From lorenzojavier.torres.hortelano at urjc.es Thu Dec 3 15:17:56 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Thu, 3 Dec 2020 20:17:56 +0000 Subject: [KineJapan] =?utf-8?q?Kumonosu-j=C5=8D=2C?= Message-ID: Dear colleagues, I?m writing a paper about Kumonosu-j? and the sinister. I need some recent references to quote in it so, if any of you have written about this film recently, please, let me know. Best regards and keep save! [cid:image001.jpg at 01D6C9B9.C37D7480] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From dr.ds.martin at gmail.com Thu Dec 3 17:00:19 2020 From: dr.ds.martin at gmail.com (Daniel Martin) Date: Fri, 4 Dec 2020 07:00:19 +0900 Subject: [KineJapan] =?utf-8?q?Kumonosu-j=C5=8D=2C?= In-Reply-To: References: Message-ID: Dear Lorenzo, I wrote an article about the subtitling and global distribution of Kurosawa's films a couple of years ago. *Throne of Blood* was the main case study. The article is ?Subtitles and Audiences: The Translation and Global Circulation of the Films of Akira Kurosawa? in the *Journal of Film and Video* 69.2 (Summer 2017). I'd be happy to send a copy if you think it would be useful. Best, Daniel On Fri, 4 Dec 2020 at 05:18, Lorenzo Javier Torres Hortelano via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear colleagues, > > > > I?m writing a paper about *Kumonosu-j?* and the sinister. I need some > recent references to quote in it so, if any of you have written about this > film recently, please, let me know. > > > > Best regards and keep save! > > > > > > *Lorenzo J. Torres Hortelano * > > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > > *Vice-Dean of University Extension and International Relations* > > Profesor Titular/Professor > > Facultad de Ciencias de la Comunicaci?n > > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > > Universidad Rey Juan Carlos > > Edificio de Gesti?n - Decanato > > Camino del Molino s/n, 28943 Fuenlabrada > > +34 91 488 73 11 > > lorenzojavier.torres.hortelano at urjc.es > > gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano > > researchgate.net/profile/Lorenzo_Torres > > > Lorenzo Torres Academia.edu > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Dr. Daniel Martin Associate Professor of Film Studies School of Humanities and Social Sciences Korea Advanced Institute of Science and Technology Daejeon, South Korea Tel: +82 (0)42 350 4634 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: not available URL: From lorenzojavier.torres.hortelano at urjc.es Thu Dec 3 17:43:53 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Thu, 3 Dec 2020 22:43:53 +0000 Subject: [KineJapan] =?utf-8?q?Kumonosu-j=C5=8D=2C?= In-Reply-To: References: Message-ID: Thanks, Daniel, it would be great! [cid:image001.jpg at 01D6C9CE.2827A0E0] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: KineJapan En nombre de Daniel Martin via KineJapan Enviado el: jueves, 3 de diciembre de 2020 23:00 Para: Japanese Cinema Discussion Forum CC: Daniel Martin Asunto: Re: [KineJapan] Kumonosu-j?, Dear Lorenzo, I wrote an article about the subtitling and global distribution of Kurosawa's films a couple of years ago. Throne of Blood was the main case study. The article is ?Subtitles and Audiences: The Translation and Global Circulation of the Films of Akira Kurosawa? in the Journal of Film and Video 69.2 (Summer 2017). I'd be happy to send a copy if you think it would be useful. Best, Daniel On Fri, 4 Dec 2020 at 05:18, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Dear colleagues, I?m writing a paper about Kumonosu-j? and the sinister. I need some recent references to quote in it so, if any of you have written about this film recently, please, let me know. Best regards and keep save! [cid:image001.jpg at 01D6C9CE.2827A0E0] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -- Dr. Daniel Martin Associate Professor of Film Studies School of Humanities and Social Sciences Korea Advanced Institute of Science and Technology Daejeon, South Korea Tel: +82 (0)42 350 4634 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From dm6 at soas.ac.uk Thu Dec 3 18:08:56 2020 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Thu, 3 Dec 2020 23:08:56 +0000 Subject: [KineJapan] =?utf-8?q?Kumonosu-j=C5=8D=2C?= In-Reply-To: References: Message-ID: Hola Lorenzo, I have two articles relating to the film: ?From ?Scottish play to Japanese film? in - September 2018 - Arts 7(3):50 ( https://www.researchgate.net/publication/327566890_From_'Scottish'_Play_to_Japanese_Film_Kurosawa's_Throne_of_Blood ) And a chapter entitled ?Transnational or transcultural: Kurosawa?s Shakespeare adaptations? in a collection edited by Marcos Centeno-Martin available as a download (https://www.mdpi.com/books/pdfdownload/book/2921) and as a hardback book called: *Japan beyond its borders*. And I do mention it in passing in my *Remaking Kurosawa*. I hope that helps, Lola On Thursday, 3 December 2020, Lorenzo Javier Torres Hortelano via KineJapan wrote: > Thanks, Daniel, it would be great! > > > > *Lorenzo J. Torres Hortelano * > > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > > *Vice-Dean of University Extension and International Relations* > > Profesor Titular/Professor > > Facultad de Ciencias de la Comunicaci?n > > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > > Universidad Rey Juan Carlos > > Edificio de Gesti?n - Decanato > > Camino del Molino s/n, 28943 Fuenlabrada > > +34 91 488 73 11 > > lorenzojavier.torres.hortelano at urjc.es > > gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano > > researchgate.net/profile/Lorenzo_Torres > > > Lorenzo Torres Academia.edu > > > > > > *De:* KineJapan * En nombre de *Daniel > Martin via KineJapan > *Enviado el:* jueves, 3 de diciembre de 2020 23:00 > *Para:* Japanese Cinema Discussion Forum > *CC:* Daniel Martin > *Asunto:* Re: [KineJapan] Kumonosu-j?, > > > > Dear Lorenzo, > > > > I wrote an article about the subtitling and global distribution of > Kurosawa's films a couple of years ago. *Throne of Blood* was the main > case study. > > > > The article is ?Subtitles and Audiences: The Translation and Global > Circulation of the Films of Akira Kurosawa? in the *Journal of Film and > Video* 69.2 (Summer 2017). I'd be happy to send a copy if you think it > would be useful. > > > > Best, > > > > Daniel > > > > > > > > On Fri, 4 Dec 2020 at 05:18, Lorenzo Javier Torres Hortelano via KineJapan > wrote: > > Dear colleagues, > > > > I?m writing a paper about *Kumonosu-j?* and the sinister. I need some > recent references to quote in it so, if any of you have written about this > film recently, please, let me know. > > > > Best regards and keep save! > > > > > > *Lorenzo J. Torres Hortelano * > > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > > *Vice-Dean of University Extension and International Relations* > > Profesor Titular/Professor > > Facultad de Ciencias de la Comunicaci?n > > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > > Universidad Rey Juan Carlos > > Edificio de Gesti?n - Decanato > > Camino del Molino s/n, 28943 Fuenlabrada > > +34 91 488 73 11 > > lorenzojavier.torres.hortelano at urjc.es > > gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano > > researchgate.net/profile/Lorenzo_Torres > > > Lorenzo Torres Academia.edu > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > > > -- > > Dr. Daniel Martin > > > > Associate Professor of Film Studies > > School of Humanities and Social Sciences > > Korea Advanced Institute of Science and Technology > > Daejeon, South Korea > > > > Tel: +82 (0)42 350 4634 > -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: not available URL: From lorenzojavier.torres.hortelano at urjc.es Thu Dec 3 18:56:32 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Thu, 3 Dec 2020 23:56:32 +0000 Subject: [KineJapan] =?utf-8?q?Kumonosu-j=C5=8D=2C?= In-Reply-To: References: Message-ID: Hola, Lola! This is perfect. Kurosawa is always captivating? Gracias y abrazos, [cid:image001.jpg at 01D6C9D8.3B0BDB40] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: Dolores Martinez Enviado el: viernes, 4 de diciembre de 2020 0:09 Para: Lorenzo Javier Torres Hortelano ; Japanese Cinema Discussion Forum Asunto: Re: [KineJapan] Kumonosu-j?, Hola Lorenzo, I have two articles relating to the film: ?From ?Scottish play to Japanese film? in ? September 2018 ? Arts 7(3):50 (https://www.researchgate.net/publication/327566890_From_'Scottish'_Play_to_Japanese_Film_Kurosawa's_Throne_of_Blood) And a chapter entitled ?Transnational or transcultural: Kurosawa?s Shakespeare adaptations? in a collection edited by Marcos Centeno-Martin available as a download (https://www.mdpi.com/books/pdfdownload/book/2921) and as a hardback book called: Japan beyond its borders. And I do mention it in passing in my Remaking Kurosawa. I hope that helps, Lola On Thursday, 3 December 2020, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Thanks, Daniel, it would be great! [cid:image001.jpg at 01D6C9D8.3B0BDB40] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: KineJapan > En nombre de Daniel Martin via KineJapan Enviado el: jueves, 3 de diciembre de 2020 23:00 Para: Japanese Cinema Discussion Forum > CC: Daniel Martin > Asunto: Re: [KineJapan] Kumonosu-j?, Dear Lorenzo, I wrote an article about the subtitling and global distribution of Kurosawa's films a couple of years ago. Throne of Blood was the main case study. The article is ?Subtitles and Audiences: The Translation and Global Circulation of the Films of Akira Kurosawa? in the Journal of Film and Video 69.2 (Summer 2017). I'd be happy to send a copy if you think it would be useful. Best, Daniel On Fri, 4 Dec 2020 at 05:18, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Dear colleagues, I?m writing a paper about Kumonosu-j? and the sinister. I need some recent references to quote in it so, if any of you have written about this film recently, please, let me know. Best regards and keep save! [cid:image001.jpg at 01D6C9D8.3B0BDB40] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -- Dr. Daniel Martin Associate Professor of Film Studies School of Humanities and Social Sciences Korea Advanced Institute of Science and Technology Daejeon, South Korea Tel: +82 (0)42 350 4634 -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From bhartzheim at gmail.com Fri Dec 4 03:16:26 2020 From: bhartzheim at gmail.com (Bryan Hartzheim) Date: Fri, 4 Dec 2020 17:16:26 +0900 Subject: [KineJapan] =?utf-8?q?CFP_=22Suspensions_of_Concentration=3A_Kim?= =?utf-8?q?etsu_no_yaiba_and_Blockbuster_in_the_Year_of_the_Global_?= =?utf-8?b?UGFuZGVtaWPigJ0gKE1hci4gMTUsIDIwMjEp?= Message-ID: Hello KineJapaners, We're holding an online spiritual sequel to our anime symposium at Waseda last year, updated for Covid and the biggest Japanese film hit of the year (ever?). Please see the CFP below if you're interested. Best wishes, Bryan Hikari Hartzheim Assistant Professor School of International Liberal Studies Waseda University --- *The Waseda Symposium on **????* *CALL FOR PAPERS* Title: ?Suspensions of Concentration: *Kimetsu no yaiba* and Blockbuster in the Year of the Global Pandemic? Date and Time: 15 March 2021 (09:30?17:30 JST) Place and Format: Online/Webinar The research project ?Location of Anime: Institutions, Disciplines, and Fields? was originally planned as an international symposium/seminar at Waseda University?s Brussels Office in collaboration with its partner institution, the Universit? Libre de Bruxelles (ULB) in Fall 2020. Unfortunately, we had no choice but to cancel the event due to COVID-19. In the beginning, there was no plan to hold any alternative event online because we were too exhausted from a seemingly endless series of Zoom meetings and other online affairs. While contemplating the discontinuation of the project for good, a blockbuster anime movie was released in the midst of the coronavirus pandemic. ?????????????? or *Demon Slayer the Movie: Mugen Train* was first shown on October 16, 2020, and as of this writing, it is the second highest-grossing film in Japan ever. Regardless of whether it surpasses the number one film *Spirited Away* or not, the significance of *Demon Slayer the Movie *is undeniable. Intrigued by both the film itself and the wide-ranging social phenomena it has created, we have decided to reorganize the original project by focusing on *Kimetsu no yaiba *or *Demon Slayer*. The main objective of our project remains the same, i.e., the investigation of the location of anime. This one-day online symposium is an attempt to accomplish this objective by exploring a wide range of issues that are concretely related to *Kimetsu* *no yaiba *yet have implications beyond the single media franchise. The following are examples of possible topics for presentations and discussions: the anime industry and media mix, fan culture, cosplay and social media, anime songs and music, voice acting and actors, genre systems, intertextuality, action and spectacle, speed and kinetic dynamism, narrative motifs, iconography, visual style, historical imagination, the political unconscious, affect, violence, censorship, gender and authorship, transnational reception and consumption, labor and marketing, COVID-19 and the culture industry, etc. By scrutinizing *Kimetsu no yaiba* in relation to these and other issues, we will collectively reflect on the location of anime in its broadest sense. We invite papers that critically discuss any aspects of the *Kimetsu* phenomena including?but not limited to?the list of topics mentioned above. Please send a paper title, an abstract of approximately 250 words, and a short bio to wasedakimetsu at gmail.com by *January 9, 2021*. Organizers: Mitsuhiro Yoshimoto (Waseda University) Bryan Hartzheim (Waseda University) This symposium is generously supported by Waseda University?s grant for international research collaboration, Waseda Brussels Office, and the Graduate School of International Culture and Communication Studies. -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Mon Dec 7 00:34:29 2020 From: raine.michael.j at gmail.com (Michael Raine) Date: Sun, 6 Dec 2020 23:34:29 -0600 Subject: [KineJapan] New Publication: The Culture of the Sound Image in Prewar Japan Message-ID: Johan Nordstr?m and I are pleased to announce the publication of *The Culture of the Sound Image in Prewar Japan*, an anthology on the transition to sound in Japanese cinema. We're fortunate to have some terrific contributions from established and emerging Japanese scholars of the period. It's expensive but I hope the book can find its way into libraries and some personal collections. I've pasted the table of contents below. The Culture of the Sound Image in Prewar Japan Table of Contents Introduction / Michael Raine and Johan Nordstr?m 1. A Genealogy of kouta eiga: Silent Moving Pictures with Sound / Sasagawa Keiko 2. Katsutaro's Trilogy: Popular Song and Film in the Transitional Era from Silent Film to the Talkie / Hosokawa Shuhei 3. Japanese Cinema and the Radio: The Sound Space of Unseen Cinema / Niita Chie 4. Architecture of Sound: The Modernization of Cinematic Space in Japan / Ueda Manabu 5. 'No Interpreter, Full Volume': the Benshi and the Sound Transition in 1930s Japan / Michael Raine 6. The Image of the Modern Talkie Film Studio: Aesthetics and Technology at P.C.L. / Johan Nordstr?m 7. The Dawn of the Talkies in Japan: Mizoguchi Kenji's Hometown / Nagato Yohei 8. The Early talkie frame in Japanese cinema / Itakura Fumiaki Index The publisher's page is at: https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan There's a link on that page to a flyer and a pdf of the introductory chapter, which I've also attached to this email. If you know anyone who would be interested, please let them know! The book is available to order at: https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan ; and in the US at: http://shop.btpubservices.com/Title/9789089647733. There's a 20% off code that can be used at checkout: Pub_SoundImage. Best, Michael Raine, Western University, Canada co-editor, Journal of Japanese and Korean Cinema -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Culture of the Sound Image in Prewar Japan_ToC+Intro.pdf Type: application/pdf Size: 785916 bytes Desc: not available URL: From macyroger at yahoo.co.uk Tue Dec 8 10:52:24 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Tue, 8 Dec 2020 15:52:24 +0000 (UTC) Subject: [KineJapan] New Publication: The Culture of the Sound Image in Prewar Japan In-Reply-To: References: Message-ID: <2099094338.10869364.1607442744227@mail.yahoo.com> Thank you Michael and Johan. It sounds terrific and, for me,essential. Thank you for enriching the literature. My winter fuel allowancewill just have to be re-prioritised ;>) Roger On Monday, 7 December 2020, 18:11:33 GMT, Michael Raine via KineJapan wrote: Johan Nordstr?mand I are pleased to announce the publication of The Culture of the Sound Image in Prewar Japan, an anthology on the transition to sound in Japanese cinema. We're fortunate to have some terrific contributions from established and emerging Japanese scholars of the period. It's expensive but I hope the book can find its way into libraries and some personal collections.I've pasted the table of contents below.? The Culture of the Sound Image in Prewar Japan Table of Contents Introduction / Michael Raine and Johan Nordstr?m 1. A Genealogy of kouta eiga: Silent Moving Pictures with Sound / Sasagawa Keiko 2. Katsutaro's Trilogy: Popular Song and Film in the Transitional Era from Silent Film to the Talkie / Hosokawa Shuhei 3. Japanese Cinema and the Radio: The Sound Space of Unseen Cinema / Niita Chie 4. Architecture of Sound: The Modernization of Cinematic Space in Japan / Ueda Manabu 5. 'No Interpreter, Full Volume': the Benshi and the Sound Transition in 1930s Japan / Michael Raine 6. The Image of the Modern Talkie Film Studio: Aesthetics and Technology at P.C.L. / Johan Nordstr?m 7. The Dawn of the Talkies in Japan: Mizoguchi Kenji's Hometown / Nagato Yohei 8. The Early talkie frame in Japanese cinema / Itakura Fumiaki Index The publisher's page is at: https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan There's a link?on that page to a flyer and a pdf of the introductory chapter, which I've also attached to this email. If you know anyone who would be interested, please let them know! The book is available to order?at:https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan;?and in the US at:http://shop.btpubservices.com/Title/9789089647733.?There's a 20% off code that can be used at checkout:?Pub_SoundImage.?? Best, Michael Raine, Western University, Canadaco-editor, Journal of Japanese and Korean Cinema _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Tue Dec 8 12:54:55 2020 From: raine.michael.j at gmail.com (Michael Raine) Date: Tue, 8 Dec 2020 11:54:55 -0600 Subject: [KineJapan] New Publication: The Culture of the Sound Image in Prewar Japan In-Reply-To: <2099094338.10869364.1607442744227@mail.yahoo.com> References: <2099094338.10869364.1607442744227@mail.yahoo.com> Message-ID: Hello Roger, Thank you so much! Please don't spend your fuel bill on the book though! Amsterdam allows open access after a year or two. If you really can't wait I could send you a late pdf, sub rosa. I'd be grateful if you could promote the book to local libraries! Best wishes, Michael On Tue, Dec 8, 2020 at 9:52 AM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > Thank you Michael and Johan. It sounds terrific and, for me, essential. > Thank you for enriching the literature. My winter fuel allowance will just > have to be re-prioritised ;>) > Roger > > On Monday, 7 December 2020, 18:11:33 GMT, Michael Raine via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Johan Nordstr?m and I are pleased to announce the publication of *The > Culture of the Sound Image in Prewar Japan*, an anthology on the > transition to sound in Japanese cinema. We're fortunate to have some > terrific contributions from established and emerging Japanese scholars of > the period. It's expensive but I hope the book can find its way into > libraries and some personal collections. I've pasted the table of contents > below. > > The Culture of the Sound Image in Prewar Japan > Table of Contents > > Introduction / Michael Raine and Johan Nordstr?m > 1. A Genealogy of kouta eiga: Silent Moving Pictures with Sound / Sasagawa > Keiko > 2. Katsutaro's Trilogy: Popular Song and Film in the Transitional Era from > Silent Film to the Talkie / Hosokawa Shuhei > 3. Japanese Cinema and the Radio: The Sound Space of Unseen Cinema / Niita > Chie > 4. Architecture of Sound: The Modernization of Cinematic Space in Japan / > Ueda Manabu > 5. 'No Interpreter, Full Volume': the Benshi and the Sound Transition in > 1930s Japan / Michael Raine > 6. The Image of the Modern Talkie Film Studio: Aesthetics and Technology > at P.C.L. / Johan Nordstr?m > 7. The Dawn of the Talkies in Japan: Mizoguchi Kenji's Hometown / Nagato > Yohei > 8. The Early talkie frame in Japanese cinema / Itakura Fumiaki > Index > > The publisher's page is at: > > https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan > There's a link on that page to a flyer and a pdf of the introductory > chapter, which I've also attached to this email. If you know anyone who > would be interested, please let them know! > > The book is available to order at: > > https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan > ; > and in the US at: > http://shop.btpubservices.com/Title/9789089647733. > There's a 20% off code that can be used at checkout: Pub_SoundImage. > > Best, > > Michael Raine, Western University, Canada > co-editor, Journal of Japanese and Korean Cinema > > > > _______________________________________________ > 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 eija at helsinkicineaasia.fi Tue Dec 8 14:36:37 2020 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Tue, 8 Dec 2020 21:36:37 +0200 Subject: [KineJapan] New Publication: The Culture of the Sound Image in Prewar Japan In-Reply-To: References: <2099094338.10869364.1607442744227@mail.yahoo.com> Message-ID: Hi! I already promoted your book to Finland National Audiovisual INstitute library. They usually order all books that their regular customers recommend. Maybe I could get the PDF as well as reward? Eija Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 ti 8. jouluk. 2020 klo 19.55 Michael Raine via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > Hello Roger, > > Thank you so much! Please don't spend your fuel bill on the book though! > Amsterdam allows open access after a year or two. If you really can't wait > I could send you a late pdf, sub rosa. I'd be grateful if you could promote > the book to local libraries! > > Best wishes, > > Michael > > On Tue, Dec 8, 2020 at 9:52 AM Roger Macy via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Thank you Michael and Johan. It sounds terrific and, for me, essential. >> Thank you for enriching the literature. My winter fuel allowance will just >> have to be re-prioritised ;>) >> Roger >> >> On Monday, 7 December 2020, 18:11:33 GMT, Michael Raine via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >> >> Johan Nordstr?m and I are pleased to announce the publication of *The >> Culture of the Sound Image in Prewar Japan*, an anthology on the >> transition to sound in Japanese cinema. We're fortunate to have some >> terrific contributions from established and emerging Japanese scholars of >> the period. It's expensive but I hope the book can find its way into >> libraries and some personal collections. I've pasted the table of contents >> below. >> >> The Culture of the Sound Image in Prewar Japan >> Table of Contents >> >> Introduction / Michael Raine and Johan Nordstr?m >> 1. A Genealogy of kouta eiga: Silent Moving Pictures with Sound / >> Sasagawa Keiko >> 2. Katsutaro's Trilogy: Popular Song and Film in the Transitional Era >> from Silent Film to the Talkie / Hosokawa Shuhei >> 3. Japanese Cinema and the Radio: The Sound Space of Unseen Cinema / >> Niita Chie >> 4. Architecture of Sound: The Modernization of Cinematic Space in Japan / >> Ueda Manabu >> 5. 'No Interpreter, Full Volume': the Benshi and the Sound Transition in >> 1930s Japan / Michael Raine >> 6. The Image of the Modern Talkie Film Studio: Aesthetics and Technology >> at P.C.L. / Johan Nordstr?m >> 7. The Dawn of the Talkies in Japan: Mizoguchi Kenji's Hometown / Nagato >> Yohei >> 8. The Early talkie frame in Japanese cinema / Itakura Fumiaki >> Index >> >> The publisher's page is at: >> >> https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan >> There's a link on that page to a flyer and a pdf of the introductory >> chapter, which I've also attached to this email. If you know anyone who >> would be interested, please let them know! >> >> The book is available to order at: >> >> https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan >> ; >> and in the US at: >> http://shop.btpubservices.com/Title/9789089647733. >> There's a 20% off code that can be used at checkout: Pub_SoundImage. >> >> Best, >> >> Michael Raine, Western University, Canada >> co-editor, Journal of Japanese and Korean Cinema >> >> >> >> _______________________________________________ >> 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Wed Dec 9 19:47:20 2020 From: nornes at umich.edu (Markus Nornes) Date: Wed, 9 Dec 2020 19:47:20 -0500 Subject: [KineJapan] Shochiku at 100 Message-ID: Shochiku has a website with 100 films selected by prominent people in cinema and the arts, including a handful of people on our list. Each writes a few words on their favorite Shochiku film. They're fun. Check it out: https://movies.shochiku.co.jp/100th/ 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 aaron.gerow at yale.edu Fri Dec 11 10:10:53 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 11 Dec 2020 10:10:53 -0500 Subject: [KineJapan] Komatsu Masao Message-ID: <1AA03A38-2F2E-4A10-8E55-B1249879DEAC@yale.edu> The comedian and actor Komatsu Masao has died of hepatocellular carcinoma at the age of 78. Born in Fukuoka, he came to Tokyo and famously started working as the attendant for Ueki Hitoshi of the Crazy Cats. That led to his debut a comedian, eventually earning nationwide fame, particularly from the 1970s in a series of TV shows where he thought up gags and comic songs that were loved by millions. He worked a lot with Ito Shiro in the 1970s and with Tamori in the 1980s. He also acted in many films and movies, including serious roles in films like Furuhata Yasuo's Station and Kurosawa Kiyoshi's Journey to the Shore. NHK broadcast a TV drama in 2017 based on Komatsu's early relationship with Ueki, with Shison Jun playing Komatsu. https://www.jiji.com/jc/article?k=2020121100972&g=soc 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 Mon Dec 14 14:38:51 2020 From: timiles2003 at yahoo.com (Tim Iles) Date: Mon, 14 Dec 2020 19:38:51 +0000 (UTC) Subject: [KineJapan] New content on the ejcjs References: <863506344.355747.1607974731592.ref@mail.yahoo.com> Message-ID: <863506344.355747.1607974731592@mail.yahoo.com> The electronic journal of contemporary japanese studies is very pleased to announce the publication of Volume 20, Issue 3, available at: http://www.japanesestudies.org.uk/ejcjs/vol20/iss3/index.html The table of contents is: Peer-reviewed articles Kelly Hansen: The Little Girl in the Red Shoes: Nostalgia, Memory and the Growth of a Narrative Yuko Kawanishi: Sh?katsu utsu, the Psychological Toll of Job-Hunting in Japan Maciej Pletnia: Internal pressure?Japan War-Bereaved Families Association and Its Influence on Japanese Politics of Memory Anthony Rausch: Japan?s Regional Think Tanks: A Hidden Sector of Significant (Research) Potential Book Reviews Patrick Foss: Traveling Across Time and Culture, a review of Alan Booth, This Great Stage of Fools Discussion Papers Verina Gfader: Talk Geometries: Towards Anime?s sensorial vocabularies; supplement: fragments from Tranquil hills fragile apparatus Translations Yukiko Shigeto: "Wildfire" by Tsushima Yuko As ever, many thanks to our contributors, our readers and our global team of volunteers. Best, Timothy Iles General Editor, the ejcjs From aaron.gerow at yale.edu Fri Dec 25 17:09:20 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 25 Dec 2020 17:09:20 -0500 Subject: [KineJapan] Happy holidays! Message-ID: <8AB67A9F-5B61-4152-A56E-C3102D241D60@yale.edu> This is just wishing all of the members of KineJapan a happy holiday season. It?s been a tough year for many of us, and for many in the Japanese film industry, but it has also seen one of the biggest hits in Japanese movie history. Even in these times, everyone need a good movie. Best wishes to all and stay safe! Aaron Gerow KineJapan owner Professor Film and Media Studies Program/East Asian Languages and Literatures Yale University KineJapan: https://mailman.yale.edu/mailman/listinfo/kinejapan Kinema Club: http://kinemaclub.org/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From odoriko21 at gmail.com Fri Dec 25 18:24:22 2020 From: odoriko21 at gmail.com (LCE) Date: Fri, 25 Dec 2020 18:24:22 -0500 Subject: [KineJapan] Happy holidays! In-Reply-To: <8AB67A9F-5B61-4152-A56E-C3102D241D60@yale.edu> References: <8AB67A9F-5B61-4152-A56E-C3102D241D60@yale.edu> Message-ID: Thanks Aaron. Wishing the same to you and your family. I just saw Kurosawa Kiyoshi's new film and want to go to Uzbekistan! On Fri, Dec 25, 2020 at 5:09 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > This is just wishing all of the members of KineJapan a happy holiday > season. It?s been a tough year for many of us, and for many in the Japanese > film industry, but it has also seen one of the biggest hits in Japanese > movie history. Even in these times, everyone need a good movie. > > Best wishes to all and stay safe! > > > Aaron Gerow > KineJapan owner > > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Yale University > > KineJapan: https://mailman.yale.edu/mailman/listinfo/kinejapan > Kinema Club: http://kinemaclub.org/ > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From mekerpan2 at gmail.com Fri Dec 25 18:40:31 2020 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Fri, 25 Dec 2020 18:40:31 -0500 Subject: [KineJapan] Happy holidays! In-Reply-To: <8AB67A9F-5B61-4152-A56E-C3102D241D60@yale.edu> References: <8AB67A9F-5B61-4152-A56E-C3102D241D60@yale.edu> Message-ID: One of the most amazing anime series of the season, the Sleepy Princess in the Demon Castle, ended its run with an awesome Christmas episode. If one has access to Funimation, I highly recommend this. This is, perhaps, the only animated series I've encountered that I can compare to Pinky and the Brain at its best (though its heroine bears some similarities to Dot Warner from the Animaniacs). It has a comparable level of inventive and intelligent -- and totally crazed -- humor. Merry Christmas to all! Michael Kerpan Boston On Fri, Dec 25, 2020 at 5:09 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > This is just wishing all of the members of KineJapan a happy holiday > season. It?s been a tough year for many of us, and for many in the Japanese > film industry, but it has also seen one of the biggest hits in Japanese > movie history. Even in these times, everyone need a good movie. > > Best wishes to all and stay safe! > > > Aaron Gerow > KineJapan owner > > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Yale University > > KineJapan: https://mailman.yale.edu/mailman/listinfo/kinejapan > Kinema Club: http://kinemaclub.org/ > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From annekmcknight at gmail.com Fri Dec 25 22:28:02 2020 From: annekmcknight at gmail.com (Anne McKnight) Date: Fri, 25 Dec 2020 19:28:02 -0800 Subject: [KineJapan] Use of memoir in film histories Message-ID: Greetings all, and happiest of holidays~ I am reading a handful of memoirs of female documentarists at the moment?by women who all debuted in the early 1950s, and wrote memoirs late in life. I think this mode of writing (memoir) used to be common, but I can?t remember many male directors doing so once you get into the nouvelle vague era (?shima Nagisa would be an exception here, with his multiple volumes of memoir; also, Wakamatsu K?ji). This just struck me as interesting, given the awareness of this generation of historical meta-narratives and one?s place in it?war, the Sh?wa era, etc. And memoirs are common in literary figures of the time, seen pegged to ?large? histories. ( My Sh?wa by Yasuoka Sh?tar? is one such highly crafted memoir, discussed by Kendall Heitzman in his recent book). In the case of the female directors?Nakamura Rinko, Okano Kaoruko, Haneda Sumiko, and Atsugi Taka?all of them did write and publish, and all stressed the micro-politics of labor relation on the set and in the companies they worked for. (Basically all the postwar doc directors employed at studios except for Tokieda Toshie, and not Tanaka Kinuyo or Sakane Takuzo). The science film directors? memoirs is the niche I am especially interested in. Though Haneda branched out and Okano ultimately quit, and Nakamura went freelance after a number of years, the science film is extensively covered in each memoir as a privileged stage or pivot. So, I am wondering what elements to take into consideration if they might be called a small cluster, a sub-genre, when reading them as they articulate the relation between life and work ?time of debut, position in the industry, wartime experience (related to debut and corporate role), gender, other media and genres of self-expression available overall and to each person. (Literary critic Hibi Yoshitaka has a nice phrase ?the distributed self? [or ?I", I can?t remember, but you get the point]). Basically, why they all waited to write and publish memoirs, when the male nouvelle directors seemed to opt out of the genre and to take up a different array of ?I?-media in real time. Beginning with the nouvelle vague people (and slightly earlier, in at least one interesting account I can think of), the concepts of humanism were challenged, and the debates on subjectivity and filmmaking put forth a number of ways of thinking about the role of critique, complicating ?naive? readings of individual action and relation with institutions. They had many critiques of ?expression.? TV, of course, would made put first-person critiques accessible in the 1950s. On top of that, all kinds of essays and zadankai and taidans contain elements one could consider memoir-like (with all of the performativities specific to these venues, which are probably different in a memoir). The emphasis on life experience how it is narrated, figured, vis-a-vis one?s relation to various histories (labor, production, etc.) is what I guess I am trying to frame. I would be very curious for any thoughts about this genre of memoir and its obsolescence, or major ones I might have forgotten, whether independent or in the studio system (like Kurosawa Akira). Thanks! Anne -------------- next part -------------- An HTML attachment was scrubbed... URL: From joanne.bernardi at rochester.edu Sat Dec 26 06:20:01 2020 From: joanne.bernardi at rochester.edu (Bernardi, Joanne) Date: Sat, 26 Dec 2020 11:20:01 +0000 Subject: [KineJapan] Use of memoir in film histories Message-ID: This is a an intriguing subject for so many reasons--thanks, Anne, for sharing insight to your research. It got me thinking about the many forms that can fit under the generous umbrella of the term ?memoir,? as you also point out. The first two film directors that come to mind that might be relevant to your question are Itami J?z? (with his various ?[X] no nikki? books and ?Making of? films: he clearly enjoyed sharing his work process), and then for major studio directors, Ozu Yasujir?. Thinking about the possible differences between these two alone raises questions: Itami?s purpose was to share the process with the broadest audience possible (both by way of print publication and the ?Making of? format ), but Ozu?s published ?nikki? are so different by comparison, if we factor in motivation, purpose, and intent. Straying from the role of director, I can think of individuals who published about their work process, with intriguing differences: cameraman Miyagawa Kazuo?s Kyameraman ichidai and a couple of books by screenwriter Yoda Yoshikata. Ozu, Miyagawa, Yoda?these are all people who lived, worked, and are arguably still strongly identified with 1950s canonical works, but Itami is a notable exception. All the best to everyone for a better year (or better proximity at least) in 2021. Joanne Date: Fri, 25 Dec 2020 19:28:02 -0800 From: Anne McKnight > To: Japanese Cinema Discussion Forum > Subject: [KineJapan] Use of memoir in film histories Greetings all, and happiest of holidays~ I am reading a handful of memoirs of female documentarists at the moment?by women who all debuted in the early 1950s, and wrote memoirs late in life. I think this mode of writing (memoir) used to be common, but I can?t remember many male directors doing so once you get into the nouvelle vague era (?shima Nagisa would be an exception here, with his multiple volumes of memoir; also, Wakamatsu K?ji). This just struck me as interesting, given the awareness of this generation of historical meta-narratives and one?s place in it?war, the Sh?wa era, etc. And memoirs are common in literary figures of the time, seen pegged to ?large? histories. ( My Sh?wa by Yasuoka Sh?tar? is one such highly crafted memoir, discussed by Kendall Heitzman in his recent book). In the case of the female directors?Nakamura Rinko, Okano Kaoruko, Haneda Sumiko, and Atsugi Taka?all of them did write and publish, and all stressed the micro-politics of labor relation on the set and in the companies they worked for. (Basically all the postwar doc directors employed at studios except for Tokieda Toshie, and not Tanaka Kinuyo or Sakane Takuzo). The science film directors? memoirs is the niche I am especially interested in. Though Haneda branched out and Okano ultimately quit, and Nakamura went freelance after a number of years, the science film is extensively covered in each memoir as a privileged stage or pivot. So, I am wondering what elements to take into consideration if they might be called a small cluster, a sub-genre, when reading them as they articulate the relation between life and work ?time of debut, position in the industry, wartime experience (related to debut and corporate role), gender, other media and genres of self-expression available overall and to each person. (Literary critic Hibi Yoshitaka has a nice phrase ?the distributed self? [or ?I", I can?t remember, but you get the point]). Basically, why they all waited to write and publish memoirs, when the male nouvelle directors seemed to opt out of the genre and to take up a different array of ?I?-media in real time. Beginning with the nouvelle vague people (and slightly earlier, in at least one interesting account I can think of), the concepts of humanism were challenged, and the debates on subjectivity and filmmaking put forth a number of ways of thinking about the role of critique, complicating ?naive? readings of individual action and relation with institutions. They had many critiques of ?expression.? TV, of course, would made put first-person critiques accessible in the 1950s. On top of that, all kinds of essays and zadankai and taidans contain elements one could consider memoir-like (with all of the performativities specific to these venues, which are probably different in a memoir). The emphasis on life experience how it is narrated, figured, vis-a-vis one?s relation to various histories (labor, production, etc.) is what I guess I am trying to frame. I would be very curious for any thoughts about this genre of memoir and its obsolescence, or major ones I might have forgotten, whether independent or in the studio system (like Kurosawa Akira). Thanks! Anne -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Dec 26 14:42:53 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 26 Dec 2020 14:42:53 -0500 Subject: [KineJapan] Documentary on the storm damage at Kawasaki City Museum Message-ID: <2BC382ED-B130-4CA5-8C08-FD8E7973DEF0@yale.edu> The Kawasaki City Museum has uploaded a 40 minute documentary detailing their efforts to rescue the items in their collection that were damaged when a typhoon flooded all their storage vaults in October 2019. 20:50 to 26:50 in particular covers the state of the vaults for manga and film, as well as some of the early efforts to rescue the films. https://youtu.be/r35s1W1UQxo It is painful to watch, especially as you see the state of some of the films?some of which are the negatives. 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 jmthfrsa at gmail.com Sun Dec 27 06:42:21 2020 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Sun, 27 Dec 2020 12:42:21 +0100 Subject: [KineJapan] Documentary on the storm damage at Kawasaki City Museum In-Reply-To: <2BC382ED-B130-4CA5-8C08-FD8E7973DEF0@yale.edu> References: <2BC382ED-B130-4CA5-8C08-FD8E7973DEF0@yale.edu> Message-ID: Painful ! What a pity ! Jacline Le sam. 26 d?c. 2020 ? 20:43, Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > The Kawasaki City Museum has uploaded a 40 minute documentary detailing > their efforts to rescue the items in their collection that were damaged > when a typhoon flooded all their storage vaults in October 2019. 20:50 to > 26:50 in particular covers the state of the vaults for manga and film, as > well as some of the early efforts to rescue the films. > > https://youtu.be/r35s1W1UQxo > > It is painful to watch, especially as you see the state of some of the > films?some of which are the negatives. > > > 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 aaron.gerow at yale.edu Sun Dec 27 23:48:01 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 27 Dec 2020 23:48:01 -0500 Subject: [KineJapan] Demon Slayer now number 1 film of all time Message-ID: According to news reports, Demon Slayer: Mugen Train has now surpassed Miyazaki Hayao's Spirited Away to become the top grossing film of all time at the Japanese box office. I think that in the future there will be a lot of discussion not only of this series, but of why this film did so well during a pandemic that suppressed filmgoing worldwide. https://www.animenewsnetwork.com/news/2020-12-27/demon-slayer-kimetsu-no-yaiba-film-overtakes-spirited-away-as-no.1-film-ever-in-japan/.167920 https://www.nikkansports.com/entertainment/news/202012280000250.html But does anyone want to offer some theories now? 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 reavolution at gmail.com Mon Dec 28 06:59:18 2020 From: reavolution at gmail.com (Rea Amit) Date: Mon, 28 Dec 2020 05:59:18 -0600 Subject: [KineJapan] Demon Slayer now number 1 film of all time In-Reply-To: References: Message-ID: Reasons for a given work's popularity are always speculative. Toho producer Ichikawa Minami told the Asahi that because people spend more time at home they read more manga, watch more anime, and that Demon Slayer caters, like Spirited Away, to both adults and children. In addition to his questionable remarks about the Japanese penchant for themes of friendship and family, he also points out that because of the pandemic there was less competition from Hollywood, but perhaps the film succeeds despite covid, and not thanks to it. https://www.asahi.com/articles/ASNDX52SLNDPUCVL016.html Me and my elementary school daughters can't wait to watch it already! Yoi o toshi o Rea On Sun, Dec 27, 2020 at 10:48 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > According to news reports, Demon Slayer: Mugen Train has now surpassed > Miyazaki Hayao's Spirited Away to become the top grossing film of all time > at the Japanese box office. I think that in the future there will be a lot > of discussion not only of this series, but of why this film did so well > during a pandemic that suppressed filmgoing worldwide. > > > https://www.animenewsnetwork.com/news/2020-12-27/demon-slayer-kimetsu-no-yaiba-film-overtakes-spirited-away-as-no.1-film-ever-in-japan/.167920 > https://www.nikkansports.com/entertainment/news/202012280000250.html > > But does anyone want to offer some theories now? > > 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 azahlten at fas.harvard.edu Mon Dec 28 11:33:01 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Mon, 28 Dec 2020 16:33:01 +0000 Subject: [KineJapan] Use of memoir in film histories In-Reply-To: References: Message-ID: <00ABE8FE-BF01-4E4F-9C47-1675F1521A38@fas.harvard.edu> Hi Anne, What a great topic! My immediate thought on the ?obsolescence? of this genre/subgenre is along the lines of what you mention ? it really comes down to what one bills as a memoir (though it is probably exactly relevant if the ones producing it understand the work in that way). Can you say a bit more about your focus on nouvelle vague? Since it is arguably is a tiny part of the mainstream film industry, looking beyond it (and the immediate definition of memoir)will show up more (as you?re already doing with Haneda, Atsugi, etc.); there are the industry figures like Okura Mitsugi (apparently full of fabrications) or Toei?s Okawa Hiroshi, or even Uchida Masaru (of Shonen Magajin, important for the early manga-animation tie-ups); later on pink film?s Hamano Sachi or Nishihara Giichi (see Kim Icreverzi?s excellent thesis for more on the former; the latter is a kind of interview/memoir mashup) are some examples. Scriptwriters are quite active as well (e.g. Katsura Chiho, in a kind of memoir/essay hybrid, similar to Yamagiwa Eizo). I assume there are quite a few written by actors/actresses. It?s difficult to say without actually doing a systematic count, but my sense would also, as you already say, be that generally there is a generational cut-off point after which these publications become less common ? I?m less certain it has to do with specific discourses circulating in the ?high-culture? end of the film industry, maybe that is also symptomatic of broader shifts? I don?t have a good explanation though. Apologies for the haphazard reply ? again, a terrific topic, I hope you decide to write on this! Alex From: KineJapan on behalf of Anne McKnight via KineJapan Reply-To: Japanese Cinema Discussion Forum Date: Friday, December 25, 2020 at 22:28 To: Japanese Cinema Discussion Forum Cc: Anne McKnight Subject: [KineJapan] Use of memoir in film histories Greetings all, and happiest of holidays~ I am reading a handful of memoirs of female documentarists at the moment?by women who all debuted in the early 1950s, and wrote memoirs late in life. I think this mode of writing (memoir) used to be common, but I can?t remember many male directors doing so once you get into the nouvelle vague era (?shima Nagisa would be an exception here, with his multiple volumes of memoir; also, Wakamatsu K?ji). This just struck me as interesting, given the awareness of this generation of historical meta-narratives and one?s place in it?war, the Sh?wa era, etc. And memoirs are common in literary figures of the time, seen pegged to ?large? histories. ( My Sh?wa by Yasuoka Sh?tar? is one such highly crafted memoir, discussed by Kendall Heitzman in his recent book). In the case of the female directors?Nakamura Rinko, Okano Kaoruko, Haneda Sumiko, and Atsugi Taka?all of them did write and publish, and all stressed the micro-politics of labor relation on the set and in the companies they worked for. (Basically all the postwar doc directors employed at studios except for Tokieda Toshie, and not Tanaka Kinuyo or Sakane Takuzo). The science film directors? memoirs is the niche I am especially interested in. Though Haneda branched out and Okano ultimately quit, and Nakamura went freelance after a number of years, the science film is extensively covered in each memoir as a privileged stage or pivot. So, I am wondering what elements to take into consideration if they might be called a small cluster, a sub-genre, when reading them as they articulate the relation between life and work ?time of debut, position in the industry, wartime experience (related to debut and corporate role), gender, other media and genres of self-expression available overall and to each person. (Literary critic Hibi Yoshitaka has a nice phrase ?the distributed self? [or ?I", I can?t remember, but you get the point]). Basically, why they all waited to write and publish memoirs, when the male nouvelle directors seemed to opt out of the genre and to take up a different array of ?I?-media in real time. Beginning with the nouvelle vague people (and slightly earlier, in at least one interesting account I can think of), the concepts of humanism were challenged, and the debates on subjectivity and filmmaking put forth a number of ways of thinking about the role of critique, complicating ?naive? readings of individual action and relation with institutions. They had many critiques of ?expression.? TV, of course, would made put first-person critiques accessible in the 1950s. On top of that, all kinds of essays and zadankai and taidans contain elements one could consider memoir-like (with all of the performativities specific to these venues, which are probably different in a memoir). The emphasis on life experience how it is narrated, figured, vis-a-vis one?s relation to various histories (labor, production, etc.) is what I guess I am trying to frame. I would be very curious for any thoughts about this genre of memoir and its obsolescence, or major ones I might have forgotten, whether independent or in the studio system (like Kurosawa Akira). Thanks! Anne -------------- next part -------------- An HTML attachment was scrubbed... URL: From pieter-janvanhaecke at hotmail.com Mon Dec 28 20:48:31 2020 From: pieter-janvanhaecke at hotmail.com (Pieter-Jan Van Haecke) Date: Tue, 29 Dec 2020 01:48:31 +0000 Subject: [KineJapan] Demon Slayer now number 1 film of all time In-Reply-To: References: Message-ID: Hello, In my view, the fact that this film is so successful is also function with how the film relates to the anime. The film is not a side-story, but a direct continuation of the anime. For fans of the anime series, in order to know how the story further develops, one is, in a way, forced to watch the film. In order to be prepared for the second anime series, one also needs to see the film. The fact that the film is a continuation of the anime is also evident in the visuals of the film. The film feels like a very long anime episode. Happy New Year! With kind regards, Pieter-Jan Van Haecke Psycho-analyst, Movie-critic http://psychocinematography.wordpress.com/ ________________________________ Van: KineJapan namens kinejapan-request at mailman.yale.edu Verzonden: maandag 28 december 2020 12:59 Aan: kinejapan at mailman.yale.edu Onderwerp: KineJapan Digest, Vol 31, Issue 13 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. Demon Slayer now number 1 film of all time (Gerow Aaron) 2. Re: Demon Slayer now number 1 film of all time (Rea Amit) ---------------------------------------------------------------------- Message: 1 Date: Sun, 27 Dec 2020 23:48:01 -0500 From: Gerow Aaron To: Japanese Cinema Discussion Forum Subject: [KineJapan] Demon Slayer now number 1 film of all time Message-ID: Content-Type: text/plain; charset="us-ascii" According to news reports, Demon Slayer: Mugen Train has now surpassed Miyazaki Hayao's Spirited Away to become the top grossing film of all time at the Japanese box office. I think that in the future there will be a lot of discussion not only of this series, but of why this film did so well during a pandemic that suppressed filmgoing worldwide. https://www.animenewsnetwork.com/news/2020-12-27/demon-slayer-kimetsu-no-yaiba-film-overtakes-spirited-away-as-no.1-film-ever-in-japan/.167920 https://www.nikkansports.com/entertainment/news/202012280000250.html But does anyone want to offer some theories now? 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: ------------------------------ Message: 2 Date: Mon, 28 Dec 2020 05:59:18 -0600 From: Rea Amit To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Demon Slayer now number 1 film of all time Message-ID: Content-Type: text/plain; charset="utf-8" Reasons for a given work's popularity are always speculative. Toho producer Ichikawa Minami told the Asahi that because people spend more time at home they read more manga, watch more anime, and that Demon Slayer caters, like Spirited Away, to both adults and children. In addition to his questionable remarks about the Japanese penchant for themes of friendship and family, he also points out that because of the pandemic there was less competition from Hollywood, but perhaps the film succeeds despite covid, and not thanks to it. https://www.asahi.com/articles/ASNDX52SLNDPUCVL016.html Me and my elementary school daughters can't wait to watch it already! Yoi o toshi o Rea On Sun, Dec 27, 2020 at 10:48 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > According to news reports, Demon Slayer: Mugen Train has now surpassed > Miyazaki Hayao's Spirited Away to become the top grossing film of all time > at the Japanese box office. I think that in the future there will be a lot > of discussion not only of this series, but of why this film did so well > during a pandemic that suppressed filmgoing worldwide. > > > https://www.animenewsnetwork.com/news/2020-12-27/demon-slayer-kimetsu-no-yaiba-film-overtakes-spirited-away-as-no.1-film-ever-in-japan/.167920 > https://www.nikkansports.com/entertainment/news/202012280000250.html > > But does anyone want to offer some theories now? > > 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: ------------------------------ Subject: Digest Footer _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan ------------------------------ End of KineJapan Digest, Vol 31, Issue 13 ***************************************** -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue Dec 29 10:27:16 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 29 Dec 2020 10:27:16 -0500 Subject: [KineJapan] Documentary on the storm damage at Kawasaki City Museum In-Reply-To: References: <2BC382ED-B130-4CA5-8C08-FD8E7973DEF0@yale.edu> Message-ID: That. was really hard to watch. I wonder --- *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, Dec 27, 2020 at 6:42 AM jacline MORICEAU via KineJapan < kinejapan at mailman.yale.edu> wrote: > Painful ! What a pity ! > > Jacline > > Le sam. 26 d?c. 2020 ? 20:43, Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> a ?crit : > >> The Kawasaki City Museum has uploaded a 40 minute documentary detailing >> their efforts to rescue the items in their collection that were damaged >> when a typhoon flooded all their storage vaults in October 2019. 20:50 to >> 26:50 in particular covers the state of the vaults for manga and film, as >> well as some of the early efforts to rescue the films. >> >> https://youtu.be/r35s1W1UQxo >> >> It is painful to watch, especially as you see the state of some of the >> films?some of which are the negatives. >> >> >> 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 nornes at umich.edu Tue Dec 29 10:28:54 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 29 Dec 2020 10:28:54 -0500 Subject: [KineJapan] Documentary on the storm damage at Kawasaki City Museum In-Reply-To: References: <2BC382ED-B130-4CA5-8C08-FD8E7973DEF0@yale.edu> Message-ID: (Oops.). I wonder how much was lost. They had a precious collection for the independent film scene. Horrible. 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 Tue, Dec 29, 2020 at 10:27 AM Markus Nornes wrote: > That. was really hard to watch. I wonder > --- > > *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, Dec 27, 2020 at 6:42 AM jacline MORICEAU via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Painful ! What a pity ! >> >> Jacline >> >> Le sam. 26 d?c. 2020 ? 20:43, Gerow Aaron via KineJapan < >> kinejapan at mailman.yale.edu> a ?crit : >> >>> The Kawasaki City Museum has uploaded a 40 minute documentary detailing >>> their efforts to rescue the items in their collection that were damaged >>> when a typhoon flooded all their storage vaults in October 2019. 20:50 to >>> 26:50 in particular covers the state of the vaults for manga and film, as >>> well as some of the early efforts to rescue the films. >>> >>> https://youtu.be/r35s1W1UQxo >>> >>> It is painful to watch, especially as you see the state of some of the >>> films?some of which are the negatives. >>> >>> >>> 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 nornes at umich.edu Tue Dec 29 11:56:18 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 29 Dec 2020 11:56:18 -0500 Subject: [KineJapan] Use of memoir in film histories In-Reply-To: <00ABE8FE-BF01-4E4F-9C47-1675F1521A38@fas.harvard.edu> References: <00ABE8FE-BF01-4E4F-9C47-1675F1521A38@fas.harvard.edu> Message-ID: It's so interesting that you share your thoughts on the autobiography just as I am reading, with great admiration, Obama's new book. Anne, you're raising such provocative questions. They really got me thinking. It makes me want to pull out the autobiographies on my shelves, but they are all out of reach at my office. I did find a few scattered examples here at home, they inspired some scattered thoughts. The first thing I notice is that they are all by men, and I think plenty of male filmmakers, producers, actors and even subtitlers have written memoirs. I can think of memoirs by screenwriters and other kinds of staff members, and many of these might fit a subgenre of "My work with _[*fill in the director]*___" books. Two of the memoirs here at hand are proper accountings of one's life: *My Life as a Filmmaker* by Yamamoto Satsuo (recently translated into English by Chia-ning Chang) and Mochinaga Tadahiito's *Animeshon Nitchu Koryuki.* I'm struck by the nuance with which they narrate their lives against the drama of modern Japanese history. And in retrospect, I have the sense that if there is one thing that really marks off a generation of memoirists it's the spectacular disruption of WWII. And even within that, it's hardly one generation. Some writers were adults and established professionals; others tell the story of the war from the child's perspective. One thought: perhaps you're noticing the new wave era as a break simply because one starts contemplating a memoir while facing the end of life. It's a time in life when there's more to look back on, and looking forward is becoming increasingly disconcerting. What's more, society positions you less as a "productive member" than a keeper of wisdom and keys to the past. I'm reminded of the Simpsons episode where the kids from Springfield and Shelbyville go to war when Grandpa sits down next to a tree saying, "Ah, some things never change...", and Milhouse points, "Hey everybody, an old man talking!" and the kids gather 'round for his story. These autobiographies tug at our curiosity about the past in similar ways. But isn't one reason why we don't have many autobiographies from post-60s filmmakers that it's a bit presumptuous to write one before a certain age? Filmmakers in their 20s, 30s and 40s probably haven't lived enough. If they were born in the 60s, they're beginning to consider it. Another thought: there seems to be a unique structure to some number of film autobios. Because of the gargantuan effort a film requires, it's as though their lives are clocked film by film. Two of the autobiographies I found today take this as their structure: Shinoda Masahiro's *Watakushi ga Ikita Futatsu no "Nihon" *and Kore-eda's *Eiga o Torinagara Kangaeta Koto. *I think there are quite a few of these and they strike me as cheating. Writing a proper memoire looks like hard work. At the same time, I wonder if the gender issues Anne points us to aren't at the heart of this. And one last thought: there are strong substitutes to the autobiography in the film world. Anne points to *zadankai* and even the *hyoron-shu*, but there's also the book-length interview. I'm working on a biography of Adachi Masao now, and am thoroughly impressed by Hirasawa Go's *Eiga/Kakumei. *Here you have a brilliant interlocutor who knows his political, social and film history back and forth, so the subject doesn't need to simply or talk down and the book becomes something of an autobiography?at least so close that writing a "proper" autobiography would be a waste of time. And as I wrote that, one other thing comes to mind. Since the 90s, it seems to me another kind of substitute appeared. Many independent filmmakers?narrative, but especially documentary?publish books in conjunction with their new films. It's not simply because it's possible, but hawking books in the lobby is one way to supplement the meager revenue of indie filmmaking. A foot of one of my bookshelves is lined with such books by Funahashi Atsushi and Soda Kazuhiro. I wonder if these books will interfere with the writing of "proper" memoirs when they reach that certain age. This is all very fascinating. Anne, I hope you write something up about this. I'm very curious, as always, about your perspective! Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Mon, Dec 28, 2020 at 11:33 AM Zahlten, Alexander via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi Anne, > > > > What a great topic! My immediate thought on the ?obsolescence? of this > genre/subgenre is along the lines of what you mention ? it really comes > down to what one bills as a memoir (though it is probably exactly relevant > if the ones producing it understand the work in that way). > > > > Can you say a bit more about your focus on nouvelle vague? Since it is > arguably is a tiny part of the mainstream film industry, looking beyond it > (and the immediate definition of memoir)will show up more (as you?re > already doing with Haneda, Atsugi, etc.); there are the industry figures > like Okura Mitsugi (apparently full of fabrications) or Toei?s Okawa > Hiroshi, or even Uchida Masaru (of Shonen Magajin, important for the early > manga-animation tie-ups); later on pink film?s Hamano Sachi or Nishihara > Giichi (see Kim Icreverzi?s excellent thesis for more on the former; the > latter is a kind of interview/memoir mashup) are some examples. > Scriptwriters are quite active as well (e.g. Katsura Chiho, in a kind of > memoir/essay hybrid, similar to Yamagiwa Eizo). I assume there are quite a > few written by actors/actresses. > > > > It?s difficult to say without actually doing a systematic count, but my > sense would also, as you already say, be that generally there is a > generational cut-off point after which these publications become less > common ? I?m less certain it has to do with specific discourses circulating > in the ?high-culture? end of the film industry, maybe that is also > symptomatic of broader shifts? I don?t have a good explanation though. > > > > Apologies for the haphazard reply ? again, a terrific topic, I hope you > decide to write on this! > > Alex > > > > > > > > > > *From: *KineJapan on behalf of Anne > McKnight via KineJapan > *Reply-To: *Japanese Cinema Discussion Forum > *Date: *Friday, December 25, 2020 at 22:28 > *To: *Japanese Cinema Discussion Forum > *Cc: *Anne McKnight > *Subject: *[KineJapan] Use of memoir in film histories > > > > Greetings all, and happiest of holidays~ > > > > I am reading a handful of memoirs of female documentarists at the > moment?by women who all debuted in the early 1950s, and wrote memoirs late > in life. I think this mode of writing (memoir) used to be common, but I > can?t remember many male directors doing so once you get into the nouvelle > vague era (?shima Nagisa would be an exception here, with his multiple > volumes of memoir; also, Wakamatsu K?ji). > > > > This just struck me as interesting, given the awareness of this generation > of historical meta-narratives and one?s place in it?war, the Sh?wa era, > etc. And memoirs are common in literary figures of the time, seen pegged > to ?large? histories. ( *My Sh?wa* by Yasuoka Sh?tar? is one such highly > crafted memoir, discussed by Kendall Heitzman in his recent book). > > > > In the case of the female directors?Nakamura Rinko, Okano Kaoruko, Haneda > Sumiko, and Atsugi Taka?all of them did write and publish, and all stressed > the micro-politics of labor relation on the set and in the companies they > worked for. (Basically all the postwar doc directors employed at studios > except for Tokieda Toshie, and not Tanaka Kinuyo or Sakane Takuzo). The > science film directors? memoirs is the niche I am especially interested in. > Though Haneda branched out and Okano ultimately quit, and Nakamura went > freelance after a number of years, the science film is extensively covered > in each memoir as a privileged stage or pivot. > > > > So, I am wondering what elements to take into consideration if they might > be called a small cluster, a sub-genre, when reading them as they > articulate the relation between life and work ?time of debut, position in > the industry, wartime experience (related to debut and corporate role), > gender, other media and genres of self-expression available overall and to > each person. (Literary critic Hibi Yoshitaka has a nice phrase ?the > distributed self? [or ?I", I can?t remember, but you get the point]). > Basically, why they all waited to write and publish memoirs, when the male > nouvelle directors seemed to opt out of the genre and to take up a > different array of ?I?-media in real time. > > > > Beginning with the nouvelle vague people (and slightly earlier, in at > least one interesting account I can think of), the concepts of humanism > were challenged, and the debates on subjectivity and filmmaking put forth a > number of ways of thinking about the role of critique, complicating ?naive? > readings of individual action and relation with institutions. They had many > critiques of ?expression.? TV, of course, would made put first-person > critiques accessible in the 1950s. On top of that, all kinds of essays and > *zadankai* and *taidans *contain elements one could consider memoir-*like* > (with all of the performativities specific to these venues, which are > probably different in a memoir). The emphasis on life experience how it is > narrated, figured, vis-a-vis one?s relation to various histories (labor, > production, etc.) is what I guess I am trying to frame. > > > > I would be very curious for any thoughts about this genre of memoir and > its obsolescence, or major ones I might have forgotten, whether independent > or in the studio system (like Kurosawa Akira). > > > > Thanks! > > > > Anne > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From odoriko21 at gmail.com Tue Dec 29 18:55:42 2020 From: odoriko21 at gmail.com (LCE) Date: Tue, 29 Dec 2020 18:55:42 -0500 Subject: [KineJapan] Use of memoir in film histories In-Reply-To: References: <00ABE8FE-BF01-4E4F-9C47-1675F1521A38@fas.harvard.edu> Message-ID: I am intrigued that Kore-eda had to go to France to explore the theme of "memoir." In AFTERLIFE, the setting is more reminiscent of a Japanese kaisha. On Tue, Dec 29, 2020 at 11:56 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > It's so interesting that you share your thoughts on the autobiography just > as I am reading, with great admiration, Obama's new book. Anne, you're > raising such provocative questions. They really got me thinking. It makes > me want to pull out the autobiographies on my shelves, but they are all out > of reach at my office. I did find a few scattered examples here at home, > they inspired some scattered thoughts. > > The first thing I notice is that they are all by men, and I think plenty > of male filmmakers, producers, actors and even subtitlers have written > memoirs. I can think of memoirs by screenwriters and other kinds of staff > members, and many of these might fit a subgenre of "My work with _[*fill > in the director]*___" books. > > Two of the memoirs here at hand are proper accountings of one's life: *My > Life as a Filmmaker* by Yamamoto Satsuo (recently translated into English > by Chia-ning Chang) and Mochinaga Tadahiito's *Animeshon Nitchu Koryuki.* I'm > struck by the nuance with which they narrate their lives against the drama > of modern Japanese history. And in retrospect, I have the sense that if > there is one thing that really marks off a generation of memoirists it's > the spectacular disruption of WWII. And even within that, it's hardly one > generation. Some writers were adults and established professionals; others > tell the story of the war from the child's perspective. > > One thought: perhaps you're noticing the new wave era as a break simply > because one starts contemplating a memoir while facing the end of life. > It's a time in life when there's more to look back on, and looking forward > is becoming increasingly disconcerting. What's more, society positions you > less as a "productive member" than a keeper of wisdom and keys to the past. > I'm reminded of the Simpsons episode where the kids from Springfield and > Shelbyville go to war when Grandpa sits down next to a tree saying, "Ah, > some things never change...", and Milhouse points, "Hey everybody, an old > man talking!" and the kids gather 'round for his story. These > autobiographies tug at our curiosity about the past in similar ways. > > But isn't one reason why we don't have many autobiographies from post-60s > filmmakers that it's a bit presumptuous to write one before a certain age? > Filmmakers in their 20s, 30s and 40s probably haven't lived enough. If they > were born in the 60s, they're beginning to consider it. > > Another thought: there seems to be a unique structure to some number of > film autobios. Because of the gargantuan effort a film requires, it's as > though their lives are clocked film by film. Two of the autobiographies I > found today take this as their structure: Shinoda Masahiro's *Watakushi > ga Ikita Futatsu no "Nihon" *and Kore-eda's *Eiga o Torinagara Kangaeta > Koto. *I think there are quite a few of these and they strike me as > cheating. Writing a proper memoire looks like hard work. At the same time, > I wonder if the gender issues Anne points us to aren't at the heart of > this. > > And one last thought: there are strong substitutes to the autobiography in > the film world. Anne points to *zadankai* and even the *hyoron-shu*, but > there's also the book-length interview. I'm working on a biography of > Adachi Masao now, and am thoroughly impressed by Hirasawa Go's *Eiga/Kakumei. > *Here you have a brilliant interlocutor who knows his political, social > and film history back and forth, so the subject doesn't need to simply or > talk down and the book becomes something of an autobiography?at least so > close that writing a "proper" autobiography would be a waste of time. > > And as I wrote that, one other thing comes to mind. Since the 90s, it > seems to me another kind of substitute appeared. Many independent > filmmakers?narrative, but especially documentary?publish books in > conjunction with their new films. It's not simply because it's possible, > but hawking books in the lobby is one way to supplement the meager revenue > of indie filmmaking. A foot of one of my bookshelves is lined with such > books by Funahashi Atsushi and Soda Kazuhiro. I wonder if these books will > interfere with the writing of "proper" memoirs when they reach that certain > age. > > This is all very fascinating. Anne, I hope you write something up about > this. I'm very curious, as always, about your perspective! > > Markus > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Mon, Dec 28, 2020 at 11:33 AM Zahlten, Alexander via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Hi Anne, >> >> >> >> What a great topic! My immediate thought on the ?obsolescence? of this >> genre/subgenre is along the lines of what you mention ? it really comes >> down to what one bills as a memoir (though it is probably exactly relevant >> if the ones producing it understand the work in that way). >> >> >> >> Can you say a bit more about your focus on nouvelle vague? Since it is >> arguably is a tiny part of the mainstream film industry, looking beyond it >> (and the immediate definition of memoir)will show up more (as you?re >> already doing with Haneda, Atsugi, etc.); there are the industry figures >> like Okura Mitsugi (apparently full of fabrications) or Toei?s Okawa >> Hiroshi, or even Uchida Masaru (of Shonen Magajin, important for the early >> manga-animation tie-ups); later on pink film?s Hamano Sachi or Nishihara >> Giichi (see Kim Icreverzi?s excellent thesis for more on the former; the >> latter is a kind of interview/memoir mashup) are some examples. >> Scriptwriters are quite active as well (e.g. Katsura Chiho, in a kind of >> memoir/essay hybrid, similar to Yamagiwa Eizo). I assume there are quite a >> few written by actors/actresses. >> >> >> >> It?s difficult to say without actually doing a systematic count, but my >> sense would also, as you already say, be that generally there is a >> generational cut-off point after which these publications become less >> common ? I?m less certain it has to do with specific discourses circulating >> in the ?high-culture? end of the film industry, maybe that is also >> symptomatic of broader shifts? I don?t have a good explanation though. >> >> >> >> Apologies for the haphazard reply ? again, a terrific topic, I hope you >> decide to write on this! >> >> Alex >> >> >> >> >> >> >> >> >> >> *From: *KineJapan on behalf of Anne >> McKnight via KineJapan >> *Reply-To: *Japanese Cinema Discussion Forum >> *Date: *Friday, December 25, 2020 at 22:28 >> *To: *Japanese Cinema Discussion Forum >> *Cc: *Anne McKnight >> *Subject: *[KineJapan] Use of memoir in film histories >> >> >> >> Greetings all, and happiest of holidays~ >> >> >> >> I am reading a handful of memoirs of female documentarists at the >> moment?by women who all debuted in the early 1950s, and wrote memoirs late >> in life. I think this mode of writing (memoir) used to be common, but I >> can?t remember many male directors doing so once you get into the nouvelle >> vague era (?shima Nagisa would be an exception here, with his multiple >> volumes of memoir; also, Wakamatsu K?ji). >> >> >> >> This just struck me as interesting, given the awareness of this >> generation of historical meta-narratives and one?s place in it?war, the >> Sh?wa era, etc. And memoirs are common in literary figures of the time, >> seen pegged to ?large? histories. ( *My Sh?wa* by Yasuoka Sh?tar? is one >> such highly crafted memoir, discussed by Kendall Heitzman in his recent >> book). >> >> >> >> In the case of the female directors?Nakamura Rinko, Okano Kaoruko, Haneda >> Sumiko, and Atsugi Taka?all of them did write and publish, and all stressed >> the micro-politics of labor relation on the set and in the companies they >> worked for. (Basically all the postwar doc directors employed at studios >> except for Tokieda Toshie, and not Tanaka Kinuyo or Sakane Takuzo). The >> science film directors? memoirs is the niche I am especially interested in. >> Though Haneda branched out and Okano ultimately quit, and Nakamura went >> freelance after a number of years, the science film is extensively covered >> in each memoir as a privileged stage or pivot. >> >> >> >> So, I am wondering what elements to take into consideration if they might >> be called a small cluster, a sub-genre, when reading them as they >> articulate the relation between life and work ?time of debut, position in >> the industry, wartime experience (related to debut and corporate role), >> gender, other media and genres of self-expression available overall and to >> each person. (Literary critic Hibi Yoshitaka has a nice phrase ?the >> distributed self? [or ?I", I can?t remember, but you get the point]). >> Basically, why they all waited to write and publish memoirs, when the male >> nouvelle directors seemed to opt out of the genre and to take up a >> different array of ?I?-media in real time. >> >> >> >> Beginning with the nouvelle vague people (and slightly earlier, in at >> least one interesting account I can think of), the concepts of humanism >> were challenged, and the debates on subjectivity and filmmaking put forth a >> number of ways of thinking about the role of critique, complicating ?naive? >> readings of individual action and relation with institutions. They had many >> critiques of ?expression.? TV, of course, would made put first-person >> critiques accessible in the 1950s. On top of that, all kinds of essays and >> *zadankai* and *taidans *contain elements one could consider memoir- >> *like* (with all of the performativities specific to these venues, which >> are probably different in a memoir). The emphasis on life experience how >> it is narrated, figured, vis-a-vis one?s relation to various histories >> (labor, production, etc.) is what I guess I am trying to frame. >> >> >> >> I would be very curious for any thoughts about this genre of memoir and >> its obsolescence, or major ones I might have forgotten, whether independent >> or in the studio system (like Kurosawa Akira). >> >> >> >> Thanks! >> >> >> >> Anne >> >> >> >> >> _______________________________________________ >> 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 Thu Dec 31 17:52:11 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 31 Dec 2020 17:52:11 -0500 Subject: [KineJapan] Use of memoir in film histories In-Reply-To: References: Message-ID: Sorry for the late contribution. Anne?s fascinating query brought back a number of questions I had asked myself before, but never really investigated. One had to do with how much the jibunshi boom that started in the 1980s intersected with film history. One can ask how much that movement, which was mostly centered on ?average people? writing their own memoirs, was related at all to the trends Anne is speculating about, but I also wonder how much film enters into these histories of ?average people.? Especially in the 1980s, when film is definitely in decline, do few people think of talking about cinema as a part of their lives? Or are there in fact some rich accounts of filmgoing or film fandom in these books? Is there some studio gaffer who has written his jibunshi? Or does the genre itself preclude discussions of entertainment media like film (there were a number of guides on how to write jibunshi). There are a couple jibunshi libraries and centers around Japan, with some claiming they have over 8000 of these publications. There are already a number of academic studies of jibunshi by Gerald Figal and others, but I wonder if there is a film/media angle. It would be fascinating to delve into those books, if I had the time! Another issue I have thought about is how much personal history enters into film production. There of course is the long history of the shishosetsu, and we know of many efforts from the 1970s on by independent documentarists to film their own lives, but have theatrical feature films served the function of memoirs in any way? I thought about this because, in writing the book about Kitano, I had to deal to a certain degree with the fact that Kitano has made his personal history a key part of his star persona, especially in Japan. His books on parts of his life, from Takeshi-kun hai to Asakusa Kid, have been central to how he defines himself and how he is viewed. The closest he has gone to filming any of that is Kikujiro (named after his father), but most of his autobiographical books have become films or TV dramas. Apparently Netflix is creating another adaptation of Asakusa Kid (the first one was filmed by Shinozaki Makoto as a TV movie), with Yagira Yuya (of Nobody Knows) playing Kitano and Oizumi Yo playing his shisho Fukami Senzaburo. The comedian Gekidan Hitori will direct and write. Finally, I wonder if social media will offer other means of writing memoirs. A couple of months ago, the director Nakajima Sadao, at the young age of 86, started a YouTube channel in which he offers reminisces about his career. The first few are mostly about others, but I wonder if he?ll get more into his own life: https://www.youtube.com/channel/UCOOj3YNgkPK72q5om0wMseQ Hope you all have great new year! 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: