[KineJapan] looking for a pdf copy of Yamane Sadao's essay

Tue Apr 14 20:09:32 EDT 2020

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 196263--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-Gökçe Şahin, PhD
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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