From aaron.gerow at yale.edu Thu Aug 6 10:45:55 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 6 Aug 2020 10:45:55 -0400 Subject: [KineJapan] Tokyo Film Festival and FilmEx Message-ID: <65A0CEA8-2671-4775-BB40-A7BBAB81F430@yale.edu> The Tokyo Film Festival announced that they would not be holding a competition this year, in part because it's not sure jurors could travel to Japan. They have also instituted changes in its programming process, as now there will be a selection committee with outside members. Finally, TIFF will finally link up with Tokyo FilmEx, which will now be held at the same time. FilmEx will become like the Director's Fortnight at Cannes: independently run, but aligned with the big festival. Ichiyama Shozo of FilmEx will serve on the TIFF selection committee. https://www.nikkei.com/article/DGXMZO62349280W0A800C2BC8000/ 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 Thu Aug 6 11:18:49 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 6 Aug 2020 11:18:49 -0400 Subject: [KineJapan] Tokyo Film Festival and FilmEx References: Message-ID: Here?s the TIFF announcement about the changes. Here?s Mark Schilling?s article in Variety: https://variety.com/2020/film/asia/tokyo-film-festival-plans-link-with-filmex-1234727269/ > ??????????: > > > > Tokyo International Film Festival NEWSLETTER > August 6, 2020 > > > > TIFF Unveils Outline > for the 33rd Tokyo International Film Festival > > > > As previously announced, the Tokyo International Film Festival (TIFF) is planning to go ahead with a physical edition of the 33rd TIFF, from October 31 through November 9, 2020. > > > With the coronavirus pandemic continuing, film festivals around the world have been affected and many have been forced to cancel, postpone or shrink. Despite the circumstances, however, TIFF plans to carry out physical screenings in Tokyo theaters, as well as to host symposia and international guest talks online. By staying physical, TIFF will enable audiences to re-experience the joy of watching films on the big screen, which will light a beacon of hope for the future of film. We also believe this will help strengthen international solidarity in the global film industry and reexamine our understanding of visual culture after COVID-19. > > > However, holding a film festival in the same way as in previous years is very challenging due to such difficulties as restrictions on international travel and the necessity of taking thorough measures against infection. > > > Therefore, we have created a special section for the 33rd TIFF that goes beyond the boundaries of our usual competitive sections. The Tokyo Premiere 2020 will combine our international Competition, Asian Future and Japanese Cinema Splash sections into one lineup. Instead of bestowing the usual awards, TIFF will give one Audience Award for all the films nominated in this limited section, allowing us to shine a spotlight on the importance of our audiences. (For more details, please see the outline of the section below. Details on the festival?s other sections will be announced at a later date.) > > Additionally, we have established a new selection committee this year, which will allow TIFF to benefit from the knowledge, diversity and wide-ranging backgrounds of outside experts. Please see below for the list of committee members. > > This year?s TIFF will also see us deepening our ties with Tokyo FILMeX, which is traditionally held also in late autumn. We will be forming a relationship similar to that between the Cannes Film Festival and Directors? Fortnight, with the latter held independently within the framework of the Cannes Film Festival. We expect this synergy between our two festivals to also strengthen solidarity in the film industry. > > > Of course, one absolute condition of holding the 33rd TIFF is that we can guarantee the safety of our audiences, filmmakers and staff. Therefore, if this condition cannot be met as the pandemic situation continues to transition in the future, we will pursue various options, including postponement or cancelation. We appreciate your understanding about any changes that may occur. > > > > > About Tokyo Premiere 2020 > Focusing on world and Asian premieres, Tokyo Premiere 2020 will showcase about 30 films from across the globe, by both veterans and emerging directors. Maintaining our usual balance among regions and the selection criteria of TIFF?s three main competition sections, this special lineup will allow audiences to enjoy, on an equal footing, a diversity of films from international and Japanese directors in all stages of their careers. > > The Committee Members > Kohei ANDO (Emeritus Professor at Waseda University), Shozo ICHIYAMA (Producer), Kenji ISHIZAKA (TIFF Senior Programmer), Yuka KIMBARA (Journalist), Yuko SEKIGUCHI (Journalist) and Yoshi YATABE (TIFF Senior Programmer). > > > > > 33rd Tokyo International Film Festival > Date: October 31 (Sat.) ? November 9 (Mon.), 2020 > Venues: Roppongi Hills, Hibiya area and other venues in Tokyo > Official Website: tiff-jp.net > > TIFFCOM2020 > Date: November 4 (Wed.) ? 6 (Fri.), 2020 > Venues: The Prince Park Tower Tokyo > Official Website: tiffcom.jp > > > TIFF Official Account: > Facebook ? Twitter ? Instagram ?LINE ID : @tiff > > YouTube Channel > > *The use of all articles listed in this e-mail is prohibited without permission. > *All copyrights belong to the Tokyo International Film Festival. > * Please note that this email was sent from a send-only address. We will not be able to reply to your returning email. > > TIFF Newsletter is sent out to all those who participated in TIFF's activities and/or who exchanged their name cards with TIFF staff. If you wish not to receive this newsletter , please unsubscribe here . > Please refrain from misuse or copying of the information provided. > ?2020 TIFF -------------- next part -------------- An HTML attachment was scrubbed... URL: From wangxinyi40 at yahoo.com Thu Aug 6 20:33:17 2020 From: wangxinyi40 at yahoo.com (Wang Xinyi) Date: Fri, 7 Aug 2020 09:33:17 +0900 Subject: [KineJapan] New Japanese Films at Shanghai References: <687709F2-CE84-438B-A6D7-96BD5BB4B5D9.ref@yahoo.com> Message-ID: <687709F2-CE84-438B-A6D7-96BD5BB4B5D9@yahoo.com> Hi Linda, thanks for asking. Sorry, it is Japan time. Best, Xinyi ******************************************** Xinyi Wang Master, Cinema Studies Graduate School of Humanities, Nagoya University Mail Address: wangxinyi40 at yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From mikelarson100 at gmail.com Tue Aug 11 05:45:42 2020 From: mikelarson100 at gmail.com (Michael Larson) Date: Tue, 11 Aug 2020 18:45:42 +0900 Subject: [KineJapan] Online Forum on Cold War Movies (Aug 12 Japan / Aug 11 U.S.) Message-ID: Hello, A few researchers I work with are hosting an online forum on Cold War film in Asia on August 12 (August 11 for those in U.S. time zones). Below is the Zoom link and a list of events. Please join in if you can! Join Zoom Meeting: https://us02web.zoom.us/j/88128147625?pwd=RGcweVgzMkFkNWMxOTViMWFNWXYwZz09 Meeting ID: 881 2814 7625 Password: xKs6e5 All times are listed in Japan Standard Time (with U.S. Eastern Standard Time in parenthesis) *7:45-8:00 (16:45-19:00)* Opening Remarks --Yukari YoshiharaCosmopolitan Koje-do: Dance and Utopia in the Korean War Musical Swing Kids (2018) -- Christina Klein *8:00-9:00 (19:00-20:00)* Representations of American Army Camp in Post-war Japanese Movies -- Makiko Kamiya *9:00-10:00 (20:00-21:00)* Lantern Slide (Gento) Media in the 1950s Protest Movements Against U.S. Base Expansion: Focusing on The Appeal from Base Okinawa -- Hana Washitani *10:00-11:00 (21:00-22:00)* Bullet Screens: US Army Film Activities in Pre-War and Wartime South Korea -- Hang Sang Kim *11:00-12:00 (22:00-23:00)* General Discussion *12:00-13:00 (23:00-24:00)* Closing Remarks -- Hiromi Ochi Regards, Michael Larson, University of Tsukuba mwlarson.com -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: August-12-?????6.pdf Type: application/pdf Size: 447672 bytes Desc: not available URL: From matteo.boscarol at gmail.com Thu Aug 13 18:47:47 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Fri, 14 Aug 2020 07:47:47 +0900 Subject: [KineJapan] Matsumoto Toshio rare films at Exis 2020 Message-ID: Dear all, Exis, the experimental video and film festival in Seoul, is screening online some rare films by Matsumoto Toshio: Caisson (??????) April or May 1957 / B&W / Sound / 20min 50sec / 16mm to HD Toro Axe Part 3: All Things Change (???? ?3? ????) 2012 / Color / Sound / 35min 6sec / DVD to SD Murder Catalogue (??????) 1975 / B&W / Sound / 20min / ?-inch VRT to SD Delay Exposure (????????????) 1984 / Color / Sound / 3min 10sec / 8mm (18 fps) to HD EE Control (EE??????) 1985 / Color / Sound / 3min 20sec / 8mm (24 fps) to HD Vibration (????????) 1986 / Color / Sound / 3min 10sec / 8mm (18 fps) to HD file 1986 Summer (1986?) 1986 / Color / Silent / 3min / 16mm to HDfile here the link: https://ex-is.org/onlinescreening/matsumoto-cinemainaction I think they will be available only for a short period of time Regards Matteo -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Aug 14 07:35:34 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 14 Aug 2020 07:35:34 -0400 Subject: [KineJapan] Watari Tetsuya Message-ID: <565933EA-288E-43B7-BA91-89F6B1DA4057@yale.edu> This was just announced, but the great star of many Nikkatsu and yakuza films, Watari Tetsuya, died of pneumonia on August 10. He was 78. Watari debuted at Nikkatsu in 1965 and became a core player in the Nikkatsu Action films of Suzuki Seijun (Tokyo Drifter), Masuda Toshio (Velvet Hustler), and others. He later starred in key Fukasaku Kinji yakuza films such as Graveyard of Honor and Yakuza Graveyard, while also earning success as a singer. He joined Ishihara Productions with star Ishihara Yujiro and later served as president after Yujiro died. He starred in many Ishihara Pro TV series such as Seibu keisatsu and continued performing until his death. He even appeared in Kitano Takeshi?s Brother. His brother, Watase Tsunehiko, was also a movie star. https://www.sanspo.com/geino/news/20200814/geo20081419200018-n1.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 timiles2003 at yahoo.com Fri Aug 14 18:46:06 2020 From: timiles2003 at yahoo.com (Tim Iles) Date: Fri, 14 Aug 2020 22:46:06 +0000 (UTC) Subject: [KineJapan] New Content on the ejcjs References: <1946482060.1690567.1597445166937.ref@mail.yahoo.com> Message-ID: <1946482060.1690567.1597445166937@mail.yahoo.com> We're very pleased to announce to release of the latest edition of the electronic journal of contemporary japanese studies, Volume 20 Issue 2, available online at: http://www.japanesestudies.org.uk/ejcjs/vol20/iss2/index.html Contents: Peer-reviewed articles Matthew Guay, Murakami Haruki?s Translation Style and the Visibility Paradigm in the Japanese Context. Christopher Howard, Azuma Hiroki?s Quantum Families and the Limits Japanese Postmodernism Satoshi Machida, Online Social Pressure and Citizens? Attitudes toward Nuclear Armament in Japan: Survey Experiment Book Reviews Alexander Brown, Dangerous Memory in Nagasaki Christopher Hood, Tragic Remembrance, Global Sorrow Discussion Papers: Daisuke Akimoto, Prime Minister Abe?s Sak? Diplomacy: Japan?s Emerging Alcoholic Beverage Export Strategy As ever, many thanks to our contributors, our readers, and our production team of volunteers from around the world. Best wishes, Timothy Iles General Editor, the ejcjs From nornes at umich.edu Wed Aug 19 11:47:56 2020 From: nornes at umich.edu (Markus Nornes) Date: Wed, 19 Aug 2020 09:47:56 -0600 Subject: [KineJapan] Rashomon Exhibition at the NFAJ Message-ID: The National Archive is staging an exhibition on Rashomon for it's 70th anniversary. Just the images are enticing! Alas, will the border still be closed? https://www.nfaj.go.jp/exhibition/rashomon2020/ 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 jasper_sharp at hotmail.com Wed Aug 19 12:04:45 2020 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Wed, 19 Aug 2020 16:04:45 +0000 Subject: [KineJapan] Rashomon Exhibition at the NFAJ In-Reply-To: References: Message-ID: Aha, the irony of foreigners not being able to visit an exhibition about the Japanese film that introduced Japanese cinema to foreigners! The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Markus Nornes via KineJapan Sent: 19 August 2020 15:47 To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: [KineJapan] Rashomon Exhibition at the NFAJ The National Archive is staging an exhibition on Rashomon for it's 70th anniversary. Just the images are enticing! Alas, will the border still be closed? https://www.nfaj.go.jp/exhibition/rashomon2020/ Markus --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Aug 20 14:54:07 2020 From: nornes at umich.edu (Markus Nornes) Date: Thu, 20 Aug 2020 12:54:07 -0600 Subject: [KineJapan] Ogawa Pro DVDs Message-ID: Does anyone out there have the Ogawa Pro DVDs? If so, could you write to me offline? Thanks. Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From dmiyao at ucsd.edu Fri Aug 21 23:43:08 2020 From: dmiyao at ucsd.edu (Miyao, Daisuke) Date: Sat, 22 Aug 2020 03:43:08 +0000 Subject: [KineJapan] Japonisme and the Birth of Cinema Message-ID: Dear all, I hope you are staying healthy and doing well. Please allow me to promote myself. My new book, Japonsime and the Birth of Cinema, has been just published from Duke University Press. Here is the book description: In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualit? films made by the Lumi?re brothers between 1895 and 1905. Examining nearly 1,500 Lumi?re films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumi?re films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumi?re films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumi?re brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West. https://www.dukeupress.edu/japonisme-and-the-birth-of-cinema Duke University Press - Japonisme and the Birth of Cinema Daisuke Miyao is Professor and Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego. He is the author of The Aesthetics of Shadow: Lightingand Japanese Cinema and Sessue Hayakawa: Silent Cinema and Transnational Stardom, both also published by Duke University Press, and Cinema Is a Cat: A Cat Lover's Introduction to Film Studies. www.dukeupress.edu I am grateful for the generous blurbs from Tom and Michael. I hope many of you will be interested in my book! Have a nice rest of the summer. Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of the Japanese Studies Program Director of Doctoral Studies, Department of Literature University of California, San Diego -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Sat Aug 22 01:02:03 2020 From: raine.michael.j at gmail.com (Michael Raine) Date: Sat, 22 Aug 2020 00:02:03 -0500 Subject: [KineJapan] Japonisme and the Birth of Cinema In-Reply-To: References: Message-ID: This is terrific, Daisuke! Looking forward to reading it. Michael Michael Raine, Associate Professor in English and Writing Studies Western University, Canada co-editor, Journal of Japanese and Korean Cinema On Fri, Aug 21, 2020 at 10:43 PM Miyao, Daisuke via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear all, > > I hope you are staying healthy and doing well. > Please allow me to promote myself. My new book, *Japonsime and the Birth > of Cinema*, has been just published from Duke University Press. Here is > the book description: > > In *Japonisme and the Birth of Cinema*, Daisuke Miyao explores the > influence of Japanese art on the development of early cinematic visual > style, particularly the *actualit?* films made by the Lumi?re brothers > between 1895 and 1905. Examining nearly 1,500 Lumi?re films, Miyao contends > that more than being documents of everyday life, they provided a medium for > experimenting with aesthetic and cinematic styles imported from Japan. > Miyao further analyzes the Lumi?re films produced in Japan as a negotiation > between French Orientalism and Japanese aesthetics. The Lumi?re films, > Miyao shows, are best understood within a media ecology of photography, > painting, and cinema, all indebted to the compositional principles of > Japonisme and the new ideas of kinetic realism it inspired. The Lumi?re > brothers and their cinematographers shared the contemporaneous obsession > among Impressionist and Post-Impressionist artists about how to instantly > and physically capture the movements of living things in the world. Their > engagement with Japonisme, he concludes, constituted a rich and productive > two-way conversation between East and West. > > https://www.dukeupress.edu/japonisme-and-the-birth-of-cinema > Duke University Press - Japonisme and the Birth of Cinema > > Daisuke Miyao is Professor and Hajime Mori Chair in Japanese Language and > Literature at the University of California, San Diego. He is the author of > The Aesthetics of Shadow: Lightingand Japanese Cinema and Sessue Hayakawa: > Silent Cinema and Transnational Stardom, both also published by Duke > University Press, and Cinema Is a Cat: A Cat Lover's Introduction to Film > Studies. > www.dukeupress.edu > I am grateful for the generous blurbs from Tom and Michael. > I hope many of you will be interested in my book! Have a nice rest of the > summer. > > Best, > Daisuke > > Daisuke Miyao > Professor and Hajime Mori Chair in Japanese Language and Literature > Director of the Japanese Studies Program > Director of Doctoral Studies, Department of Literature > University of California, San Diego > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From desser at illinois.edu Sat Aug 22 12:58:45 2020 From: desser at illinois.edu (Desser, David M) Date: Sat, 22 Aug 2020 16:58:45 +0000 Subject: [KineJapan] Japonisme and the Birth of Cinema In-Reply-To: References: Message-ID: We shall be getting the book presently from Duke. My wife is book review editor for Quarterly Review of Film and Video. Perhaps I will review it or perhaps we'll send it out. David David Desser Emeritus Professor of Cinema Studies and Comparative and World Literature Emeritus Professor of East Asian Languages and Cultures University of Illinois ________________________________ From: KineJapan on behalf of Miyao, Daisuke via KineJapan Sent: Friday, August 21, 2020 8:43 PM To: KineJapan ; Japanese Cinema Discussion Forum Cc: Miyao, Daisuke Subject: [KineJapan] Japonisme and the Birth of Cinema Dear all, I hope you are staying healthy and doing well. Please allow me to promote myself. My new book, Japonsime and the Birth of Cinema, has been just published from Duke University Press. Here is the book description: In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualit? films made by the Lumi?re brothers between 1895 and 1905. Examining nearly 1,500 Lumi?re films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumi?re films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumi?re films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumi?re brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West. https://www.dukeupress.edu/japonisme-and-the-birth-of-cinema Duke University Press - Japonisme and the Birth of Cinema Daisuke Miyao is Professor and Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego. He is the author of The Aesthetics of Shadow: Lightingand Japanese Cinema and Sessue Hayakawa: Silent Cinema and Transnational Stardom, both also published by Duke University Press, and Cinema Is a Cat: A Cat Lover's Introduction to Film Studies. www.dukeupress.edu I am grateful for the generous blurbs from Tom and Michael. I hope many of you will be interested in my book! Have a nice rest of the summer. Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of the Japanese Studies Program Director of Doctoral Studies, Department of Literature University of California, San Diego -------------- next part -------------- An HTML attachment was scrubbed... URL: From dmiyao at ucsd.edu Sat Aug 22 13:28:03 2020 From: dmiyao at ucsd.edu (Miyao, Daisuke) Date: Sat, 22 Aug 2020 17:28:03 +0000 Subject: [KineJapan] Japonisme and the Birth of Cinema In-Reply-To: References: , Message-ID: Thank you for your kind words, Michael! Best, Daisuke ________________________________ From: KineJapan on behalf of Michael Raine via KineJapan Sent: Friday, August 21, 2020 10:02 PM To: Japanese Cinema Discussion Forum Cc: Michael Raine Subject: Re: [KineJapan] Japonisme and the Birth of Cinema This is terrific, Daisuke! Looking forward to reading it. Michael Michael Raine, Associate Professor in English and Writing Studies Western University, Canada co-editor, Journal of Japanese and Korean Cinema On Fri, Aug 21, 2020 at 10:43 PM Miyao, Daisuke via KineJapan > wrote: Dear all, I hope you are staying healthy and doing well. Please allow me to promote myself. My new book, Japonsime and the Birth of Cinema, has been just published from Duke University Press. Here is the book description: In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualit? films made by the Lumi?re brothers between 1895 and 1905. Examining nearly 1,500 Lumi?re films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumi?re films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumi?re films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumi?re brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West. https://www.dukeupress.edu/japonisme-and-the-birth-of-cinema Duke University Press - Japonisme and the Birth of Cinema Daisuke Miyao is Professor and Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego. He is the author of The Aesthetics of Shadow: Lightingand Japanese Cinema and Sessue Hayakawa: Silent Cinema and Transnational Stardom, both also published by Duke University Press, and Cinema Is a Cat: A Cat Lover's Introduction to Film Studies. www.dukeupress.edu I am grateful for the generous blurbs from Tom and Michael. I hope many of you will be interested in my book! Have a nice rest of the summer. Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of the Japanese Studies Program Director of Doctoral Studies, Department of Literature University of California, San Diego _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From dmiyao at ucsd.edu Sat Aug 22 13:33:41 2020 From: dmiyao at ucsd.edu (Miyao, Daisuke) Date: Sat, 22 Aug 2020 17:33:41 +0000 Subject: [KineJapan] Japonisme and the Birth of Cinema In-Reply-To: References: , Message-ID: Thank you for your kind words, David. I will contact the press about this as well. Best, Daisuke ________________________________ From: KineJapan on behalf of Desser, David M via KineJapan Sent: Saturday, August 22, 2020 9:58 AM To: Japanese Cinema Discussion Forum Cc: Desser, David M Subject: Re: [KineJapan] Japonisme and the Birth of Cinema We shall be getting the book presently from Duke. My wife is book review editor for Quarterly Review of Film and Video. Perhaps I will review it or perhaps we'll send it out. David David Desser Emeritus Professor of Cinema Studies and Comparative and World Literature Emeritus Professor of East Asian Languages and Cultures University of Illinois ________________________________ From: KineJapan on behalf of Miyao, Daisuke via KineJapan Sent: Friday, August 21, 2020 8:43 PM To: KineJapan ; Japanese Cinema Discussion Forum Cc: Miyao, Daisuke Subject: [KineJapan] Japonisme and the Birth of Cinema Dear all, I hope you are staying healthy and doing well. Please allow me to promote myself. My new book, Japonsime and the Birth of Cinema, has been just published from Duke University Press. Here is the book description: In Japonisme and the Birth of Cinema, Daisuke Miyao explores the influence of Japanese art on the development of early cinematic visual style, particularly the actualit? films made by the Lumi?re brothers between 1895 and 1905. Examining nearly 1,500 Lumi?re films, Miyao contends that more than being documents of everyday life, they provided a medium for experimenting with aesthetic and cinematic styles imported from Japan. Miyao further analyzes the Lumi?re films produced in Japan as a negotiation between French Orientalism and Japanese aesthetics. The Lumi?re films, Miyao shows, are best understood within a media ecology of photography, painting, and cinema, all indebted to the compositional principles of Japonisme and the new ideas of kinetic realism it inspired. The Lumi?re brothers and their cinematographers shared the contemporaneous obsession among Impressionist and Post-Impressionist artists about how to instantly and physically capture the movements of living things in the world. Their engagement with Japonisme, he concludes, constituted a rich and productive two-way conversation between East and West. https://www.dukeupress.edu/japonisme-and-the-birth-of-cinema Duke University Press - Japonisme and the Birth of Cinema Daisuke Miyao is Professor and Hajime Mori Chair in Japanese Language and Literature at the University of California, San Diego. He is the author of The Aesthetics of Shadow: Lightingand Japanese Cinema and Sessue Hayakawa: Silent Cinema and Transnational Stardom, both also published by Duke University Press, and Cinema Is a Cat: A Cat Lover's Introduction to Film Studies. www.dukeupress.edu I am grateful for the generous blurbs from Tom and Michael. I hope many of you will be interested in my book! Have a nice rest of the summer. Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of the Japanese Studies Program Director of Doctoral Studies, Department of Literature University of California, San Diego -------------- next part -------------- An HTML attachment was scrubbed... URL: From desser at illinois.edu Mon Aug 24 14:33:09 2020 From: desser at illinois.edu (Desser, David M) Date: Mon, 24 Aug 2020 18:33:09 +0000 Subject: [KineJapan] I was born but... film gauge Message-ID: Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? Thanks. You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? David -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Tue Aug 25 05:27:58 2020 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 25 Aug 2020 09:27:58 +0000 Subject: [KineJapan] I was born but... film gauge In-Reply-To: References: Message-ID: I think the 9.5mm Pathe Baby was the home cinema camera of choice in 1930s Japan. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Desser, David M via KineJapan Sent: 24 August 2020 18:33 To: kinejapan at mailman.yale.edu Cc: Desser, David M Subject: [KineJapan] I was born but... film gauge Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? Thanks. You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? David -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue Aug 25 09:53:31 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 25 Aug 2020 09:53:31 -0400 Subject: [KineJapan] I was born but... film gauge In-Reply-To: References: Message-ID: <520432BE-11FA-4D22-A542-737970F709B2@yale.edu> Most references I can see in Japanese see this as a 16mm film system. For instance, Takinami-san?s article is one example: http://www.iii.u-tokyo.ac.jp/manage/wp-content/uploads/2016/03/83_3.pdf Aaron > On Aug 24, 2020, at 2:33 PM, Desser, David M via KineJapan wrote: > > Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? > > Thanks. > > You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? > > David > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From joanne.bernardi at rochester.edu Tue Aug 25 10:28:57 2020 From: joanne.bernardi at rochester.edu (Bernardi, Joanne) Date: Tue, 25 Aug 2020 14:28:57 +0000 Subject: [KineJapan] [EXT] KineJapan Digest, Vol 27, Issue 10 In-Reply-To: References: Message-ID: <75BBD813-73A9-4A63-B3B9-EA66D6CA255C@ur.rochester.edu> Hi David, Regular (or Standard 8mm) was first marketed in 1932, so I agree with Jasper that 9.5mm, the popular home movie gauge at the time in Japan, is the likely bet. But it?s funny how I?ve watched that scene so many times without wondering myself! Now I?ll think twice when I see it again. Best, Joanne From: KineJapan on behalf of "kinejapan-request at mailman.yale.edu" Reply-To: "kinejapan at mailman.yale.edu" Date: Tuesday, August 25, 2020 at 5:28 AM To: "kinejapan at mailman.yale.edu" Subject: [EXT] KineJapan Digest, Vol 27, Issue 10 Send KineJapan mailing list submissions to kinejapan at mailman.yale.edu To subscribe or unsubscribe via the World Wide Web, visit https://urldefense.proofpoint.com/v2/url?u=https-3A__mailman.yale.edu_mailman_listinfo_kinejapan&d=DwICAg&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=MX2bOaCWmu1NypMrWEZKn545D9E2lCigcxxvg4XUwGs&m=SkJo2chSfGGPg2fVMBL_9u72NASuTRxTsei3fvSfWIA&s=I0gsXkCyhlu8ll9Wygc7UMxH83yDb5PGOkH2nimNE1E&e= 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. I was born but... film gauge (Desser, David M) 2. Re: I was born but... film gauge (Jasper Sharp) ---------------------------------------------------------------------- Message: 1 Date: Mon, 24 Aug 2020 18:33:09 +0000 From: "Desser, David M" > To: "kinejapan at mailman.yale.edu" > Subject: [KineJapan] I was born but... film gauge Message-ID: > Content-Type: text/plain; charset="utf-8" Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? Thanks. You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? David -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 2 Date: Tue, 25 Aug 2020 09:27:58 +0000 From: Jasper Sharp > To: Japanese Cinema Discussion Forum > Subject: Re: [KineJapan] I was born but... film gauge Message-ID: > Content-Type: text/plain; charset="utf-8" I think the 9.5mm Pathe Baby was the home cinema camera of choice in 1930s Japan. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan > on behalf of Desser, David M via KineJapan > Sent: 24 August 2020 18:33 To: kinejapan at mailman.yale.edu > Cc: Desser, David M > Subject: [KineJapan] I was born but... film gauge Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? Thanks. You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? David -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Subject: Digest Footer _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.proofpoint.com/v2/url?u=https-3A__mailman.yale.edu_mailman_listinfo_kinejapan&d=DwICAg&c=kbmfwr1Yojg42sGEpaQh5ofMHBeTl9EI2eaqQZhHbOU&r=MX2bOaCWmu1NypMrWEZKn545D9E2lCigcxxvg4XUwGs&m=SkJo2chSfGGPg2fVMBL_9u72NASuTRxTsei3fvSfWIA&s=I0gsXkCyhlu8ll9Wygc7UMxH83yDb5PGOkH2nimNE1E&e= ------------------------------ End of KineJapan Digest, Vol 27, Issue 10 ***************************************** -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Tue Aug 25 12:08:56 2020 From: raine.michael.j at gmail.com (Michael Raine) Date: Tue, 25 Aug 2020 11:08:56 -0500 Subject: [KineJapan] I was born but... film gauge In-Reply-To: <520432BE-11FA-4D22-A542-737970F709B2@yale.edu> References: <520432BE-11FA-4D22-A542-737970F709B2@yale.edu> Message-ID: Thank you Aaron for mentioning Yuki Takinami's work comparing the film-within-a-film sequence to Dziga Vertov's Man With a Movie Camera, which was shown in Japan in 1932. Takinami also discusses this in English in his dissertation, "Reflecting Hollywood: Mobility and Lightness in the Early Silent Films of Ozu Yasujiro, 1927-1933", around p. 191. Looking at the thickness and size of the reels, it does look like 16mm to me. Also, I think 9.5mm was shot with film cartridges, wasn't it? There's an image of the projector case in the film but I don't recognize the logo. And when the guy (not Ryu Chishu) holds up the film, I can't see any center sprocket holes. All circumstantial evidence ... Also, it's not canonical but the Matsui Suisei benshi narration on the Shochiku VHS tape talks about the film as 16mm... as a company boss, he can afford it! Michael On Tue, Aug 25, 2020 at 8:53 AM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > Most references I can see in Japanese see this as a 16mm film system. For > instance, Takinami-san?s article is one example: > > http://www.iii.u-tokyo.ac.jp/manage/wp-content/uploads/2016/03/83_3.pdf > > Aaron > > On Aug 24, 2020, at 2:33 PM, Desser, David M via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Can anyone tell me the film gauge of the home-movie in I Was Born But...? > It seems like it's too small for 16mm. Is it 9.5? > > Thanks. > > You can reply to me privately if you'd like: desser at illinois.edu or to > this list in case there is controversy. ? > > David > _______________________________________________ > 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 desser at illinois.edu Tue Aug 25 12:42:46 2020 From: desser at illinois.edu (Desser, David M) Date: Tue, 25 Aug 2020 16:42:46 +0000 Subject: [KineJapan] I was born but... film gauge In-Reply-To: References: , Message-ID: THANKS. I thought it was 9.5, but didn't know the brand. ________________________________ From: KineJapan on behalf of Jasper Sharp via KineJapan Sent: Tuesday, August 25, 2020 2:27 AM To: Japanese Cinema Discussion Forum Cc: Jasper Sharp Subject: Re: [KineJapan] I was born but... film gauge I think the 9.5mm Pathe Baby was the home cinema camera of choice in 1930s Japan. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Desser, David M via KineJapan Sent: 24 August 2020 18:33 To: kinejapan at mailman.yale.edu Cc: Desser, David M Subject: [KineJapan] I was born but... film gauge Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? Thanks. You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? David -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue Aug 25 12:53:44 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 25 Aug 2020 10:53:44 -0600 Subject: [KineJapan] I was born but... film gauge In-Reply-To: References: Message-ID: Path?'s 9.5mm was popular because it was cheap and caught on. But as mentioned, the boss definitely had 16mm?and that meant that he was really monied. It's a small, but important, detail in the film's class discourse. Judging from the shape of the camera and how he's holding it, it's probably a Bell and Howell. But I think Bolex was making cameras with this vertical profile. If you really need to figure it out, there are a lot of crazy camera collector pages out there like this one: https://wichm.home.xs4all.nl/cinelist.html Markus [image: Screen Shot 2020-08-25 at 10.21.29 AM.png] [image: Screen Shot 2020-08-25 at 10.20.12 AM.png] --- *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 Tue, Aug 25, 2020 at 3:28 AM Jasper Sharp via KineJapan < kinejapan at mailman.yale.edu> wrote: > I think the 9.5mm Pathe Baby was the home cinema camera of choice in 1930s > Japan. > > > > *The Creeping Garden *- A Real-Life > Science-Fiction Story about Slime Moulds and the People Who Work With them, directed > by Tim Grabham and Jasper Sharp. > Available now on Dual-Format Blu-ray/DVD from Arrow Films > > . > The book, *The Creeping Garden: Irrational Encounters with Plasmodial > Slime Moulds *is out now from Alchimia Publishing > . > "A surprising investigation of perception, thought and life itself", > Nicolas Rapold, *The New York Times* > > . > "An out-of-left-field nerdy delight", John DeFore, *Hollywood Reporter* > > . > "Strange, eccentric, diverting", Peter Bradshaw, *The Guardian* > > . > > > ------------------------------ > *From:* KineJapan on behalf of > Desser, David M via KineJapan > *Sent:* 24 August 2020 18:33 > *To:* kinejapan at mailman.yale.edu > *Cc:* Desser, David M > *Subject:* [KineJapan] I was born but... film gauge > > Can anyone tell me the film gauge of the home-movie in I Was Born But...? > It seems like it's too small for 16mm. Is it 9.5? > > Thanks. > > You can reply to me privately if you'd like: desser at illinois.edu or to > this list in case there is controversy. ? > > David > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2020-08-25 at 10.20.12 AM.png Type: image/png Size: 789514 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2020-08-25 at 10.21.29 AM.png Type: image/png Size: 1008907 bytes Desc: not available URL: From desser at illinois.edu Tue Aug 25 17:19:27 2020 From: desser at illinois.edu (Desser, David M) Date: Tue, 25 Aug 2020 21:19:27 +0000 Subject: [KineJapan] I was born but... film gauge In-Reply-To: References: , Message-ID: Thanks. That close-up image of the film reel clearly indicates 16mm. It was not necessarily a crucial question, but Markus' point about it being expensive compared to 9.5, for instance, is important. So thanks everyone for the help. Best regards David ________________________________ From: KineJapan on behalf of Markus Nornes via KineJapan Sent: Tuesday, August 25, 2020 9:53 AM To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: Re: [KineJapan] I was born but... film gauge Path?'s 9.5mm was popular because it was cheap and caught on. But as mentioned, the boss definitely had 16mm?and that meant that he was really monied. It's a small, but important, detail in the film's class discourse. Judging from the shape of the camera and how he's holding it, it's probably a Bell and Howell. But I think Bolex was making cameras with this vertical profile. If you really need to figure it out, there are a lot of crazy camera collector pages out there like this one: https://wichm.home.xs4all.nl/cinelist.html Markus [Screen Shot 2020-08-25 at 10.21.29 AM.png] [Screen Shot 2020-08-25 at 10.20.12 AM.png] --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 On Tue, Aug 25, 2020 at 3:28 AM Jasper Sharp via KineJapan > wrote: I think the 9.5mm Pathe Baby was the home cinema camera of choice in 1930s Japan. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan > on behalf of Desser, David M via KineJapan > Sent: 24 August 2020 18:33 To: kinejapan at mailman.yale.edu > Cc: Desser, David M > Subject: [KineJapan] I was born but... film gauge Can anyone tell me the film gauge of the home-movie in I Was Born But...? It seems like it's too small for 16mm. Is it 9.5? Thanks. You can reply to me privately if you'd like: desser at illinois.edu or to this list in case there is controversy. ? David _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2020-08-25 at 10.20.12 AM.png Type: image/png Size: 789514 bytes Desc: Screen Shot 2020-08-25 at 10.20.12 AM.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2020-08-25 at 10.21.29 AM.png Type: image/png Size: 1008907 bytes Desc: Screen Shot 2020-08-25 at 10.21.29 AM.png URL: From sogawa at nagoya-u.jp Tue Aug 25 23:33:53 2020 From: sogawa at nagoya-u.jp (shota ogawa) Date: Wed, 26 Aug 2020 12:33:53 +0900 Subject: [KineJapan] Routledge Handbook of Japanese Cinema Message-ID: Hello everyone We are excited to announce the release of our book, *Routledge Handbook of Japanese Cinema , *to add to this year's already strong line-up of monographs and anthologies in our field! [image: download.jpeg] We want to use this opportunity to thank all our contributors and translators, many of whom are members of this listserv. The cover image is -- in case you're wondering -- a frame enlargement of a 16mm amateur film showing a bustling crowd at an Asakusa box office window circa 1930 (courtesy of George Eastman Museum). In addition to offering a fascinating slice-of-life look, the image nicely captures a special emphasis the volume places on the object life of film. Best wishes Joanne Bernardi and Shota Ogawa __________________ Shota Ogawa ???? Graduate School of Letters Nagoya University Furo-cho, Chikusa-ku Nagoya 464-8601 T. 052-789-2252 Pronouns: he/him/his ------------------------------------ Out now: Routledge Handbook of Japanese Cinema, edited by Joanne Bernardi and Shota T. Ogawa ------------------------------------ -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: download.jpeg Type: image/jpeg Size: 8391 bytes Desc: not available URL: From steven.elworth at gmail.com Tue Aug 25 22:51:29 2020 From: steven.elworth at gmail.com (Steven Elworth) Date: Tue, 25 Aug 2020 22:51:29 -0400 Subject: [KineJapan] I was born but... film gauge In-Reply-To: References: Message-ID: I want to thank everybody of hoe the choice of the equipment tells us about the class of the boss On Tue, Aug 25, 2020 at 7:46 PM Desser, David M via KineJapan < kinejapan at mailman.yale.edu> wrote: > > > > > > > > > > > > > > > Thanks. That close-up image of the film reel clearly indicates 16mm. It > was not necessarily a crucial question, but Markus' point about it being > expensive compared to 9.5, for instance, is important. So thanks everyone > for the help. > > > > > > > > > > > > Best regards > > > > > David > > > > > ------------------------------ > > > *From:* KineJapan on behalf of > Markus Nornes via KineJapan > > > *Sent:* Tuesday, August 25, 2020 9:53 AM > > > *To:* Japanese Cinema Discussion Forum > > > *Cc:* Markus Nornes > > > *Subject:* Re: [KineJapan] I was born but... film gauge > > > > > > > > > > > Path?'s 9.5mm was popular because it was cheap and caught on. > > > > > > > But as mentioned, the boss definitely had 16mm?and that meant that he was > really monied. It's a small, but important, detail in the film's class > discourse. > > > > > > > > Judging from the shape of the camera and how he's holding it, it's > probably a Bell and Howell. But I think Bolex was making cameras with this > vertical profile. > > > > > > > > If you really need to figure it out, there are a lot of crazy > camera collector pages out there like this one: > https://wichm.home.xs4all.nl/cinelist.html > > > > > > > > Markus > > > > > > [image: Screen Shot 2020-08-25 at 10.21.29 AM.png] > > > > > [image: Screen Shot 2020-08-25 at 10.20.12 AM.png] > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > --- > > > > > > > > > > > > > > > > *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 Tue, Aug 25, 2020 at 3:28 AM Jasper Sharp via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > > > > > > > > > I think the 9.5mm Pathe Baby was the home cinema camera of choice in 1930s > Japan. > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > *The Creeping Garden *- A > > Real-Life Science-Fiction Story about Slime Moulds and the People Who Work > With them, directed by Tim Grabham and Jasper Sharp. > > > Available now on Dual-Format Blu-ray/DVD from Arrow > > Films > > . > > > The book, > > *The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds *is out now > from Alchimia > > Publishing . > > > "A surprising investigation of perception, thought and life itself", > Nicolas Rapold, > > *The New York Times* > > . > > > > > "An out-of-left-field nerdy delight", John DeFore, > > *Hollywood Reporter* > > . > > > > > "Strange, > > eccentric, diverting", Peter Bradshaw, > > *The Guardian* > > . > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > > ------------------------------ > > > *From:* KineJapan > > on behalf of Desser, David M via KineJapan > > > *Sent:* 24 August 2020 18:33 > > > *To:* kinejapan at mailman.yale.edu > > > *Cc:* Desser, David M > > > *Subject:* [KineJapan] I was born but... film gauge > > > > > > > > > > > Can anyone tell me the film gauge of the home-movie in I Was Born But...? > It seems like it's too small for 16mm. Is it 9.5? > > > > > > > > > > > > Thanks. > > > > > > > > > > > > You can reply to me privately if you'd like: > > desser at illinois.edu or to this list in case there is controversy. ? > > > > > > > > > > > > David > > > > > > > > > _______________________________________________ > > > 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: -------------- next part -------------- A non-text attachment was scrubbed... Name: Screen Shot 2020-08-25 at 10.20.12 AM.png Type: image/png Size: 789514 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... 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