was the year both the Tokaido Shinkansen (bullet train) began > running and the year the Tokyo Olympics were held, a moment in which was > condensed all the vigor of so-called "high economic growth." > > The documentary film world seemingly doubled this periodization perfectly, > with 1960 seeing the movement from "educational" to "documentary" film, and > 1964 the shift from "documentary" film to "image art." This change can > possibly suggest many things. If one places emphasis on the fact that the > Image Arts Society formed as a result of the battle with the Japanese > Communist Party, then it is at least possible to see here a turnabout from > the path of classical leftism. The dilemma surrounding the production of PR > films also arose from a situation stained with the ideas of the old left. > One can then think that, in a contrary fashion, they were able to break > free of that dilemma precisely by taking up the name "image art." > > A group called "Film Independent" was also > > organized in 1964. Made up of members like Iimura Takahiko, Obayashi > Nobuhiko, Takabayashi Yoichi, Kanesaka Kenji, and Adachi Masao, it > overlapped in many areas with the Image Arts Society, and from that point > on its activities ran parallel to those of the other group. Although, of > course, strictly speaking it was not an assembly of documentary filmmakers, > its interests were also preoccupied with documentary and one can sense in > the word "independent," which signified factors like "independent > production" and "independent exhibition" as well as the Old Left notion of > "independence," a movement that pointed to a breakaway from the fixation > with PR films. > > One can also see a major turnaround in the world of fiction films around > 1964. As the strength of film was beginning its downhill slide, the > fundamental elements that had supported the industry up until that point > began to waver. > > There is no more appropriate example of this than the fact the mainstay of > Tool's production abruptly shifted from period films to *yakuza *gangster > films. Toei prospered as the "kingdom of the period film" during the 1950s, > the heyday of Japanese postwar cinema, going so far as to start "Toei Two." > But with the basic transfiguration of society, the rupture between the form > of the period film and the new customs deepened and the glory of Toei > quickly faded. What then appeared was the so-called "group conflict period > film," which added luster to the fascination of *chanbara*through its > intense realism but whose flowering proved short lived. In this context, > the series of *yakuza *films, seemingly a compromise between the period > film and the contemporary drama, became wildly popular as a sentimental > drama featuring gruesome sword fights. The power of Toei *yakuza *films > was soon disseminated to other studios and even the floundering Nikkatsu or > Daiei began making films with similar plots. Within this, the *yakuza *film > boom in the late 1960s helped realize the work of individualistic directors > at every studio, such as in the case of the singular filmic world of Suzuki > Seijun. > > At the same time, the "pink film" (soft core pornography) was flourishing > in another sector. These were films created by small independent production > companies that made sex their selling point. In 1963, when the term "pink > film" was coined, there were not even 20 of these films produced in a year, > but the number increased to about 60 in 1964, and then in 1965, jumped all > at once to nearly 200. With extremely low budgets and all-location > shooting, the "pink films" may have been inferior in terms of image > quality, but they appealed graphically to the desires of audiences with > powerful violence and provocative sexuality. In this sense, there is no > doubt that the explosive popularity of pink films had points in common with > the yakuza film boom. > > The influence of pink films was such that even the major studios were > forced to shoot films with bold sexual depictions, but one other facet must > be mentioned: the fact that this flourishing genre was produced completely > outside the "studio system." The significance of the prosperity of pink > films was matched by another institution similarly separated from the > "studio system": ATG (Nihon Art Theater Guild). Started in 1962 as a > distributor of only foreign films, it began distributing Japanese films in > 1963 and helped hatch a system distinct from that of the big five studios. > > Needless to say this separation from the "studio system" signified nothing > less than the move towards independent production and distribution. As if > to give proof to this, one after the other many ambitious directors > asserted their independence from the studios as Yoshida Kiju (Yoshishige) > and Shinoda Masahiro followed Oshima Nagisa in leaving Shochiku and Imamura > Shohei broke away from Nikkatsu. To take up the case of Oshima among them, > he accomplished various cross-over activities outside the studio system by > producing such works as the television documentary *The Forgotten > Imperial Army *("Wasurerata kogun," 1963), the PR film A *Small Adventure > Trip *("Chiisana boken ryoko," 1964), and the documentary *The Diary of > Yunbogi *("Yunbogi no nikki," 1965). > > Between 1963 and 1964, one more feverish movement was swirling among young > documentarists. Within the Ao no Kai ("Blue Group"), a gathering of friends > who had all started out at Iwanami Productions, Kuroki Kazuo, Tsuchimoto > Noriaki, Higashi Yoichi, Ogawa Shinsuke, Akihama Satoshi, Iwasa Hisaya, Ozu > Koshiro, Kubota Yukio and others formed a research group and launched from > there a new movement for independent distribution and production. Its > productivity was dynamically represented by the filming in 1965 of > Tsuchimoto Noriaki's independent film *Chua Swee Lin, Exchange Student *("Ryugakusei > Chua Sui Rin") after he had completed the 1963 *Document: On the Road *("Dokyumento > rojo": a film aptly termed "the PR film that transcends PR cinema"), by the > filming between 1964 and 1965 of Kuroki Kazuo's first dramatic film *Silence > has No Wings *("Tobenai chinmoku") with assistance from Ao no Kai > members, and then by the start of production of Ogawa Shinsuke's first film > in 1965. While they had all originated at Iwanami Productions, their > filmmaking was clearly separated from that of PR cinema. > > Nineteen sixty-five was the year Ichikawa Kon's Tokyo Olympics was > released, sparking the imbroglio over whether it was a "record" or "art" > and the widespread debate over films on the Olympics. > > > > 4 > > > > Ogawa Shinsuke's *Sea of Youth--Four Correspondence Course Students *("Seinen > no umi--Yonnin no tsushin kyoikuseitachi," 1966), *The Oppressed > Students--A Record of the Struggle at Takasaki College of Economics *("Assatsu > no mori--Takasaki Keizai Daigaku Toso no kiroku," 1967), and *Report from > Haneda *("Gennin hokokusho--Haneda Toso no kiroku;' 1967)--that is, his > first three films--were all exhibited by the "Society for Organizing > Independent Exhibition." That society was a political action group centered > around students that was born amidst the filming of *Sea of Youth *and > which was involved at the production stage with *The Oppressed Students. *This > was not simply an accidental state of affairs, but was no doubt something > prompted by transformations in the contemporary context. For as in the case > of the aforementioned *Diary of Yunbogi *and *Chua Swee Lin, Exchange > Student *in 1965, *Sea of Youth *and Matsukawa Yasuo's *The Satyrical > Animal Scrolls *("Choju giga") in 1966, and Kasu Sanpei's *Ghost World *("Onryoden") > and Tokieda Toshie's *Land of the Dawn *("Yoakemae no kuni") in 1967, > movements for independent production or distribution made a true comeback > in the late 1960s. > > As a related development, the so-called Cnematheque movement was born in > various contexts, and developed a diversity of modes of independent > exhibition. For example, in May 1965 the Sogetsu Cinematheque held the > World Prewar Avant-Garde Film Festival and showed about 100 famous, > pioneering works from abroad, the variegated modes of cinematic > expression--including documentary--providing a stimulus for many. One > phenomenon that evinces the impact of this festival is the fact that > contemporary film journals began discussing Dziga Vertov alongside French *cinema > verite. *Following up on this in June the next year, the Sogetsu > Cinematheque opened a film festival that collected in one program numerous > American underground films. From that point an "underground boom" suddenly > made its appearance. Nineteen sixty-six also saw the inauguration of the > SOMETHING MISSING HERE > > It is precisely when the side being filmed possesses such a volition that > a documentary worth watching at becomes possible. Or, at the same time, > perhaps one should also say that it is precisely the unprecedented > cinematic volition on the side that is filming that can provide an impulse > for the side being filmed. > > Ogawa Shinsuke wrote the following in the same pamphlet: > > When we in the staff planted the camera in Sanrizuka and started filming, > we talked about trying to stick to the following points. > > First, to clearly place the camera on the side of the struggling farmers > so that if the authorities add pressure and the riot police inflict a > violent blow on the fighting farmers, the camera will receive it head on. > In that case, authority will then be directly conversing with the audience > through the screen. > > Second, to stop shooting in secret when filming was not going according to > plan. That meant avoiding using a long lens to film the subject when they > weren't looking or refraining from filming while hidden in the shadows, and > to instead play fair and bring the camera out in front and use it to > participate on the site of the farmer's battle. > > While the above points seem obvious and a rather small place to start > from, it was truly difficult for us in the staff not to yeild one step of > ground from even this site. This was certainly the starting point of our > struggle too. > > Of course the farmers started to "converse" with us from this point, > appearing before the camera with a single will, and adding the camera as a > wing of the Sanrizuka-Shibayama United Opposition League, as a messenger > from the scene of the struggle. The close relationship between us in the > staff and the farmers that was born during the period of photography now > exists in the form of a completed one hour and 40 minutes film, *Summer > in Narita.* > > At the time Ogawa Productions was putting out the "Sanrizuka" (Narita) > series and Tsuchimoto Noriaki's *Pre-Partisan *("Paruchizan zenshi," > 1969), various forms of "fighting" documentaries were arriving from abroad. > In 1968, *Loin du Vietnam, *a film by Jean-Luc Godard and others, was > released and focused much attention on the French "cinema napalm." The next > year saw the exhibition of works like the "cinetracts"--also termed "bullet > films"--which recorded the May 1968 struggle in France, and the American > "Newsreel" films concerning Black Panther activities. Among these, the > "bullet films" were imported by Ogawa Productions in exchange for one of > its own films, announcing a new development in fighting documentary cinema. > > Within this context, terms such as "anti-war film," "cinema guerilla," and > "image guerilla" were born, referring to films like Ogawa Shinsuke's *The > Oppressed Students *and *Summer in Narita, *Kuroki Zazuo's A *Cuban > Lover *("Kyuba no koibito"), Higashi Yoichi's *People *of *the Okinawa > Islands *("Okinawa Retto") and Group Vision's *Dead, Come and Cut *Off *My > Retreat *("Shisha yo, kitarite Waga tairo o tate"), all from 1969. > > From PR films to image guerilla. Perhaps this best symbolizes the course > of documentary film in the 1960s. The swirling chaos of the 1970s, then, > continued to ask how much more mature this vitality could become. > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Fri, Apr 3, 2020 at 4:12 PM Esra Gokce Sahin via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Dear KineJapan list members, >> >> Does any of you have a pdf copy of Yamane Sadao's essay "Changes in 1960s >> Documentary Cinema from PR films to Image Guerialla" by any change? It was >> a publication of the Yamagata Film Festival (1993) in *Japanese >> Documentaries of the 1960s.* >> >> thanks, >> Esra >> >> >> -- >> Esra-G?k?e ?ahin, PhD >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue Apr 14 23:15:40 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 14 Apr 2020 23:15:40 -0400 Subject: [KineJapan] looking for a pdf copy of Yamane Sadao's essay In-Reply-To: References: Message-ID: I?m afraid the hard copy is in my office, and that is off limits as we shelter in place! M On Tue, Apr 14, 2020 at 8:57 PM Mathieu Capel via KineJapan < kinejapan at mailman.yale.edu> wrote: > Many thanks for sharing this text Markus. > Would you know its references ? > Best regards, > > Mathieu > > > > Le mer. 15 avr. 2020 ? 09:09, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> a ?crit : > >> I happen to have a very old computer file that has this. I'll paste it >> below. Others might be interested in it. >> >> Markus >> >> >> *From Political to Private: Japanese Documentary Filmmakers in the Own >> Words* >> Introduction-- >> >> >> Changes in 1960s Documentary Cinema: From PR Films to Image Guerillas >> >> Yamane Sadao >> >> THIS IS MISSING SECTION NUMBERS, EXCEPT FOR #4 >> >> In December 1960, an event occurred that marked an end to one period of >> Japanese documentary film history. The Educational Filmmaker's Association >> ("Kyoiku Eiga Sakka Kyokai"), started in 1955 as an organization of >> directors of educational and culture films, changed its name to the >> Documentary Producer's Association of Japan ("Kiroku Eiga Sakka Kyokai"). >> While at the time it was only a modification in name, the group remaining >> essentially the same, it symbolically intimates the new developments >> documentary film would realize through the 1960s. >> >> 1960 was, of course, the year when the fight against the renewal of the >> U.S.-Japan Security Treaty hit its peak in June. The struggle took place on >> a society-wide scale and in its course, fundamentally questioned not only >> politics, but all ways of thought and culture. The shift in emphasis from >> "educational" films to "documentary" films was produced within this >> intellectual and cultural atmosphere. On the editor's afterword page in the >> February 1961 issue of the Association's official organ, *Kiroku Eiga *("Documentary >> Cinema"), the following statement appeared after an announcement concerning >> the name change and touching on the Security Treaty conflict: "We will >> break the various bonds that dog us due to the use of the word >> 'educational' and start again as a collection of documentarists." >> Incidentally, the editorial chair at the time was Noda Shinkichi and the >> editorial board was composed of Kuroki Kazuo, Tokunaga Mizuo, Matsumoto >> Toshio, Nishie Takayuki, Kumagai Mitsuyuki, and Nagano Chiaki. >> >> Certainly this new movement did not simply appear out of the blue in >> 1960, but was augured by events in the latter half of the 1950s. Here is a >> list of the debut films and years of several documentary filmmakers who >> were active in the sixties: >> >> Matsumoto Toshio: *The Bends *("Senkan," 1956) >> >> Haneda Sumiko: *Village Women's Classroom *("Mura no fujin gakkyu," 1957) >> >> Kuroki Kazuo: *Electric Rolling Stock of Toshiba *(1958) >> >> Onuma Tetsuro: *The World of Microbes *("Mikuro no sekai," 1958) >> >> Mamiya Norio: *A Shopping Street Reborn *("Umarekawaru shotengai," 1959) >> >> Tsuchimoto Noriaki: *A Steelyard Built in the Sea *("Umi ni kizuku >> tekkojo," 1959); *An Engineer's Assistant *("Aru kikan joshi," 1962) >> >> Matsukawa Yasuo: *The Story of Printing Paper *("Ingashi no hanashi," >> 1960) >> >> Fujiwara Tomoko: *The Wisdom of the Orangutan *("Oranutan no chie," >> 1960) >> >> While this is only a list I made up off the top of my head, it is worth >> noticing that almost all of these are PR films. In contrast to the >> flourishing of documentary cinema in the mid-fifties, which centered on >> independent productions connected to left-wing or labor movements, from the >> late 50s on, industry and association publicity films became the center of >> activity for both "educational" and "documentary" filmmakers. Needless to >> say, this was related to the fundamental revival in the Japanese economy >> spurred on by the demand created by the Korean War. For instance, at the >> beginning of the roundtable discussion printed in the December 1961 issue >> of *Kiroku Eiga, *entitled "Looking Back on 1961--Trends in the World of >> Documentary and Educational Cinema," the moderator Noda Shinkichi noted >> that, "According to the records of the Japan Film Education Association, >> there were 837 film shorts made last year, including educational, >> documentary, and PR films?and already 439 in the first half of this year? >> ?becoming, in terms of quantity, a kind of boom." He connects this >> phenomenon to "the aftereffects of the policies of economic growth" and to >> "the mood of consumption." Again, in the same journal's August 1963 issue, >> one can see figures indicating the number of short films produced each year >> as 1018 for 1961 and 1163 for 1962. Whichever is more accurate, such >> figures simultaneously speak of the numerical vitality and, paradoxically, >> the economic downturn in the industry. This vitality rapidly rising in step >> with the Japanese economic revival in the late 1950s, the appearance of new >> filmmakers, and a "kind of boom" coupled with recession--all these elements >> within the turbulent context of those "documentary" filmmakers clearly >> attest to one thing. What is visible here is none other than the state of >> the general film industry centered on fiction film. >> >> The prosperity of ordinary dramatic films reached its postwar Japanese >> peak between 1958 and 1960. This is indicated by the fact that the "film >> population" (the total tickets sold in all the theaters) set a record in >> 1958 as well as by statistics indicating that 1961 saw a peak in the number >> of both theaters and Japanese films produced. This increase in quantity >> marked the decisive start of competition among the six major >> studios--Shochiku, Toho, Daici, Shin Toho, Toei, and Nikkatsu, which >> resumed production in 1954--and was spurred by a policy begun in the >> mid-50s of each studio releasing films in double bills. The start in 1960 >> of "Toei Two" by Toei--which itself began releasing two films a >> week--represented the extreme limit of this expansion in volume. >> >> What must be noted is that the filmmakers who later became the center of >> 1960s Japanese cinema appeared one after another as a result of the >> essential changes that accompanied this kind of power through numbers. The >> following is a list of those filmmakers who helped form this new essence, >> placed in order according to their debut year: >> >> 1956: Nakahira Ko, Suzuki Seijun (Nikkatsu) >> >> 1957: Masumura Yasuzo (Daichi); Sawajima Tadashi (Toei); Kurahara >> Koreyoshi (Nikkatsu); Ishii Teruo (Shin Toho) >> >> 1958: Okamoto Kihachi, Sugawa Eizo (Toho); Tanaka Tokuzo (Daichi); >> Imamura Shohei, Masuda Toshio (Nikkatsu) >> >> 1959: Oshima Nagisa (Shochiku); Kudo Eiichi (Toei) >> >> 1960: Yoshida Yoshishige, Shinoda Masahiro, Tamura Tsutomu, Morikawa >> Hidetaro, Takahashi Osamu (Shochiku); Ikehiro Kazuo (Daichi) >> >> 1961: Onchi Hideo (Toho); Yamashita Kosaku, Fukusaku Kinji (Toei); >> Yamagiwa Eizo (Shin Toho) >> >> While I do not have any space here to describe through the films >> themselves what kind of "new essence" these filmmakers shaped, it should be >> clear to anyone's eyes that this was a season marked by a large >> generational shift in the Japanese film world. The lead-off man was >> Masamura Yasuzo, who took up a position challenging previous Japanese >> cinema and revealed an allegiance to figures like Nakahira Ko, Sawajima >> Tadashi, and Imamura Shohei. To accompany the activities of these >> directors, there also was a generational shift among actors at each studio, >> with young audiences cheering the Nikkatsu youth action films of Ishihara >> Yujiro, the Toei films starring Nakamura Kinnosuke that introduced a modern >> sensibility to the period film, and the "new sensualist" samurai films at >> Daici featuring Ichikawa Raizo and Katsu Shintaro. Within this trend, >> Oshima Nagisa, a member of the next generation, became active by >> criticizing Masumura Yasuzo and others, forming with his colleagues at >> Shochiku what was to be called the "Nouvelle Vague" (New Wave) of Japanese >> cinema. >> >> It was not a coincidence that the name "Nouvelle Vague" was born among >> journalistic circles in June 1960. The anti-Security Treaty demonstrations >> involved a fundamental requestioning of the entire postwar course and were >> clearly associated with the generational shift in the film world. A >> straight line also connected them to the events leading up to the December >> 1960 change from Educational Filmmaker's Association to Documentary >> Producer's Association. >> >> As I mentioned earlier, the numerical expansion of postwar Japanese >> cinema hit its peak in that year of 1960, but afterwards, "Toei Two" >> significantly broke up the next year and Shin Toho went bankrupt in 1961. >> This change intimates how quickly the momentum behind Japanese cinema >> shifted downhill, projecting nothing but those shadows beginning to fall >> upon the "studio system" of the major film companies. >> >> Within this, the classical division between documentary and fiction film >> gradually began to lose its meaning. For instance, Hani Susumu, who was at >> the center of 1950s documentary cinema, filmed his first dramatic motion >> picture in 1960, *Bad Boys *("Furyo shonen"), a theatrical feature >> evidently built on the basis of documentary modes of expression. Hani >> pushed his way even further into the realm of fiction film after that. In >> another example, Matsumoto Toshio took part in the filming of Oshima >> Nagisa's first independent work after leaving Shochiku, *The Catch *("Shiiku," >> 1961), by cooperating on the screenplay. Yamagiwa Eizo then built on that >> by producing a unique review in the January 1961 *Kiroku Eiga *that >> discussed *The Catch *and Matsumoto's documentary *Nishijin *(1961) on >> an equal basis. The exchanges between documentary and fiction film would >> become more and more prominent as the sixties progressed. >> >> The "New Wave" of documentary film began rolling with the divorce from >> the name "educational," but it soon ended up confronting a different >> problem: the yoke of PR cinema. One could see articles relating to this >> question in basically every issue of the monthly *Kiroku Eiga, *discussing >> in very serious tones such topics as "PR Cinema and Our Creative Task" (the >> title of a roundtable discussion in the July 1962 issue) and "The >> Possibilities of PR Cinema" (the name of the January 1963 special issue). >> >> For example, in an article entitled "The 'Me' of 1962--How To Shoot PR >> Films" (*Kiroku Eiga*(November 1962)), Mamiya Norio emphasized the >> conception that "a PR film is ultimately a PR film and in no way involves >> the essence of a filmmaker's activity." He also argued that: >> >> In order to make independent production ultimately the main issue and to >> then concentrate one's life essence in that area, one must dare to confront >> with all one's might a PR cinema that is limited. >> >> [IS THIS A CONTINUATION OF THE QUOTE] Firmly testing, one by one, the >> experiments aligned with an artistic program valorizing the self >> constitutes a major element in expanding the boundaries of PR cinema. In >> broadening those limits, the experiments will bear another kind of fruit: >> namely, conflict with the sponsor of a PR film that can itself become a >> starting point leading to the artistic development of the self. >> >> Kuroki Kazuo, in the aforementioned "PR Cinema and Our Creative Task" >> roundtable, also presumed that "PR films are not our goal--in the end it is >> documentary as an art that is the issue." He then asked if it was best to >> overlook publicity films as a "foothold for developing creative action," >> saying that, "Trying a different experiment in a chosen scene, no matter >> how dull the film, is one of the methods of becoming an artist who can >> twist a PR film into something that is his own." In an article entitled >> "Where We Stand" (*Kiroku Eiga *(December 1962)), Kuroki further >> analyzed in the following way the relationship between documentary and PR >> cinema based on his feelings as an artist: >> >> Documentary is weakened by PR cinema. And it is by thinking of PR films >> as unrelated to documentary that documentary becomes even further estranged >> and more debilitated. >> >> Moreover, to consciously renounce documentary film in a situation where >> the majority of filmmakers are producing publicity films is equivalent to >> deepening the crisis surrounding one's existence as an artist. >> >> Such statements truly relate how the filmmakers fought against the "yoke" >> of PR cinema. It was then only natural that the criticism concerning >> particular works would also place their focus on that struggle. >> >> For instance, Fujiwara Tomoko wrote the following about Kuroki Kazuo's PR >> film, *Japan on 10 Dollars a Day *("Nihon 10 doru ryoko"): >> >> One can say that *Japan on 10 Dollars a Day *resembles an escape from a >> sewer, a film that creates an effective way out of the fight amid sewage >> with PR cinema. After seeing this film, one is possessed for a while by the >> thought that as far as PR films are concerned, the question is not one of >> knowing that an exit "exists," but of having to do all one can to pry one >> open. When that happens, one can possibly see a new position in the present >> struggle, a mode of action that less complains about sinking up to one's >> waist in the stench and filth of sewage, than tries to open up an exit. >> ("Short Film Reviews," *Kiroku Eiga *(May 1963)). >> >> Fujiwara Tomoko also lauded in the following way Tsuchimoto Noriaki's *An >> Engineer's Assistant *by emphasizing that it was a PR film for Japan National >> Rail's "safe driving" campaign: >> >> The film thoroughly pursues in a full frontal attack the theme of "safe >> driving" which the sponsor provided through elements chosen by the >> filmmaker: the steam engine workers. This result is that the truth of the >> situation is forced to the surface through these intense images. >> >> The filmmaker does not do anything like chip his teeth by recklessly >> biting into the situation. His intention flows deep beneath the surface. As >> Japan Rail demands, he affirmatively films the work of the engineers >> fulfilling their duty, yet all the while frontally pressing in on the image >> of them tackling the problem of safe driving. To this degree, the image >> that surfaces in reverse possesses tremendous persuasive power. ("Short >> Film Reviews," *Kiroku Eiga *(June 1963)). >> >> The phrase "resistance within the industry" comes to mind when I look at >> these articles. The term was used at the time--that is, around 1962?63--by >> Ogawa Toru and others when reviewing fiction films. It refers to the >> phenomenon of directors who, compelled to follow studio plans, produced >> popular entertainment films like *chanbara *(samurai films), melodramas, >> or gangster films, but still managed to express ideas opposed to the system >> in a form that people who were likely to understand could understand. >> Clearly many documentary filmmakers also troubled over how to effect what >> we could call a "resistance within PR cinema." >> >> There was of course criticism against this. Sasaki Mamoru, for example, >> building on his experience as a free-lance assistant director, pointed out >> in his "Sasaki Mamoru's Theory of PR Cinema" *(Kiroku Eiga *(July 1963)) >> that the discussions of PR films in that journal all ended up falling into >> the same pattern: "PR film = sponsored film = publicity film = troubles for >> the filmmaker." He questioned whether the definition of PR cinema was at >> all clear in this formula, countering that >> >> To offer my albeit obvious definition of a PR film, it is "film where the >> film itself is not a commodity." That is the decisive difference between PR >> cinema and other genres like fiction, educational, and instructional film. >> To put it plainly, while one has to sell the film itself in all forms of >> cinema other than PR cinema, with publicity films, one doesn't necessarily >> have to sell the film itself. >> >> As the criticism of this soon pointed out, as long as Sasaki Mamoru's >> theory only discussed the economic aspect of PR films, it also did not >> provide a definition of the genre. But the economic aspect was what he >> was emphasizing in his definition, and by doing so, he clarified the >> struggle with the bonds of PR cinema as one in which one had to grit one's >> teeth and complete the film the sponsor wanted. >> >> Amid all this the Documentary Producer's Association split up in February >> 1964, the journal *Kiroku Eiga *continuing until March when it too >> stopped publication. The upshot was that the cause for the breakup lay in a >> clash between the association members, who were broadening their >> intellectual activities through the journal, and the Japanese Communist >> Party, a conflict that had existed since the 1960 anti-Security Treaty >> movement and had erupted all at once at that point. In May 1964, the former >> members of *Kiroku Eiga *formed a new "Image Arts Society" ("Eizo >> Geijutsu no Kai") and began publishing the journal *Eizo Geijutsu *("Image >> Arts") in December. >> >> Along with the year 1960, 1964 can also probably be considered a major >> turning point in postwar Japanese history for various reasons. Needless to >> say, it was the year both the Tokaido Shinkansen (bullet train) began >> running and the year the Tokyo Olympics were held, a moment in which was >> condensed all the vigor of so-called "high economic growth." >> >> The documentary film world seemingly doubled this periodization >> perfectly, with 1960 seeing the movement from "educational" to >> "documentary" film, and 1964 the shift from "documentary" film to "image >> art." This change can possibly suggest many things. If one places emphasis >> on the fact that the Image Arts Society formed as a result of the battle >> with the Japanese Communist Party, then it is at least possible to see here >> a turnabout from the path of classical leftism. The dilemma surrounding the >> production of PR films also arose from a situation stained with the ideas >> of the old left. One can then think that, in a contrary fashion, they were >> able to break free of that dilemma precisely by taking up the name "image >> art." >> >> A group called "Film Independent" was also >> >> organized in 1964. Made up of members like Iimura Takahiko, Obayashi >> Nobuhiko, Takabayashi Yoichi, Kanesaka Kenji, and Adachi Masao, it >> overlapped in many areas with the Image Arts Society, and from that point >> on its activities ran parallel to those of the other group. Although, of >> course, strictly speaking it was not an assembly of documentary filmmakers, >> its interests were also preoccupied with documentary and one can sense in >> the word "independent," which signified factors like "independent >> production" and "independent exhibition" as well as the Old Left notion of >> "independence," a movement that pointed to a breakaway from the fixation >> with PR films. >> >> One can also see a major turnaround in the world of fiction films around >> 1964. As the strength of film was beginning its downhill slide, the >> fundamental elements that had supported the industry up until that point >> began to waver. >> >> There is no more appropriate example of this than the fact the mainstay >> of Tool's production abruptly shifted from period films to *yakuza *gangster >> films. Toei prospered as the "kingdom of the period film" during the 1950s, >> the heyday of Japanese postwar cinema, going so far as to start "Toei Two." >> But with the basic transfiguration of society, the rupture between the form >> of the period film and the new customs deepened and the glory of Toei >> quickly faded. What then appeared was the so-called "group conflict period >> film," which added luster to the fascination of *chanbara*through its >> intense realism but whose flowering proved short lived. In this context, >> the series of *yakuza *films, seemingly a compromise between the period >> film and the contemporary drama, became wildly popular as a sentimental >> drama featuring gruesome sword fights. The power of Toei *yakuza *films >> was soon disseminated to other studios and even the floundering Nikkatsu or >> Daiei began making films with similar plots. Within this, the *yakuza *film >> boom in the late 1960s helped realize the work of individualistic directors >> at every studio, such as in the case of the singular filmic world of Suzuki >> Seijun. >> >> At the same time, the "pink film" (soft core pornography) was flourishing >> in another sector. These were films created by small independent production >> companies that made sex their selling point. In 1963, when the term "pink >> film" was coined, there were not even 20 of these films produced in a year, >> but the number increased to about 60 in 1964, and then in 1965, jumped all >> at once to nearly 200. With extremely low budgets and all-location >> shooting, the "pink films" may have been inferior in terms of image >> quality, but they appealed graphically to the desires of audiences with >> powerful violence and provocative sexuality. In this sense, there is no >> doubt that the explosive popularity of pink films had points in common with >> the yakuza film boom. >> >> The influence of pink films was such that even the major studios were >> forced to shoot films with bold sexual depictions, but one other facet must >> be mentioned: the fact that this flourishing genre was produced completely >> outside the "studio system." The significance of the prosperity of pink >> films was matched by another institution similarly separated from the >> "studio system": ATG (Nihon Art Theater Guild). Started in 1962 as a >> distributor of only foreign films, it began distributing Japanese films in >> 1963 and helped hatch a system distinct from that of the big five studios. >> >> Needless to say this separation from the "studio system" signified >> nothing less than the move towards independent production and distribution. >> As if to give proof to this, one after the other many ambitious directors >> asserted their independence from the studios as Yoshida Kiju (Yoshishige) >> and Shinoda Masahiro followed Oshima Nagisa in leaving Shochiku and Imamura >> Shohei broke away from Nikkatsu. To take up the case of Oshima among them, >> he accomplished various cross-over activities outside the studio system by >> producing such works as the television documentary *The Forgotten >> Imperial Army *("Wasurerata kogun," 1963), the PR film A *Small >> Adventure Trip *("Chiisana boken ryoko," 1964), and the documentary *The >> Diary of Yunbogi *("Yunbogi no nikki," 1965). >> >> Between 1963 and 1964, one more feverish movement was swirling among >> young documentarists. Within the Ao no Kai ("Blue Group"), a gathering of >> friends who had all started out at Iwanami Productions, Kuroki Kazuo, >> Tsuchimoto Noriaki, Higashi Yoichi, Ogawa Shinsuke, Akihama Satoshi, Iwasa >> Hisaya, Ozu Koshiro, Kubota Yukio and others formed a research group and >> launched from there a new movement for independent distribution and >> production. Its productivity was dynamically represented by the filming in >> 1965 of Tsuchimoto Noriaki's independent film *Chua Swee Lin, Exchange >> Student *("Ryugakusei Chua Sui Rin") after he had completed the 1963 *Document: >> On the Road *("Dokyumento rojo": a film aptly termed "the PR film that >> transcends PR cinema"), by the filming between 1964 and 1965 of Kuroki >> Kazuo's first dramatic film *Silence has No Wings *("Tobenai chinmoku") >> with assistance from Ao no Kai members, and then by the start of production >> of Ogawa Shinsuke's first film in 1965. While they had all originated at >> Iwanami Productions, their filmmaking was clearly separated from that of PR >> cinema. >> >> Nineteen sixty-five was the year Ichikawa Kon's Tokyo Olympics was >> released, sparking the imbroglio over whether it was a "record" or "art" >> and the widespread debate over films on the Olympics. >> >> >> >> 4 >> >> >> >> Ogawa Shinsuke's *Sea of Youth--Four Correspondence Course Students *("Seinen >> no umi--Yonnin no tsushin kyoikuseitachi," 1966), *The Oppressed >> Students--A Record of the Struggle at Takasaki College of Economics *("Assatsu >> no mori--Takasaki Keizai Daigaku Toso no kiroku," 1967), and *Report >> from Haneda *("Gennin hokokusho--Haneda Toso no kiroku;' 1967)--that is, >> his first three films--were all exhibited by the "Society for Organizing >> Independent Exhibition." That society was a political action group centered >> around students that was born amidst the filming of *Sea of Youth *and >> which was involved at the production stage with *The Oppressed >> Students. *This was not simply an accidental state of affairs, but was >> no doubt something prompted by transformations in the contemporary context. >> For as in the case of the aforementioned *Diary of Yunbogi *and *Chua >> Swee Lin, Exchange Student *in 1965, *Sea of Youth *and Matsukawa >> Yasuo's *The Satyrical Animal Scrolls *("Choju giga") in 1966, and Kasu >> Sanpei's *Ghost World *("Onryoden") and Tokieda Toshie's *Land of the >> Dawn *("Yoakemae no kuni") in 1967, movements for independent production >> or distribution made a true comeback in the late 1960s. >> >> As a related development, the so-called Cnematheque movement was born in >> various contexts, and developed a diversity of modes of independent >> exhibition. For example, in May 1965 the Sogetsu Cinematheque held the >> World Prewar Avant-Garde Film Festival and showed about 100 famous, >> pioneering works from abroad, the variegated modes of cinematic >> expression--including documentary--providing a stimulus for many. One >> phenomenon that evinces the impact of this festival is the fact that >> contemporary film journals began discussing Dziga Vertov alongside French *cinema >> verite. *Following up on this in June the next year, the Sogetsu >> Cinematheque opened a film festival that collected in one program numerous >> American underground films. From that point an "underground boom" suddenly >> made its appearance. Nineteen sixty-six also saw the inauguration of the >> SOMETHING MISSING HERE >> >> It is precisely when the side being filmed possesses such a volition that >> a documentary worth watching at becomes possible. Or, at the same time, >> perhaps one should also say that it is precisely the unprecedented >> cinematic volition on the side that is filming that can provide an impulse >> for the side being filmed. >> >> Ogawa Shinsuke wrote the following in the same pamphlet: >> >> When we in the staff planted the camera in Sanrizuka and started filming, >> we talked about trying to stick to the following points. >> >> First, to clearly place the camera on the side of the struggling farmers >> so that if the authorities add pressure and the riot police inflict a >> violent blow on the fighting farmers, the camera will receive it head on. >> In that case, authority will then be directly conversing with the audience >> through the screen. >> >> Second, to stop shooting in secret when filming was not going according >> to plan. That meant avoiding using a long lens to film the subject when >> they weren't looking or refraining from filming while hidden in the >> shadows, and to instead play fair and bring the camera out in front and use >> it to participate on the site of the farmer's battle. >> >> While the above points seem obvious and a rather small place to start >> from, it was truly difficult for us in the staff not to yeild one step of >> ground from even this site. This was certainly the starting point of our >> struggle too. >> >> Of course the farmers started to "converse" with us from this point, >> appearing before the camera with a single will, and adding the camera as a >> wing of the Sanrizuka-Shibayama United Opposition League, as a messenger >> from the scene of the struggle. The close relationship between us in the >> staff and the farmers that was born during the period of photography now >> exists in the form of a completed one hour and 40 minutes film, *Summer >> in Narita.* >> >> At the time Ogawa Productions was putting out the "Sanrizuka" (Narita) >> series and Tsuchimoto Noriaki's *Pre-Partisan *("Paruchizan zenshi," >> 1969), various forms of "fighting" documentaries were arriving from abroad. >> In 1968, *Loin du Vietnam, *a film by Jean-Luc Godard and others, was >> released and focused much attention on the French "cinema napalm." The next >> year saw the exhibition of works like the "cinetracts"--also termed "bullet >> films"--which recorded the May 1968 struggle in France, and the American >> "Newsreel" films concerning Black Panther activities. Among these, the >> "bullet films" were imported by Ogawa Productions in exchange for one of >> its own films, announcing a new development in fighting documentary cinema. >> >> Within this context, terms such as "anti-war film," "cinema guerilla," >> and "image guerilla" were born, referring to films like Ogawa Shinsuke's *The >> Oppressed Students *and *Summer in Narita, *Kuroki Zazuo's A *Cuban >> Lover *("Kyuba no koibito"), Higashi Yoichi's *People *of *the Okinawa >> Islands *("Okinawa Retto") and Group Vision's *Dead, Come and Cut *Off *My >> Retreat *("Shisha yo, kitarite Waga tairo o tate"), all from 1969. >> >> From PR films to image guerilla. Perhaps this best symbolizes the course >> of documentary film in the 1960s. The swirling chaos of the 1970s, then, >> continued to ask how much more mature this vitality could become. >> --- >> >> *Markus Nornes* >> *Professor of Asian Cinema* >> Department of Film, Television and Media, Department of Asian Languages >> and Cultures, Penny Stamps School of Art & Design >> >> *Department of Film, Television and Media* >> *6348 North Quad* >> *105 S. State Street >> * >> *Ann Arbor, MI 48109 >> -1285* >> >> >> >> On Fri, Apr 3, 2020 at 4:12 PM Esra Gokce Sahin via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> Dear KineJapan list members, >>> >>> Does any of you have a pdf copy of Yamane Sadao's essay "Changes in >>> 1960s Documentary Cinema from PR films to Image Guerialla" by any change? >>> It was a publication of the Yamagata Film Festival (1993) in *Japanese >>> Documentaries of the 1960s.* >>> >>> thanks, >>> Esra >>> >>> >>> -- >>> Esra-G?k?e ?ahin, PhD >>> >>> >>> _______________________________________________ >>> 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 > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Wed Apr 15 05:07:17 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 15 Apr 2020 09:07:17 +0000 (UTC) Subject: [KineJapan] looking for a pdf copy of Yamane Sadao's essay In-Reply-To: References: Message-ID: <967890797.1417055.1586941637346@mail.yahoo.com> Hi, Mathieu and Markus,I'm looking at the printed YIDFF booklet, pp14-20 and the article doesn't have any references at the end, or footnotes. But, at pp64-67, there's a chronolgy of 60s documentaries, if that's of any help.best,Roger On Wednesday, 15 April 2020, 04:16:00 BST, Markus Nornes via KineJapan wrote: I?m afraid the hard copy is in my office, and that is off limits as we shelter in place! M On Tue, Apr 14, 2020 at 8:57 PM Mathieu Capel via KineJapan wrote: Many thanks for sharing this text Markus.Would you know its references ??Best regards, Mathieu Le?mer. 15 avr. 2020 ??09:09, Markus Nornes via KineJapan a ?crit?: I happen to have a very old computer file that has this. I'll paste it below. Others might be interested in it. Markus >From Political to Private: Japanese Documentary Filmmakers in the Own Words ? Introduction--? ? Changes in 1960s Documentary Cinema: From PR Films to Image Guerillas Yamane Sadao THIS IS MISSING SECTION NUMBERS, EXCEPT FOR #4 In December 1960, an event occurred that marked an end to one period of Japanese documentary film history. The Educational Filmmaker's Association ("Kyoiku Eiga Sakka Kyokai"), started in 1955 as an organization of directors of educational and culture films, changed its name to the Documentary Producer's Association of Japan ("Kiroku Eiga Sakka Kyokai"). While at the time it was only a modification in name, the group remaining essentially the same, it symbolically intimates the new developments documentary film would realize through the 1960s. 1960 was, of course, the year when the fight against the renewal of the U.S.-Japan Security Treaty hit its peak in June. The struggle took place on a society-wide scale and in its course, fundamentally questioned not only politics, but all ways of thought and culture. The shift in emphasis from "educational" films to "documentary" films was produced within this intellectual and cultural atmosphere. On the editor's afterword page in the February 1961 issue of the Association's official organ,?Kiroku Eiga?("Documentary Cinema"), the following statement appeared after an announcement concerning the name change and touching on the Security Treaty conflict: "We will break the various bonds that dog us due to the use of the word 'educational' and start again as a collection of documentarists." Incidentally, the editorial chair at the time was Noda Shinkichi and the editorial board was composed of Kuroki Kazuo, Tokunaga Mizuo, Matsumoto Toshio, Nishie Takayuki, Kumagai Mitsuyuki, and Nagano Chiaki. Certainly this new movement did not simply appear out of the blue in 1960, but was augured by events in the latter half of the 1950s. Here is a list of the debut films and years of several documentary filmmakers who were active in the sixties: Matsumoto Toshio:?The Bends?("Senkan," 1956)? Haneda Sumiko:?Village Women's Classroom?("Mura no fujin gakkyu," 1957) Kuroki Kazuo:?Electric Rolling Stock of Toshiba?(1958) Onuma Tetsuro:?The World of Microbes?("Mikuro no sekai," 1958)? Mamiya Norio:?A Shopping Street Reborn?("Umarekawaru shotengai," 1959) Tsuchimoto Noriaki:?A Steelyard Built in the Sea?("Umi ni kizuku tekkojo," 1959);?An Engineer's Assistant?("Aru kikan joshi," 1962) Matsukawa Yasuo:?The Story of Printing Paper?("Ingashi no hanashi," 1960) Fujiwara Tomoko:?The Wisdom of the Orangutan?("Oranutan no chie," 1960)? While this is only a list I made up off the top of my head, it is worth noticing that almost all of these are PR films. In contrast to the flourishing of documentary cinema in the mid-fifties, which centered on independent productions connected to left-wing or labor movements, from the late 50s on, industry and association publicity films became the center of activity for both "educational" and "documentary" filmmakers. Needless to say, this was related to the fundamental revival in the Japanese economy spurred on by the demand created by the Korean War. For instance, at the beginning of the roundtable discussion printed in the December 1961 issue of?Kiroku Eiga,?entitled "Looking Back on 1961--Trends in the World of Documentary and Educational Cinema," the moderator Noda Shinkichi noted that, "According to the records of the Japan Film Education Association, there were 837 film shorts made last year, including educational, documentary, and PR films?and already 439 in the first half of this year? ?becoming, in terms of quantity, a kind of boom." He connects this phenomenon to "the aftereffects of the policies of economic growth" and to "the mood of consumption." Again, in the same journal's August 1963 issue, one can see figures indicating the number of short films produced each year as 1018 for 1961 and 1163 for 1962. Whichever is more accurate, such figures simultaneously speak of the numerical vitality and, paradoxically, the economic downturn in the industry. This vitality rapidly rising in step with the Japanese economic revival in the late 1950s, the appearance of new filmmakers, and a "kind of boom" coupled with recession--all these elements within the turbulent context of those "documentary" filmmakers clearly attest to one thing. What is visible here is none other than the state of the general film industry centered on fiction film. The prosperity of ordinary dramatic films reached its postwar Japanese peak between 1958 and 1960. This is indicated by the fact that the "film population" (the total tickets sold in all the theaters) set a record in 1958 as well as by statistics indicating that 1961 saw a peak in the number of both theaters and Japanese films produced. This increase in quantity marked the decisive start of competition among the six major studios--Shochiku, Toho, Daici, Shin Toho, Toei, and Nikkatsu, which resumed production in 1954--and was spurred by a policy begun in the mid-50s of each studio releasing films in double bills. The start in 1960 of "Toei Two" by Toei--which itself began releasing two films a week--represented the extreme limit of this expansion in volume. What must be noted is that the filmmakers who later became the center of 1960s Japanese cinema appeared one after another as a result of the essential changes that accompanied this kind of power through numbers. The following is a list of those filmmakers who helped form this new essence, placed in order according to their debut year: 1956: Nakahira Ko, Suzuki Seijun (Nikkatsu)? 1957: Masumura Yasuzo (Daichi); Sawajima Tadashi (Toei); Kurahara Koreyoshi (Nikkatsu); Ishii Teruo (Shin Toho)? 1958: Okamoto Kihachi, Sugawa Eizo (Toho); Tanaka Tokuzo (Daichi); Imamura Shohei, Masuda Toshio (Nikkatsu) 1959: Oshima Nagisa (Shochiku); Kudo Eiichi (Toei) 1960: Yoshida Yoshishige, Shinoda Masahiro, Tamura Tsutomu, Morikawa Hidetaro, Takahashi Osamu (Shochiku); Ikehiro Kazuo (Daichi) 1961: Onchi Hideo (Toho); Yamashita Kosaku, Fukusaku Kinji (Toei); Yamagiwa Eizo (Shin Toho) While I do not have any space here to describe through the films themselves what kind of "new essence" these filmmakers shaped, it should be clear to anyone's eyes that this was a season marked by a large generational shift in the Japanese film world. The lead-off man was Masamura Yasuzo, who took up a position challenging previous Japanese cinema and revealed an allegiance to figures like Nakahira Ko, Sawajima Tadashi, and Imamura Shohei. To accompany the activities of these directors, there also was a generational shift among actors at each studio, with young audiences cheering the Nikkatsu youth action films of Ishihara Yujiro, the Toei films starring Nakamura Kinnosuke that introduced a modern sensibility to the period film, and the "new sensualist" samurai films at Daici featuring Ichikawa Raizo and Katsu Shintaro. Within this trend, Oshima Nagisa, a member of the next generation, became active by criticizing Masumura Yasuzo and others, forming with his colleagues at Shochiku what was to be called the "Nouvelle Vague" (New Wave) of Japanese cinema. It was not a coincidence that the name "Nouvelle Vague" was born among journalistic circles in June 1960. The anti-Security Treaty demonstrations involved a fundamental requestioning of the entire postwar course and were clearly associated with the generational shift in the film world. A straight line also connected them to the events leading up to the December 1960 change from Educational Filmmaker's Association to Documentary Producer's Association. As I mentioned earlier, the numerical expansion of postwar Japanese cinema hit its peak in that year of 1960, but afterwards, "Toei Two" significantly broke up the next year and Shin Toho went bankrupt in 1961. This change intimates how quickly the momentum behind Japanese cinema shifted downhill, projecting nothing but those shadows beginning to fall upon the "studio system" of the major film companies. Within this, the classical division between documentary and fiction film gradually began to lose its meaning. For instance, Hani Susumu, who was at the center of 1950s documentary cinema, filmed his first dramatic motion picture in 1960,?Bad Boys?("Furyo shonen"), a theatrical feature evidently built on the basis of documentary modes of expression. Hani pushed his way even further into the realm of fiction film after that. In another example, Matsumoto Toshio took part in the filming of Oshima Nagisa's first independent work after leaving Shochiku,?The Catch?("Shiiku," 1961), by cooperating on the screenplay. Yamagiwa Eizo then built on that by producing a unique review in the January 1961?Kiroku Eiga?that discussed?The Catch?and Matsumoto's documentary?Nishijin?(1961) on an equal basis. The exchanges between documentary and fiction film would become more and more prominent as the sixties progressed. The "New Wave" of documentary film began rolling with the divorce from the name "educational," but it soon ended up confronting a different problem: the yoke of PR cinema. One could see articles relating to this question in basically every issue of the monthly?Kiroku Eiga,?discussing in very serious tones such topics as "PR Cinema and Our Creative Task" (the title of a roundtable discussion in the July 1962 issue) and "The Possibilities of PR Cinema" (the name of the January 1963 special issue). For example, in an article entitled "The 'Me' of 1962--How To Shoot PR Films" (Kiroku Eiga(November 1962)), Mamiya Norio emphasized the conception that "a PR film is ultimately a PR film and in no way involves the essence of a filmmaker's activity." He also argued that: In order to make independent production ultimately the main issue and to then concentrate one's life essence in that area, one must dare to confront with all one's might a PR cinema that is limited. [IS THIS A CONTINUATION OF THE QUOTE] Firmly testing, one by one, the experiments aligned with an artistic program valorizing the self constitutes a major element in expanding the boundaries of PR cinema. In broadening those limits, the experiments will bear another kind of fruit: namely, conflict with the sponsor of a PR film that can itself become a starting point leading to the artistic development of the self. Kuroki Kazuo, in the aforementioned "PR Cinema and Our Creative Task" roundtable, also presumed that "PR films are not our goal--in the end it is documentary as an art that is the issue." He then asked if it was best to overlook publicity films as a "foothold for developing creative action," saying that, "Trying a different experiment in a chosen scene, no matter how dull the film, is one of the methods of becoming an artist who can twist a PR film into something that is his own." In an article entitled "Where We Stand"?(Kiroku Eiga?(December 1962)), Kuroki further analyzed in the following way the relationship between documentary and PR cinema based on his feelings as an artist: Documentary is weakened by PR cinema. And it is by thinking of PR films as unrelated to documentary that documentary becomes even further estranged and more debilitated. Moreover, to consciously renounce documentary film in a situation where the majority of filmmakers are producing publicity films is equivalent to deepening the crisis surrounding one's existence as an artist. Such statements truly relate how the filmmakers fought against the "yoke" of PR cinema. It was then only natural that the criticism concerning particular works would also place their focus on that struggle. For instance, Fujiwara Tomoko wrote the following about Kuroki Kazuo's PR film,?Japan on 10 Dollars a Day?("Nihon 10 doru ryoko"): One can say that?Japan on 10 Dollars a Day?resembles an escape from a sewer, a film that creates an effective way out of the fight amid sewage with PR cinema. After seeing this film, one is possessed for a while by the thought that as far as PR films are concerned, the question is not one of knowing that an exit "exists," but of having to do all one can to pry one open. When that happens, one can possibly see a new position in the present struggle, a mode of action that less complains about sinking up to one's waist in the stench and filth of sewage, than tries to open up an exit. ("Short Film Reviews,"?Kiroku Eiga?(May 1963)). Fujiwara Tomoko also lauded in the following way Tsuchimoto Noriaki's?An Engineer's Assistant?by emphasizing that it was a PR film for Japan?National Rail's "safe driving" campaign: The film thoroughly pursues in a full frontal attack the theme of "safe driving" which the sponsor provided through elements chosen by the filmmaker: the steam engine workers. This result is that the truth of the situation is forced?to the surface through these intense images. The filmmaker does not do anything like chip his teeth by recklessly biting into the situation. His intention flows deep beneath the surface. As Japan Rail demands, he affirmatively films the work of the engineers fulfilling their duty, yet all the while frontally pressing in on the image of them tackling the problem of safe driving. To this degree, the image that surfaces in reverse possesses tremendous persuasive power. ("Short Film Reviews,"?Kiroku Eiga?(June 1963)). The phrase "resistance within the industry" comes to mind when I look at these articles. The term was used at the time--that is, around 1962?63--by Ogawa Toru and others when reviewing fiction films. It refers to the phenomenon of directors who, compelled to follow studio plans, produced popular entertainment films like?chanbara?(samurai films), melodramas, or gangster films, but still managed to express ideas opposed to the system in a form that people who were likely to understand could understand. Clearly many documentary filmmakers also troubled over how to effect what we could call a "resistance within PR cinema." There was of course criticism against this. Sasaki Mamoru, for example, building on his experience as a free-lance assistant director, pointed out in his "Sasaki Mamoru's Theory of PR Cinema"?(Kiroku Eiga?(July?1963)) that the discussions of PR films in that journal all ended up falling into the same pattern: "PR film = sponsored film = publicity film = troubles for the filmmaker." He questioned whether the definition of PR cinema was at all clear in this formula, countering that To offer my albeit obvious definition of a PR film, it is "film where the film itself is not a commodity." That is the decisive difference between PR cinema and other genres like fiction, educational, and instructional film. To put it plainly, while one has to sell the film itself in all forms of cinema other than PR cinema, with publicity films, one doesn't necessarily have to sell the film itself. As the criticism of this soon pointed out, as long as Sasaki Mamoru's theory only discussed the economic aspect of PR films, it also did not provide a definition of the genre. But the economic aspect?was what he was emphasizing in his definition, and by doing so, he clarified the struggle with the bonds of PR cinema as one in which one had to grit one's teeth and complete the film the sponsor wanted. Amid all this the Documentary Producer's Association split up in February 1964, the journal?Kiroku Eiga?continuing until March when it too stopped publication. The upshot was that the cause for the breakup lay in a clash between the association members, who were broadening their intellectual activities through the journal, and the Japanese Communist Party, a conflict that had existed since the 1960 anti-Security Treaty movement and had erupted all at once at that point. In May 1964, the former members of?Kiroku Eiga?formed a new "Image Arts Society" ("Eizo Geijutsu no Kai") and began publishing the journal?Eizo Geijutsu?("Image Arts") in December. Along with the year 1960, 1964 can also probably be considered a major turning point in postwar Japanese history for various reasons. Needless to say, it was the year both the Tokaido Shinkansen (bullet train) began running and the year the Tokyo Olympics were held, a moment in which was condensed all the vigor of so-called "high economic growth." The documentary film world seemingly doubled this periodization perfectly, with 1960 seeing the movement from "educational" to "documentary" film, and 1964 the shift from "documentary" film to "image art." This change can possibly suggest many things. If one places emphasis on the fact that the Image Arts Society formed as a result of the battle with the Japanese Communist Party, then it is at least possible to see here a turnabout from the path of classical leftism. The dilemma surrounding the production of PR films also arose from a situation stained with the ideas of the old left. One can then think that, in a contrary fashion, they were able to break free of that dilemma precisely by taking up the name "image art." A group called "Film Independent" was also organized in 1964. Made up of members like Iimura Takahiko, Obayashi Nobuhiko, Takabayashi Yoichi, Kanesaka Kenji, and Adachi Masao, it overlapped in many areas with the Image Arts Society, and from that point on its activities ran parallel to those of the other group. Although, of course, strictly speaking it was not an assembly of documentary filmmakers, its interests were also preoccupied with documentary and one can sense in the word "independent," which signified factors like "independent production" and "independent exhibition" as well as the Old Left notion of "independence," a movement that pointed to a breakaway from the fixation with PR films. One can also see a major turnaround in the world of fiction films around 1964. As the strength of film was beginning its downhill slide, the fundamental elements that had supported the industry up until that point began to waver. There is no more appropriate example of this than the fact the mainstay of Tool's production abruptly shifted from period films to?yakuza?gangster films. Toei prospered as the "kingdom of the period film" during the 1950s, the heyday of Japanese postwar cinema, going so far as to start "Toei Two." But with the basic transfiguration of society, the rupture between the form of the period film and the new customs deepened and the glory of Toei quickly faded. What then appeared was the so-called "group conflict period film," which added luster to the fascination of?chanbarathrough its intense realism but whose flowering proved short lived. In this context, the series of?yakuza?films, seemingly a compromise between the period film and the contemporary drama, became wildly popular as a sentimental drama featuring gruesome sword fights. The power of Toei?yakuza?films was soon disseminated to other studios and even the floundering Nikkatsu or Daiei began making films with similar plots. Within this, the?yakuza?film boom in the late 1960s helped realize the work of individualistic directors at every studio, such as in the case of the singular filmic world of Suzuki Seijun. At the same time, the "pink film" (soft core pornography) was flourishing in another sector. These were films created by small independent production companies that made sex their selling point. In 1963, when the term "pink film" was coined, there were not even 20 of these films produced in a year, but the number increased to about 60 in 1964, and then in 1965, jumped all at once to nearly 200. With extremely low budgets and all-location shooting, the "pink films" may have been inferior in terms of image quality, but they appealed graphically to the desires of audiences with powerful violence and provocative sexuality. In this sense, there is no doubt that the explosive popularity of pink films had points in common with the yakuza film boom. The influence of pink films was such that even the major studios were forced to shoot films with bold sexual depictions, but one other facet must be mentioned: the fact that this flourishing genre was produced completely outside the "studio system." The significance of the prosperity of pink films was matched by another institution similarly separated from the "studio system": ATG (Nihon Art Theater Guild). Started in 1962 as a distributor of only foreign films, it began distributing Japanese films in 1963 and helped hatch a system distinct from that of the big five studios. Needless to say this separation from the "studio system" signified nothing less than the move towards independent production and distribution. As if to give proof to this, one after the other many ambitious directors asserted their independence from the studios as Yoshida Kiju (Yoshishige) and Shinoda Masahiro followed Oshima Nagisa in leaving Shochiku and Imamura Shohei broke away from Nikkatsu. To take up the case of Oshima among them, he accomplished various cross-over activities outside the studio system by producing such works as the television documentary?The Forgotten Imperial Army?("Wasurerata kogun," 1963), the PR film A?Small Adventure Trip?("Chiisana boken ryoko," 1964), and the documentary?The Diary of Yunbogi?("Yunbogi no nikki," 1965). Between 1963 and 1964, one more feverish movement was swirling among young documentarists. Within the Ao no Kai ("Blue Group"), a gathering of friends who had all started out at Iwanami Productions, Kuroki Kazuo, Tsuchimoto Noriaki, Higashi Yoichi, Ogawa Shinsuke, Akihama Satoshi, Iwasa Hisaya, Ozu Koshiro, Kubota Yukio and others formed a research group and launched from there a new movement for independent distribution and production. Its productivity was dynamically represented by the filming in 1965 of Tsuchimoto Noriaki's independent film?Chua Swee Lin, Exchange Student?("Ryugakusei Chua Sui Rin") after he had completed the 1963?Document: On the Road?("Dokyumento rojo": a film aptly termed "the PR film that transcends PR cinema"), by the filming between 1964 and 1965 of Kuroki Kazuo's first dramatic film?Silence has No Wings?("Tobenai chinmoku") with assistance from Ao no Kai members, and then by the start of production of Ogawa Shinsuke's first film in 1965. While they had all originated at Iwanami Productions, their filmmaking was clearly separated from that of PR cinema. Nineteen sixty-five was the year Ichikawa Kon's Tokyo Olympics was released, sparking the imbroglio over whether it was a "record" or "art" and the widespread debate over films on the Olympics. ? 4 ? Ogawa Shinsuke's?Sea of Youth--Four Correspondence Course Students?("Seinen no umi--Yonnin no tsushin kyoikuseitachi," 1966),?The Oppressed Students--A Record of the Struggle at Takasaki College of Economics?("Assatsu no mori--Takasaki Keizai Daigaku Toso no kiroku," 1967), and?Report from Haneda?("Gennin hokokusho--Haneda Toso no kiroku;' 1967)--that is, his first three films--were all exhibited by the "Society for Organizing Independent Exhibition." That society was a political action group centered around students that was born amidst the filming of?Sea of Youth?and which was involved at the production stage with?The Oppressed Students.?This was not simply an accidental state of affairs, but was no doubt something prompted by transformations in the contemporary context. For as in the case of the aforementioned?Diary of Yunbogi?and?Chua Swee Lin, Exchange Student?in 1965,?Sea of Youth?and Matsukawa Yasuo's?The Satyrical Animal Scrolls?("Choju giga") in 1966, and Kasu Sanpei's?Ghost World?("Onryoden") and Tokieda Toshie's?Land of the Dawn?("Yoakemae no kuni") in 1967, movements for independent production or distribution made a true comeback in the late 1960s. As a related development, the so-called Cnematheque movement was born in various contexts, and developed a diversity of modes of independent exhibition. For example, in May 1965 the Sogetsu Cinematheque held the World Prewar Avant-Garde Film Festival and showed about 100 famous, pioneering works from abroad, the variegated modes of cinematic expression--including documentary--providing a stimulus for many. One phenomenon that evinces the impact of this festival is the fact that contemporary film journals began discussing Dziga Vertov alongside French?cinema verite.?Following up on this in June the next year, the Sogetsu Cinematheque opened a film festival that collected in one program numerous American underground films. From that point an "underground boom" suddenly made its appearance. Nineteen sixty-six also saw the inauguration of the SOMETHING MISSING HERE It is precisely when the side being filmed possesses such a volition that a documentary worth watching at becomes possible. Or, at the same time, perhaps one should also say that it is precisely the unprecedented cinematic volition on the side that is filming that can provide an impulse for the side being filmed. Ogawa Shinsuke wrote the following in the same pamphlet: When we in the staff planted the camera in Sanrizuka and started filming, we talked about trying to stick to the following points. First, to clearly place the camera on the side of the struggling farmers so that if the authorities add pressure and the riot police inflict a violent blow on the fighting farmers, the camera will receive it head on. In that case, authority will then be directly conversing with the audience through the screen. Second, to stop shooting in secret when filming was not going according to plan. That meant avoiding using a long lens to film the subject when they weren't looking or refraining from filming while hidden in the shadows, and to instead play fair and bring the camera out in front and use it to participate on the site of the farmer's battle. While the above points seem obvious and a rather small place to start from, it was truly difficult for us in the staff not to yeild one step of ground from even this site. This was certainly the starting point of our struggle too. Of course the farmers started to "converse" with us from this point, appearing before the camera with a single will, and adding the camera as a wing of the Sanrizuka-Shibayama United Opposition League, as a messenger from the scene of the struggle. The close relationship between us in the staff and the farmers that was born during the period of photography now exists in the form of a completed one hour and 40 minutes film,?Summer in Narita. At the time Ogawa Productions was putting out the "Sanrizuka" (Narita) series and Tsuchimoto Noriaki's?Pre-Partisan?("Paruchizan zenshi," 1969), various forms of "fighting" documentaries were arriving from abroad. In 1968,?Loin du Vietnam,?a film by Jean-Luc Godard and others, was released and focused much attention on the French "cinema napalm." The next year saw the exhibition of works like the "cinetracts"--also termed "bullet films"--which recorded the May 1968 struggle in France, and the American "Newsreel" films concerning Black Panther activities. Among these, the "bullet films" were imported by Ogawa Productions in exchange for one of its own films, announcing a new development in fighting documentary cinema. Within this context, terms such as "anti-war film," "cinema guerilla," and "image guerilla" were born, referring to films like Ogawa Shinsuke's?The Oppressed Students?and?Summer in Narita,?Kuroki Zazuo's A?Cuban Lover?("Kyuba no koibito"), Higashi Yoichi's?People?of?the Okinawa Islands?("Okinawa Retto") and Group Vision's?Dead, Come and Cut?Off?My Retreat?("Shisha yo, kitarite Waga tairo o tate"), all from 1969. >From PR films to image guerilla. Perhaps this best symbolizes the course of documentary film in the 1960s. The swirling chaos of the 1970s, then, continued to ask how much more mature this vitality could become. ---? 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 On Fri, Apr 3, 2020 at 4:12 PM Esra Gokce Sahin via KineJapan wrote: Dear KineJapan list members, Does any of you have a pdf copy of Yamane Sadao's essay "Changes in 1960s Documentary Cinema from PR films to Image Guerialla" by any change? It was a? publication of the Yamagata Film Festival (1993) in Japanese Documentaries of the 1960s. thanks,Esra -- Esra-G?k?e ?ahin, PhD ? _______________________________________________ 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 -- ---? 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From jmthfrsa at gmail.com Fri Apr 17 03:51:53 2020 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Fri, 17 Apr 2020 09:51:53 +0200 Subject: [KineJapan] looking for a pdf copy of Yamane Sadao's essay In-Reply-To: <967890797.1417055.1586941637346@mail.yahoo.com> References: <967890797.1417055.1586941637346@mail.yahoo.com> Message-ID: Hi Markus Thank you very much Markus Best regards Jacline Le mer. 15 avr. 2020 ? 11:07, Roger Macy via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > Hi, Mathieu and Markus, > I'm looking at the printed YIDFF booklet, pp14-20 and the article doesn't > have any references at the end, or footnotes. But, at pp64-67, there's a > chronolgy of 60s documentaries, if that's of any help. > best, > Roger > > On Wednesday, 15 April 2020, 04:16:00 BST, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > I?m afraid the hard copy is in my office, and that is off limits as we > shelter in place! > > M > > On Tue, Apr 14, 2020 at 8:57 PM Mathieu Capel via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Many thanks for sharing this text Markus. > Would you know its references ? > Best regards, > > Mathieu > > > > Le mer. 15 avr. 2020 ? 09:09, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> a ?crit : > > I happen to have a very old computer file that has this. I'll paste it > below. Others might be interested in it. > > Markus > > > *From Political to Private: Japanese Documentary Filmmakers in the Own > Words* > Introduction-- > > > Changes in 1960s Documentary Cinema: From PR Films to Image Guerillas > > Yamane Sadao > > THIS IS MISSING SECTION NUMBERS, EXCEPT FOR #4 > > In December 1960, an event occurred that marked an end to one period of > Japanese documentary film history. The Educational Filmmaker's Association > ("Kyoiku Eiga Sakka Kyokai"), started in 1955 as an organization of > directors of educational and culture films, changed its name to the > Documentary Producer's Association of Japan ("Kiroku Eiga Sakka Kyokai"). > While at the time it was only a modification in name, the group remaining > essentially the same, it symbolically intimates the new developments > documentary film would realize through the 1960s. > > 1960 was, of course, the year when the fight against the renewal of the > U.S.-Japan Security Treaty hit its peak in June. The struggle took place on > a society-wide scale and in its course, fundamentally questioned not only > politics, but all ways of thought and culture. The shift in emphasis from > "educational" films to "documentary" films was produced within this > intellectual and cultural atmosphere. On the editor's afterword page in the > February 1961 issue of the Association's official organ, *Kiroku Eiga *("Documentary > Cinema"), the following statement appeared after an announcement concerning > the name change and touching on the Security Treaty conflict: "We will > break the various bonds that dog us due to the use of the word > 'educational' and start again as a collection of documentarists." > Incidentally, the editorial chair at the time was Noda Shinkichi and the > editorial board was composed of Kuroki Kazuo, Tokunaga Mizuo, Matsumoto > Toshio, Nishie Takayuki, Kumagai Mitsuyuki, and Nagano Chiaki. > > Certainly this new movement did not simply appear out of the blue in 1960, > but was augured by events in the latter half of the 1950s. Here is a list > of the debut films and years of several documentary filmmakers who were > active in the sixties: > > Matsumoto Toshio: *The Bends *("Senkan," 1956) > > Haneda Sumiko: *Village Women's Classroom *("Mura no fujin gakkyu," 1957) > > Kuroki Kazuo: *Electric Rolling Stock of Toshiba *(1958) > > Onuma Tetsuro: *The World of Microbes *("Mikuro no sekai," 1958) > > Mamiya Norio: *A Shopping Street Reborn *("Umarekawaru shotengai," 1959) > > Tsuchimoto Noriaki: *A Steelyard Built in the Sea *("Umi ni kizuku > tekkojo," 1959); *An Engineer's Assistant *("Aru kikan joshi," 1962) > > Matsukawa Yasuo: *The Story of Printing Paper *("Ingashi no hanashi," > 1960) > > Fujiwara Tomoko: *The Wisdom of the Orangutan *("Oranutan no chie," 1960) > > While this is only a list I made up off the top of my head, it is worth > noticing that almost all of these are PR films. In contrast to the > flourishing of documentary cinema in the mid-fifties, which centered on > independent productions connected to left-wing or labor movements, from the > late 50s on, industry and association publicity films became the center of > activity for both "educational" and "documentary" filmmakers. Needless to > say, this was related to the fundamental revival in the Japanese economy > spurred on by the demand created by the Korean War. For instance, at the > beginning of the roundtable discussion printed in the December 1961 issue > of *Kiroku Eiga, *entitled "Looking Back on 1961--Trends in the World of > Documentary and Educational Cinema," the moderator Noda Shinkichi noted > that, "According to the records of the Japan Film Education Association, > there were 837 film shorts made last year, including educational, > documentary, and PR films?and already 439 in the first half of this year? > ?becoming, in terms of quantity, a kind of boom." He connects this > phenomenon to "the aftereffects of the policies of economic growth" and to > "the mood of consumption." Again, in the same journal's August 1963 issue, > one can see figures indicating the number of short films produced each year > as 1018 for 1961 and 1163 for 1962. Whichever is more accurate, such > figures simultaneously speak of the numerical vitality and, paradoxically, > the economic downturn in the industry. This vitality rapidly rising in step > with the Japanese economic revival in the late 1950s, the appearance of new > filmmakers, and a "kind of boom" coupled with recession--all these elements > within the turbulent context of those "documentary" filmmakers clearly > attest to one thing. What is visible here is none other than the state of > the general film industry centered on fiction film. > > The prosperity of ordinary dramatic films reached its postwar Japanese > peak between 1958 and 1960. This is indicated by the fact that the "film > population" (the total tickets sold in all the theaters) set a record in > 1958 as well as by statistics indicating that 1961 saw a peak in the number > of both theaters and Japanese films produced. This increase in quantity > marked the decisive start of competition among the six major > studios--Shochiku, Toho, Daici, Shin Toho, Toei, and Nikkatsu, which > resumed production in 1954--and was spurred by a policy begun in the > mid-50s of each studio releasing films in double bills. The start in 1960 > of "Toei Two" by Toei--which itself began releasing two films a > week--represented the extreme limit of this expansion in volume. > > What must be noted is that the filmmakers who later became the center of > 1960s Japanese cinema appeared one after another as a result of the > essential changes that accompanied this kind of power through numbers. The > following is a list of those filmmakers who helped form this new essence, > placed in order according to their debut year: > > 1956: Nakahira Ko, Suzuki Seijun (Nikkatsu) > > 1957: Masumura Yasuzo (Daichi); Sawajima Tadashi (Toei); Kurahara > Koreyoshi (Nikkatsu); Ishii Teruo (Shin Toho) > > 1958: Okamoto Kihachi, Sugawa Eizo (Toho); Tanaka Tokuzo (Daichi); Imamura > Shohei, Masuda Toshio (Nikkatsu) > > 1959: Oshima Nagisa (Shochiku); Kudo Eiichi (Toei) > > 1960: Yoshida Yoshishige, Shinoda Masahiro, Tamura Tsutomu, Morikawa > Hidetaro, Takahashi Osamu (Shochiku); Ikehiro Kazuo (Daichi) > > 1961: Onchi Hideo (Toho); Yamashita Kosaku, Fukusaku Kinji (Toei); > Yamagiwa Eizo (Shin Toho) > > While I do not have any space here to describe through the films > themselves what kind of "new essence" these filmmakers shaped, it should be > clear to anyone's eyes that this was a season marked by a large > generational shift in the Japanese film world. The lead-off man was > Masamura Yasuzo, who took up a position challenging previous Japanese > cinema and revealed an allegiance to figures like Nakahira Ko, Sawajima > Tadashi, and Imamura Shohei. To accompany the activities of these > directors, there also was a generational shift among actors at each studio, > with young audiences cheering the Nikkatsu youth action films of Ishihara > Yujiro, the Toei films starring Nakamura Kinnosuke that introduced a modern > sensibility to the period film, and the "new sensualist" samurai films at > Daici featuring Ichikawa Raizo and Katsu Shintaro. Within this trend, > Oshima Nagisa, a member of the next generation, became active by > criticizing Masumura Yasuzo and others, forming with his colleagues at > Shochiku what was to be called the "Nouvelle Vague" (New Wave) of Japanese > cinema. > > It was not a coincidence that the name "Nouvelle Vague" was born among > journalistic circles in June 1960. The anti-Security Treaty demonstrations > involved a fundamental requestioning of the entire postwar course and were > clearly associated with the generational shift in the film world. A > straight line also connected them to the events leading up to the December > 1960 change from Educational Filmmaker's Association to Documentary > Producer's Association. > > As I mentioned earlier, the numerical expansion of postwar Japanese cinema > hit its peak in that year of 1960, but afterwards, "Toei Two" significantly > broke up the next year and Shin Toho went bankrupt in 1961. This change > intimates how quickly the momentum behind Japanese cinema shifted downhill, > projecting nothing but those shadows beginning to fall upon the "studio > system" of the major film companies. > > Within this, the classical division between documentary and fiction film > gradually began to lose its meaning. For instance, Hani Susumu, who was at > the center of 1950s documentary cinema, filmed his first dramatic motion > picture in 1960, *Bad Boys *("Furyo shonen"), a theatrical feature > evidently built on the basis of documentary modes of expression. Hani > pushed his way even further into the realm of fiction film after that. In > another example, Matsumoto Toshio took part in the filming of Oshima > Nagisa's first independent work after leaving Shochiku, *The Catch *("Shiiku," > 1961), by cooperating on the screenplay. Yamagiwa Eizo then built on that > by producing a unique review in the January 1961 *Kiroku Eiga *that > discussed *The Catch *and Matsumoto's documentary *Nishijin *(1961) on an > equal basis. The exchanges between documentary and fiction film would > become more and more prominent as the sixties progressed. > > The "New Wave" of documentary film began rolling with the divorce from the > name "educational," but it soon ended up confronting a different problem: > the yoke of PR cinema. One could see articles relating to this question in > basically every issue of the monthly *Kiroku Eiga, *discussing in very > serious tones such topics as "PR Cinema and Our Creative Task" (the title > of a roundtable discussion in the July 1962 issue) and "The Possibilities > of PR Cinema" (the name of the January 1963 special issue). > > For example, in an article entitled "The 'Me' of 1962--How To Shoot PR > Films" (*Kiroku Eiga*(November 1962)), Mamiya Norio emphasized the > conception that "a PR film is ultimately a PR film and in no way involves > the essence of a filmmaker's activity." He also argued that: > > In order to make independent production ultimately the main issue and to > then concentrate one's life essence in that area, one must dare to confront > with all one's might a PR cinema that is limited. > > [IS THIS A CONTINUATION OF THE QUOTE] Firmly testing, one by one, the > experiments aligned with an artistic program valorizing the self > constitutes a major element in expanding the boundaries of PR cinema. In > broadening those limits, the experiments will bear another kind of fruit: > namely, conflict with the sponsor of a PR film that can itself become a > starting point leading to the artistic development of the self. > > Kuroki Kazuo, in the aforementioned "PR Cinema and Our Creative Task" > roundtable, also presumed that "PR films are not our goal--in the end it is > documentary as an art that is the issue." He then asked if it was best to > overlook publicity films as a "foothold for developing creative action," > saying that, "Trying a different experiment in a chosen scene, no matter > how dull the film, is one of the methods of becoming an artist who can > twist a PR film into something that is his own." In an article entitled > "Where We Stand" (*Kiroku Eiga *(December 1962)), Kuroki further analyzed > in the following way the relationship between documentary and PR cinema > based on his feelings as an artist: > > Documentary is weakened by PR cinema. And it is by thinking of PR films as > unrelated to documentary that documentary becomes even further estranged > and more debilitated. > > Moreover, to consciously renounce documentary film in a situation where > the majority of filmmakers are producing publicity films is equivalent to > deepening the crisis surrounding one's existence as an artist. > > Such statements truly relate how the filmmakers fought against the "yoke" > of PR cinema. It was then only natural that the criticism concerning > particular works would also place their focus on that struggle. > > For instance, Fujiwara Tomoko wrote the following about Kuroki Kazuo's PR > film, *Japan on 10 Dollars a Day *("Nihon 10 doru ryoko"): > > One can say that *Japan on 10 Dollars a Day *resembles an escape from a > sewer, a film that creates an effective way out of the fight amid sewage > with PR cinema. After seeing this film, one is possessed for a while by the > thought that as far as PR films are concerned, the question is not one of > knowing that an exit "exists," but of having to do all one can to pry one > open. When that happens, one can possibly see a new position in the present > struggle, a mode of action that less complains about sinking up to one's > waist in the stench and filth of sewage, than tries to open up an exit. > ("Short Film Reviews," *Kiroku Eiga *(May 1963)). > > Fujiwara Tomoko also lauded in the following way Tsuchimoto Noriaki's *An > Engineer's Assistant *by emphasizing that it was a PR film for Japan National > Rail's "safe driving" campaign: > > The film thoroughly pursues in a full frontal attack the theme of "safe > driving" which the sponsor provided through elements chosen by the > filmmaker: the steam engine workers. This result is that the truth of the > situation is forced to the surface through these intense images. > > The filmmaker does not do anything like chip his teeth by recklessly > biting into the situation. His intention flows deep beneath the surface. As > Japan Rail demands, he affirmatively films the work of the engineers > fulfilling their duty, yet all the while frontally pressing in on the image > of them tackling the problem of safe driving. To this degree, the image > that surfaces in reverse possesses tremendous persuasive power. ("Short > Film Reviews," *Kiroku Eiga *(June 1963)). > > The phrase "resistance within the industry" comes to mind when I look at > these articles. The term was used at the time--that is, around 1962?63--by > Ogawa Toru and others when reviewing fiction films. It refers to the > phenomenon of directors who, compelled to follow studio plans, produced > popular entertainment films like *chanbara *(samurai films), melodramas, > or gangster films, but still managed to express ideas opposed to the system > in a form that people who were likely to understand could understand. > Clearly many documentary filmmakers also troubled over how to effect what > we could call a "resistance within PR cinema." > > There was of course criticism against this. Sasaki Mamoru, for example, > building on his experience as a free-lance assistant director, pointed out > in his "Sasaki Mamoru's Theory of PR Cinema" *(Kiroku Eiga *(July 1963)) > that the discussions of PR films in that journal all ended up falling into > the same pattern: "PR film = sponsored film = publicity film = troubles for > the filmmaker." He questioned whether the definition of PR cinema was at > all clear in this formula, countering that > > To offer my albeit obvious definition of a PR film, it is "film where the > film itself is not a commodity." That is the decisive difference between PR > cinema and other genres like fiction, educational, and instructional film. > To put it plainly, while one has to sell the film itself in all forms of > cinema other than PR cinema, with publicity films, one doesn't necessarily > have to sell the film itself. > > As the criticism of this soon pointed out, as long as Sasaki Mamoru's > theory only discussed the economic aspect of PR films, it also did not > provide a definition of the genre. But the economic aspect was what he > was emphasizing in his definition, and by doing so, he clarified the > struggle with the bonds of PR cinema as one in which one had to grit one's > teeth and complete the film the sponsor wanted. > > Amid all this the Documentary Producer's Association split up in February > 1964, the journal *Kiroku Eiga *continuing until March when it too > stopped publication. The upshot was that the cause for the breakup lay in a > clash between the association members, who were broadening their > intellectual activities through the journal, and the Japanese Communist > Party, a conflict that had existed since the 1960 anti-Security Treaty > movement and had erupted all at once at that point. In May 1964, the former > members of *Kiroku Eiga *formed a new "Image Arts Society" ("Eizo > Geijutsu no Kai") and began publishing the journal *Eizo Geijutsu *("Image > Arts") in December. > > Along with the year 1960, 1964 can also probably be considered a major > turning point in postwar Japanese history for various reasons. Needless to > say, it was the year both the Tokaido Shinkansen (bullet train) began > running and the year the Tokyo Olympics were held, a moment in which was > condensed all the vigor of so-called "high economic growth." > > The documentary film world seemingly doubled this periodization perfectly, > with 1960 seeing the movement from "educational" to "documentary" film, and > 1964 the shift from "documentary" film to "image art." This change can > possibly suggest many things. If one places emphasis on the fact that the > Image Arts Society formed as a result of the battle with the Japanese > Communist Party, then it is at least possible to see here a turnabout from > the path of classical leftism. The dilemma surrounding the production of PR > films also arose from a situation stained with the ideas of the old left. > One can then think that, in a contrary fashion, they were able to break > free of that dilemma precisely by taking up the name "image art." > > A group called "Film Independent" was also > > organized in 1964. Made up of members like Iimura Takahiko, Obayashi > Nobuhiko, Takabayashi Yoichi, Kanesaka Kenji, and Adachi Masao, it > overlapped in many areas with the Image Arts Society, and from that point > on its activities ran parallel to those of the other group. Although, of > course, strictly speaking it was not an assembly of documentary filmmakers, > its interests were also preoccupied with documentary and one can sense in > the word "independent," which signified factors like "independent > production" and "independent exhibition" as well as the Old Left notion of > "independence," a movement that pointed to a breakaway from the fixation > with PR films. > > One can also see a major turnaround in the world of fiction films around > 1964. As the strength of film was beginning its downhill slide, the > fundamental elements that had supported the industry up until that point > began to waver. > > There is no more appropriate example of this than the fact the mainstay of > Tool's production abruptly shifted from period films to *yakuza *gangster > films. Toei prospered as the "kingdom of the period film" during the 1950s, > the heyday of Japanese postwar cinema, going so far as to start "Toei Two." > But with the basic transfiguration of society, the rupture between the form > of the period film and the new customs deepened and the glory of Toei > quickly faded. What then appeared was the so-called "group conflict period > film," which added luster to the fascination of *chanbara*through its > intense realism but whose flowering proved short lived. In this context, > the series of *yakuza *films, seemingly a compromise between the period > film and the contemporary drama, became wildly popular as a sentimental > drama featuring gruesome sword fights. The power of Toei *yakuza *films > was soon disseminated to other studios and even the floundering Nikkatsu or > Daiei began making films with similar plots. Within this, the *yakuza *film > boom in the late 1960s helped realize the work of individualistic directors > at every studio, such as in the case of the singular filmic world of Suzuki > Seijun. > > At the same time, the "pink film" (soft core pornography) was flourishing > in another sector. These were films created by small independent production > companies that made sex their selling point. In 1963, when the term "pink > film" was coined, there were not even 20 of these films produced in a year, > but the number increased to about 60 in 1964, and then in 1965, jumped all > at once to nearly 200. With extremely low budgets and all-location > shooting, the "pink films" may have been inferior in terms of image > quality, but they appealed graphically to the desires of audiences with > powerful violence and provocative sexuality. In this sense, there is no > doubt that the explosive popularity of pink films had points in common with > the yakuza film boom. > > The influence of pink films was such that even the major studios were > forced to shoot films with bold sexual depictions, but one other facet must > be mentioned: the fact that this flourishing genre was produced completely > outside the "studio system." The significance of the prosperity of pink > films was matched by another institution similarly separated from the > "studio system": ATG (Nihon Art Theater Guild). Started in 1962 as a > distributor of only foreign films, it began distributing Japanese films in > 1963 and helped hatch a system distinct from that of the big five studios. > > Needless to say this separation from the "studio system" signified nothing > less than the move towards independent production and distribution. As if > to give proof to this, one after the other many ambitious directors > asserted their independence from the studios as Yoshida Kiju (Yoshishige) > and Shinoda Masahiro followed Oshima Nagisa in leaving Shochiku and Imamura > Shohei broke away from Nikkatsu. To take up the case of Oshima among them, > he accomplished various cross-over activities outside the studio system by > producing such works as the television documentary *The Forgotten > Imperial Army *("Wasurerata kogun," 1963), the PR film A *Small Adventure > Trip *("Chiisana boken ryoko," 1964), and the documentary *The Diary of > Yunbogi *("Yunbogi no nikki," 1965). > > Between 1963 and 1964, one more feverish movement was swirling among young > documentarists. Within the Ao no Kai ("Blue Group"), a gathering of friends > who had all started out at Iwanami Productions, Kuroki Kazuo, Tsuchimoto > Noriaki, Higashi Yoichi, Ogawa Shinsuke, Akihama Satoshi, Iwasa Hisaya, Ozu > Koshiro, Kubota Yukio and others formed a research group and launched from > there a new movement for independent distribution and production. Its > productivity was dynamically represented by the filming in 1965 of > Tsuchimoto Noriaki's independent film *Chua Swee Lin, Exchange Student *("Ryugakusei > Chua Sui Rin") after he had completed the 1963 *Document: On the Road *("Dokyumento > rojo": a film aptly termed "the PR film that transcends PR cinema"), by the > filming between 1964 and 1965 of Kuroki Kazuo's first dramatic film *Silence > has No Wings *("Tobenai chinmoku") with assistance from Ao no Kai > members, and then by the start of production of Ogawa Shinsuke's first film > in 1965. While they had all originated at Iwanami Productions, their > filmmaking was clearly separated from that of PR cinema. > > Nineteen sixty-five was the year Ichikawa Kon's Tokyo Olympics was > released, sparking the imbroglio over whether it was a "record" or "art" > and the widespread debate over films on the Olympics. > > > > 4 > > > > Ogawa Shinsuke's *Sea of Youth--Four Correspondence Course Students *("Seinen > no umi--Yonnin no tsushin kyoikuseitachi," 1966), *The Oppressed > Students--A Record of the Struggle at Takasaki College of Economics *("Assatsu > no mori--Takasaki Keizai Daigaku Toso no kiroku," 1967), and *Report from > Haneda *("Gennin hokokusho--Haneda Toso no kiroku;' 1967)--that is, his > first three films--were all exhibited by the "Society for Organizing > Independent Exhibition." That society was a political action group centered > around students that was born amidst the filming of *Sea of Youth *and > which was involved at the production stage with *The Oppressed Students. *This > was not simply an accidental state of affairs, but was no doubt something > prompted by transformations in the contemporary context. For as in the case > of the aforementioned *Diary of Yunbogi *and *Chua Swee Lin, Exchange > Student *in 1965, *Sea of Youth *and Matsukawa Yasuo's *The Satyrical > Animal Scrolls *("Choju giga") in 1966, and Kasu Sanpei's *Ghost World *("Onryoden") > and Tokieda Toshie's *Land of the Dawn *("Yoakemae no kuni") in 1967, > movements for independent production or distribution made a true comeback > in the late 1960s. > > As a related development, the so-called Cnematheque movement was born in > various contexts, and developed a diversity of modes of independent > exhibition. For example, in May 1965 the Sogetsu Cinematheque held the > World Prewar Avant-Garde Film Festival and showed about 100 famous, > pioneering works from abroad, the variegated modes of cinematic > expression--including documentary--providing a stimulus for many. One > phenomenon that evinces the impact of this festival is the fact that > contemporary film journals began discussing Dziga Vertov alongside French *cinema > verite. *Following up on this in June the next year, the Sogetsu > Cinematheque opened a film festival that collected in one program numerous > American underground films. From that point an "underground boom" suddenly > made its appearance. Nineteen sixty-six also saw the inauguration of the > SOMETHING MISSING HERE > > It is precisely when the side being filmed possesses such a volition that > a documentary worth watching at becomes possible. Or, at the same time, > perhaps one should also say that it is precisely the unprecedented > cinematic volition on the side that is filming that can provide an impulse > for the side being filmed. > > Ogawa Shinsuke wrote the following in the same pamphlet: > > When we in the staff planted the camera in Sanrizuka and started filming, > we talked about trying to stick to the following points. > > First, to clearly place the camera on the side of the struggling farmers > so that if the authorities add pressure and the riot police inflict a > violent blow on the fighting farmers, the camera will receive it head on. > In that case, authority will then be directly conversing with the audience > through the screen. > > Second, to stop shooting in secret when filming was not going according to > plan. That meant avoiding using a long lens to film the subject when they > weren't looking or refraining from filming while hidden in the shadows, and > to instead play fair and bring the camera out in front and use it to > participate on the site of the farmer's battle. > > While the above points seem obvious and a rather small place to start > from, it was truly difficult for us in the staff not to yeild one step of > ground from even this site. This was certainly the starting point of our > struggle too. > > Of course the farmers started to "converse" with us from this point, > appearing before the camera with a single will, and adding the camera as a > wing of the Sanrizuka-Shibayama United Opposition League, as a messenger > from the scene of the struggle. The close relationship between us in the > staff and the farmers that was born during the period of photography now > exists in the form of a completed one hour and 40 minutes film, *Summer > in Narita.* > > At the time Ogawa Productions was putting out the "Sanrizuka" (Narita) > series and Tsuchimoto Noriaki's *Pre-Partisan *("Paruchizan zenshi," > 1969), various forms of "fighting" documentaries were arriving from abroad. > In 1968, *Loin du Vietnam, *a film by Jean-Luc Godard and others, was > released and focused much attention on the French "cinema napalm." The next > year saw the exhibition of works like the "cinetracts"--also termed "bullet > films"--which recorded the May 1968 struggle in France, and the American > "Newsreel" films concerning Black Panther activities. Among these, the > "bullet films" were imported by Ogawa Productions in exchange for one of > its own films, announcing a new development in fighting documentary cinema. > > Within this context, terms such as "anti-war film," "cinema guerilla," and > "image guerilla" were born, referring to films like Ogawa Shinsuke's *The > Oppressed Students *and *Summer in Narita, *Kuroki Zazuo's A *Cuban > Lover *("Kyuba no koibito"), Higashi Yoichi's *People *of *the Okinawa > Islands *("Okinawa Retto") and Group Vision's *Dead, Come and Cut *Off *My > Retreat *("Shisha yo, kitarite Waga tairo o tate"), all from 1969. > > From PR films to image guerilla. Perhaps this best symbolizes the course > of documentary film in the 1960s. The swirling chaos of the 1970s, then, > continued to ask how much more mature this vitality could become. > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street > * > *Ann Arbor, MI 48109 > -1285* > > > > On Fri, Apr 3, 2020 at 4:12 PM Esra Gokce Sahin via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Dear KineJapan list members, > > Does any of you have a pdf copy of Yamane Sadao's essay "Changes in 1960s > Documentary Cinema from PR films to Image Guerialla" by any change? It was > a publication of the Yamagata Film Festival (1993) in *Japanese > Documentaries of the 1960s.* > > thanks, > Esra > > > -- > Esra-G?k?e ?ahin, PhD > > > _______________________________________________ > 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 > > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Apr 19 15:27:46 2020 From: nornes at umich.edu (Markus Nornes) Date: Sun, 19 Apr 2020 15:27:46 -0400 Subject: [KineJapan] Jasper Sharp Interview Message-ID: There is a very nice interview with Jasper Sharp, who discusses pink film, the origins of Midnight Eye, and his career in writing and filmmaking. https://asianmoviepulse.com/2020/04/interview-with-jasper-sharp-the-pink-film-industry-is-a-pale-shadow-of-what-it-was-from-the-1960s-up-to-the-2000s/ Markus -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Apr 20 12:53:39 2020 From: nornes at umich.edu (Markus Nornes) Date: Mon, 20 Apr 2020 12:53:39 -0400 Subject: [KineJapan] Fwd: The 20th Nippon Connection Film Festival Goes Online In-Reply-To: <20200420124421.13CB426005B@001.de-mx.crsend.com> References: <20200420124421.13CB426005B@001.de-mx.crsend.com> Message-ID: Good news from Frankfurt! Markus ---------- Forwarded message --------- From: Nippon Connection Date: Mon, Apr 20, 2020 at 8:44 AM Subject: The 20th Nippon Connection Film Festival Goes Online To: Wird diese Nachricht nicht richtig dargestellt, klicken Sie bitte *hier* . *The 20th Nippon Connection Film Festival Goes Online from June 9 to 14, 2020! ** * With a heavy heart we must announce that, due to the currently developing spread of the novel coronavirus, the *Japanese Film Festival Nippon Connection* cannot be held in its usual form this year. But we want to make the best of a difficult situation, cancelling the festival is not an option for us! Thus, we have decided to hold *Nippon Connection?s 20**th** Anniversary* as an online festival from *June 9 ? 14, 2020.* Especially in a crisis such as this, we think it is important to maintain a cultural exchange and give filmmakers and artists a public platform. Even this year, a diverse selection of current Japanese short and feature length films will be presented under the title *Nippon Connection **Online**. * Through* interactive offerings* such as live streams and panel discussions with filmmakers you can get a first-hand experience of the festival! A colorful supporting program has set apart Nippon Connection since its first edition. We want to use the special circumstances this year has brought and continue our cultural offerings online. A *digital program* of online workshops, presentations, and concerts as well as a virtual marketplace will bring a piece of Japan into your home. We are hard at work on the new concept for this *virtual anniversary edition* and we would love for you to be a part of it. In the coming weeks we will announce further details of the program for *Nippon Connection * *Online.* We can?t wait to see you online! *NipponConnection.com * * Facebook * * Twitter * * Instagram * * Blog * Wenn Sie diese E-Mail (an: nornes at umich.edu) nicht mehr empfangen m?chten, k?nnen Sie diese *hier* kostenlos abbestellen. Nippon Connection e.V. Schwedlerstrasse 1-5, c/o Atelierfrankfurt 60314 Frankfurt Deutschland Fon: 069 847 76 565 info at nipponconnection.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From raphaelleyokota at gmail.com Sun Apr 26 10:41:22 2020 From: raphaelleyokota at gmail.com (=?UTF-8?Q?Rapha=C3=ABlle_Yokota?=) Date: Sun, 26 Apr 2020 16:41:22 +0200 Subject: [KineJapan] Advice on access to documentation in Japan during lockdown Message-ID: Dear All, I hope everybody is safe and healthy during these unprecedented times. I'm actually writing to you all because I'm facing a problem directly connected to the current situation, and can't seem to find a solution. PhD student in France, I'm currently writing a piece for a French review specialized in film studies . My article is a comparison of the evaluation criteria among critics in France and Japan, based on the reception of *Shoplifters *(Kore-eda being the subject of my dissertation). To document my research, I was supposed to go library digging in Japan in April. Of course I had to cancel, and finally have no access to the sources I'd planned to check. I could buy hard copies on Amazon but having it shipped to France is so expensive, for a few-page piece at best, it isn't an option for me at this time. I can't really ask anyone to go the library and scan it for me either given the situation. There is one piece I was particularly interested in, from *Kinema Junpo,* although I haven't seen the article so I have no idea how long it is: ?????2018?6???? N?1782 If anybody has a copy and would kindly even just photograph the piece about *Shoplifters*, or if you have an idea for a solution - online maybe ? -, I would be very grateful to hear from you. Any help will be greatly appreciated - the closer my deadline, the deeper the gratitude! Warm regards, -- *Rapha?lle Yokota PhD candidate - Inalco, Paris (France)* -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Apr 26 13:06:40 2020 From: nornes at umich.edu (Markus Nornes) Date: Sun, 26 Apr 2020 13:06:40 -0400 Subject: [KineJapan] Advice on access to documentation in Japan during lockdown In-Reply-To: References: Message-ID: Hi Rapha?lla, If no one has one handy for you, you can get it through interlibrary loan. I don't know about Europe, but Yale, Harvard, Michigan and other universities here have it and can take care of it. ILL is still working in some fashion or another. 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 Sun, Apr 26, 2020 at 10:41 AM Rapha?lle Yokota via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear All, > > I hope everybody is safe and healthy during these unprecedented times. > > I'm actually writing to you all because I'm facing a problem directly > connected to the current situation, and can't seem to find a solution. > > PhD student in France, I'm currently writing a piece for a French review > specialized in film studies . My > article is a comparison of the evaluation criteria among critics in France > and Japan, based on the reception of *Shoplifters *(Kore-eda being the > subject of my dissertation). > > To document my research, I was supposed to go library digging in Japan in > April. Of course I had to cancel, and finally have no access to the sources > I'd planned to check. > I could buy hard copies on Amazon but having it shipped to France is so > expensive, for a few-page piece at best, it isn't an option for me at this > time. I can't really ask anyone to go the library and scan it for me either > given the situation. > > There is one piece I was particularly interested in, from *Kinema Junpo,* although > I haven't seen the article so I have no idea how long it is: > ?????2018?6???? N?1782 > > If anybody has a copy and would kindly even just photograph the piece > about *Shoplifters*, or if you have an idea for a solution - online maybe > ? -, I would be very grateful to hear from you. > > Any help will be greatly appreciated - the closer my deadline, the deeper > the gratitude! > Warm regards, > > -- > > *Rapha?lle Yokota PhD candidate - Inalco, Paris (France)* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Mon Apr 27 10:58:15 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Mon, 27 Apr 2020 14:58:15 +0000 Subject: [KineJapan] Kinema Club / Nippon Connection Message-ID: <8F86D0F5-DDF1-444C-A740-36467E5D2ECC@fas.harvard.edu> Dear All, Those that were planning to present there have known this for a while. Predictably and regrettably, under the current circumstances we had to cancel Kinema Club 20/20, planned to take place at Nippon Connection in June. Nippon Connection as well cannot take place in its usual form, as many will already know or will suspect. Happily, though, the NC team has decided to go ahead with an online version on the same dates, June - 14. You can find a preliminary statement on this year?s festival here: https://www.nipponconnection.com/pm-nippon-connection-online-eng/articles/pm-nippon-connection-online-eng.html Though the pieces haven?t fully fallen into place yet, there will also likely be podium discussions included in the program, featuring some KineJapaners as well. More on that soon! All best, and take care- Alex ???????? Alexander Zahlten Associate Professor Dept. of East Asian Languages and Civilizations Harvard University Director of Graduate Studies, Regional Studies East Asia -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Wed Apr 29 17:36:39 2020 From: earljac at gmail.com (Earl Jackson) Date: Thu, 30 Apr 2020 05:36:39 +0800 Subject: [KineJapan] Kurosawa stills Message-ID: Dear Everyone, Here is a question from a Russian film scholar writing on Kurosawa. She asks if anyone knows who might own the rights to a still from Dersu Urzala [Mosfilm] and one from The Idiot [toho]. She would like one of each as covers for two forthcoming books. Thank you in advance. best ej 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Thu Apr 30 10:06:22 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 30 Apr 2020 14:06:22 +0000 (UTC) Subject: [KineJapan] Fw: Newsletter Locarno Film Festival: FAQs Locarno 2020 In-Reply-To: <3c0b9d4c170b8f8ac364d75fc.de6a8f9510.20200430131438.d8c9f6c39d.7822974b@mail26.atl301.rsgsv.net> References: <3c0b9d4c170b8f8ac364d75fc.de6a8f9510.20200430131438.d8c9f6c39d.7822974b@mail26.atl301.rsgsv.net> Message-ID: <1205409466.5497976.1588255582352@mail.yahoo.com> Dear KineJapaners, The un-event horizon for film festivals has now reached August, with thecancellation (at least for feature films) of the Locarnofestival. I have no idea where and when the travelling retrospective on TanakaKinuyo will now first get shown, and would be grateful for any information whenit emerges. The Cin?math?que fran?aiseis now closed until September. I understand there are unfinalized plans tore-mount the Shimizu retrospectivenear the end of the year. No information has come regarding Cinema Ritrovato in late June, or thepostponed FEFF, which nominally partly overlaps it. Of course, postponements orconversions to online form are more easily said than done. So, at least we have Nippon Connection to look forward to in some onlineform. Yours stoically, Roger ----- Forwarded message ----- From: Locarno Film Festival To: "macyroger at yahoo.co.uk" Sent: Thursday, 30 April 2020, 14:14:49 BSTSubject: Newsletter Locarno Film Festival: FAQs Locarno 2020 | | | | View this email in your browser | | | | | | | | | | | | | | | | ?FAQs Locarno 2020? | | | | | | | | Canceled Locarno73, the Festival relaunches?with Locarno 2020 | | | | The Locarno Film Festival, obliged to forgo both its traditional selection of full-length feature premieres and, in principle, physical venues ? first and foremost the iconic Piazza Grande ?,?has decided to put forward an alternative to the classic film festival concept. The aim is to continue to offer, thanks to the Festival?s partners, the greatest possible support to international and Swiss film industries as they face a profound crisis.?Locarno 2020 ? For the Future of Films?will bolster independent auteur filmmaking and cinema theaters via a selection of dedicated projects, offering special content to both industry professionals and the public on a range of platforms. Through the FAQs page on our official website, you can stay up to date on the implications of the physical cancellation of Locarno73 for this year's event and on the news related to Locarno 2020. ? These?FAQs?will?be?constantly?revised?and?updated?with new information. ? | | | | Read the FAQs | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | Locarno Film Festival Via F. Rusca 1, CH-6600 Locarno, Switzerland t +41 91 756 21 21 ? Member of Swiss Top Events ? Questions / comments about this newsletter: marketing at locarnofestival.ch ? The information in this email is intended only for the addressee(s) named above. The Locarno Film Festival does not warrant that this e-mail and/or any attachments are free from viruses or other defects and accept no liability for any losses resulting from infected email transmissions. Unsubscribe from this list | | | | | | | | | | This email was sent to macyroger at yahoo.co.uk why did I get this?????unsubscribe from this list????update subscription preferences Locarno Film Festival ? Via Franchino Rusca 1 ? Locarno 6600 ? Switzerland | | -------------- next part -------------- An HTML attachment was scrubbed... URL: