From aaron.gerow at yale.edu Wed Jan 1 00:48:57 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 1 Jan 2020 00:48:57 -0500 Subject: [KineJapan] Toshio Matsumoto Digital Archive Message-ID: The Postwar Japan Moving Image Archive website has started uploading materials to the Toshio Matsumoto Digital Archive. The first batch is storyboards for some of Matsumoto's most famous experimental shorts, such as Song of Stones, For the Damaged Right Eye, and Atman. https://pjmia.wordpress.com/toshio_matsumoto_digital_archive/ 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 nornes at umich.edu Wed Jan 1 12:09:06 2020 From: nornes at umich.edu (Markus Nornes) Date: Wed, 1 Jan 2020 10:09:06 -0700 Subject: [KineJapan] Toshio Matsumoto Digital Archive In-Reply-To: References: Message-ID: These are stunning. There have been glimpses of these graphic scripts in various publications and as design elements in the DVD box set. And Matsumoto-san gave me a copy of *Shiki Soku Ze Ku's* scenario for my calligraphy book, so I had seen this. But this collection shows how it was an important way that he approached filmmaking from conceptualization to editing as a kind of scoring. Seeing them lined up like this is powerful. By 1963, he was already *thinking graphically. *The storyboard for *For My Crushed Right Eye* actually looks like a timeline in Premiere or FCP! Even in thumbnail form they are a thing of beauty. There have been some bumps in this project, and I'm thrilled to see it take off. 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 31, 2019 at 10:49 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > The Postwar Japan Moving Image Archive website has started uploading > materials to the Toshio Matsumoto Digital Archive. The first batch is > storyboards for some of Matsumoto's most famous experimental shorts, such > as Song of Stones, For the Damaged Right Eye, and Atman. > > https://pjmia.wordpress.com/toshio_matsumoto_digital_archive/ > > > 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 Wed Jan 1 14:30:54 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Wed, 1 Jan 2020 19:30:54 +0000 Subject: [KineJapan] CfP: Kinema Club 20/20 at Nippon Connection Message-ID: <4412110C-C9CB-4EE9-8636-C8500F30DFDF@fas.harvard.edu> Happy New Year, Everyone! Please find below the Call for Papers for Kinema Club at Nippon Connection this June- we hope to see you there! All best, Alex Call for Papers for: Kinema Club Conference for Film and Moving Images from Japan 20/20 at the Nippon Connection Film Festival Dates: June 11-13, 2020 Location: Frankfurt a.M., Germany Goethe University Frankfurt / Nippon Connection Film Festival Proposal Deadline: January 30, 2020 (Nippon Connection Film Festival dates: June 9 - June 14) We welcome paper proposals and roundtable participation proposals for the 20th Kinema Club Conference for Film and Moving Images from Japan, to be held in conjunction with the 20th anniversary edition of the Nippon Connection Film Festival. The conference will consist of two sections, one with panel presentations and one with events that are coordinated with the festival screening schedule. The latter will include roundtable discussions on broader topics, ?wildcard roundtables? the topics of which will be decided to create maximum synergies with the festival, and more focused conversations with filmmakers. Through this we hope to take advantage of the current films from all corners of Japanese moving image production showing at the festival, and the large number of filmmakers in attendance. Papers / Panels: We encourage submission of papers that point - be it in methodology or topic - to the future of the study of film and moving images from Japan, or the future of film and moving images from Japan themselves. Papers will be ten minutes in length, with the emphasis on leaving ample time for discussion. Roundtables / Interviews: We also encourage applications for participation in round table discussions, ?wildcard roundtables? that will be coordinated with festival screenings and events, and filmmaker conversations. The ?wildcard? events will take on form as the Nippon Connection program becomes clearer, and we hope to use them to further develop ideas on the future of the field or to discuss with attending filmmakers some of the ongoing developments in film in Japan. Each participant in a roundtable will be asked to prepare a very brief statement with thoughts and questions regarding the roundtable theme. To a large degree, these are roundtable that will improvise, explore, and be an opportunity for learning and discussion. See the roundtable topics below - though we also encourage proposing additional topics similar to a panel proposal.. We especially seek for graduate students to apply, and encourage drawing on dissertation topics. While obtaining funding for a conference taking place in Germany but organized from the U.S. presents challenges we hope to be able to cover accommodation costs for at least graduate students participating in the conference, and if possible for all participants. Nippon Connection is one of the best venues in the world to gain an overview of the current state of all corners of moving image production from Japan ? no other festival shows the same number of films or covers the same span of all moving image production in Japan. The festival usually features over 100 films and over 60 filmmakers, though for the 20th edition a higher number of guests than usual are expected. Discounted tickets will be available for conference participants. The conference is open to the public. Fixed roundtable themes: * Changing Canons * Female Filmmakers * Censorship and Control * Sound Studies: Current and Future Roles * Changing Approaches, Recent Scholarship * PhD & Masters Theses: Institutions, Emerging Scholarship, Challenges, Possible Futures Proposals: Panel papers: Please send abstracts of up to 200 words and a bio (up to 100 words). Fixed roundtables: Please send a statement on the future of the study of film and moving images from Japan that takes the roundtable theme as its focal point. Consider especially questions of: What are promising directions, how can we consider connected issues in new and more generative ways? What are central issues that need to be highlighted and critiqued more? If you can, include concrete examples. Proposals will have up to 200 words and a bio (up to 100 words). Wildcard roundtables: Please send a statement of what you find the most pressing issue for discussing the future of the study of film and moving images from Japan of up to 200 words and a bio (up to 100 words). Note: It is possible to send in proposals for both a panel paper and for a spot on a roundtable. Proposal submission: please write ?Panel? or ?Roundtable? in the subject field and send to: kinemaclub2020 at gmail.com Deadlines: Paper proposals: January 30 Roundtable proposals: January 30 Line-up Announcement: February 16 We hope to see you there! Central Organizing Committee: Chika Kinoshita (Kyoto University) Florian Wessels (Goethe University Frankfurt) Alexander Zahlten (Harvard University) Wider Organizing Committee: Mycah Braxton (Harvard University) Yedong Chen (Harvard University) -------------------------------------------------------------------------------------------------------------- What is Kinema Club? Kinema Club is an informal community of scholars, artists, and fans interested in Japanese moving image media established in the early 1990s. Back then we were a small group of like-minded graduate students, frustrated at the lack of community and of bibliographic resources for Japanese film (particularly for work in the language). Each ?member? of this little club xeroxed and swapped the tables of contents for major film journals. When someone new came in, they would go and copy the table of contents for a new journal in return for receiving the core collection. In 1995, bibliography Maureen Donovan (OSU) provided a website and encouraged KC to go digital and see what would come of it. KC established a newsgroup called KineJapan, which instantly grew to 50 names. KineJapan now has over 600 participants from every part of the world. From this description you might gather than Kinema Club is more an idea than a group. The idea is that Kinema Club provides a rubric within which anything is possible. No one owns it. Anyone can take it and do something creative with it. We have no dues (and no budget or bank account). No system of introductions. No office. It is amorphous, even anarchic, but it has definitely played an important role in networking all the scholars, programmers and fans interested in Japanese cinema. One of the most important activities has been workshops and conferences. At the end of the 1990s, the study of Japanese cinema was undergoing some interesting transformations. Most notably, it was becoming increasingly interdisciplinary. To confront these changes head-on, a workshop was held at the University of Michigan in 1999. One thing became immediately evident: although there were many students and professors studying Japanese film and television, no one really knew each other. KineJapan already had over 200 members at that point, but few people had met face to face. So subsequent workshops and conferences were held in Hawai?i (2003), NYU (2004), McGill (2004), Tokyo (2005), NYU (2005), Yale (2006), and Frankfurt (2007) and more. The programs for the complete list of conferences are on the archives section of the Kinema Club website: https://kinemaclub.org/ ---------------------------------------------------------------------------------------------------------------- What is Nippon Connection? The Japanese Film Festival Nippon Connection is the largest platform for Japanese cinema worldwide and takes place in Frankfurt a. M., Germany. It screens around 100 films in various programs, as well as a retrospective shown at the German Film Museum, just across the Main river. From the beginning, Nippon Connection has tried to show the most interesting work from every section of moving image production in Japan, including documentary, blockbusters, experimental film, independent film, animation, or TV commercials, Around 17,000 visitors attend the event annually, as well as around 60 directors, actors, and producers from Japan and over 300 accredited professionals. The festival gives out various awards, among them an honor award for achievements in cinema; recent honorees have included Kurosawa Kiyoshi, Terajima Shinobu, or Shinya Tsukamoto. Since the year 2000 the festival has been organized by the non-profit organization Nippon Connection e.V. on a volunteer basis - a very unusual arrangement for a festival of this size. ------------------------------- Alexander Zahlten Associate Professor Department of East Asian Languages and Civilizations Director of Graduate Studies ? Regional Studies East Asia Program Harvard University -------------- next part -------------- An HTML attachment was scrubbed... URL: From yamamoto at filmandmedia.ucsb.edu Wed Jan 1 16:35:16 2020 From: yamamoto at filmandmedia.ucsb.edu (Naoki Yamamoto) Date: Wed, 1 Jan 2020 13:35:16 -0800 Subject: [KineJapan] essay published In-Reply-To: References: Message-ID: <2B16569A-0DF3-40AD-A84E-6AD8C49CC65C@filmandmedia.ucsb.edu> Congrats and thanks a lot for sharing it with us, Earl! Downloaded, and I'm very excited to read it soon!! Best, Naoki Naoki Yamamoto Assistant Professor Film and Media Studies University of California, Santa Barbara yamamoto at filmandmedia.ucsb.edu > On Dec 31, 2019, at 6:03 PM, Earl Jackson via KineJapan wrote: > > Dear everyone, > Please forgive the shameless self-promotion, but my essay, "The Cinematic Subject of Masumura Yasuzo" has just been published in The Wenshan Review, 13.1. It is available in the hard copy journal but also for free download online here. https://www.wreview.org/index.php/current-issue/56-vol-13-no-1/343-the-cinematic-subject-of-masumura-yasuzo-2.html > Best, > ej > Earl Jackson > Chair Professor > Foreign Languages and Literatures > Asia University > Professor Emeritus > National Chiao Tung University > Associate Professor Emeritus > University of California, Santa Cruz > Co-Director > Trans-Asia Screen Cultures Institute > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Wed Jan 1 16:50:34 2020 From: earljac at gmail.com (Earl Jackson) Date: Thu, 2 Jan 2020 05:50:34 +0800 Subject: [KineJapan] essay published In-Reply-To: <2B16569A-0DF3-40AD-A84E-6AD8C49CC65C@filmandmedia.ucsb.edu> References: <2B16569A-0DF3-40AD-A84E-6AD8C49CC65C@filmandmedia.ucsb.edu> Message-ID: thank you, Naoki - and thank you for your essay too. I really learned a lot! best ej Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute On Thu, Jan 2, 2020 at 5:35 AM Naoki Yamamoto via KineJapan < kinejapan at mailman.yale.edu> wrote: > Congrats and thanks a lot for sharing it with us, Earl! Downloaded, and > I'm very excited to read it soon!! > > Best, > Naoki > > Naoki Yamamoto > Assistant Professor > Film and Media Studies > University of California, Santa Barbara > yamamoto at filmandmedia.ucsb.edu > > On Dec 31, 2019, at 6:03 PM, Earl Jackson via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Dear everyone, > Please forgive the shameless self-promotion, but my essay, "The Cinematic > Subject of Masumura Yasuzo" has just been published in The Wenshan Review, > 13.1. It is available in the hard copy journal but also for free download > online here. > https://www.wreview.org/index.php/current-issue/56-vol-13-no-1/343-the-cinematic-subject-of-masumura-yasuzo-2.html > > Best, > ej > Earl Jackson > Chair Professor > Foreign Languages and Literatures > Asia University > Professor Emeritus > National Chiao Tung University > Associate Professor Emeritus > University of California, Santa Cruz > Co-Director > Trans-Asia Screen Cultures Institute > _______________________________________________ > 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 sissu at basicray.org Fri Jan 3 09:09:51 2020 From: sissu at basicray.org (sissu tarka) Date: Fri, 03 Jan 2020 15:09:51 +0100 Subject: [KineJapan] Toshio Matsumoto Digital Archive In-Reply-To: References: Message-ID: <20200103150951.Horde.qav4Oif1ysRgsMA3MqxPnkh@webmail.servus.at> dear aaron, markus, those are marvellous, also very john cage-y. thank you for bringing that 'dusty stuff' to attention. ALL: a very HAPPY NEW YEAR and anime spirits with us, the planets, and satellites. verina Quoting Markus Nornes via KineJapan : > These are stunning. There have been glimpses of these graphic scripts in > various publications and as design elements in the DVD box set. And > Matsumoto-san gave me a copy of *Shiki Soku Ze Ku's* scenario for my > calligraphy book, so I had seen this. But this collection shows how it was > an important way that he approached filmmaking from conceptualization to > editing as a kind of scoring. Seeing them lined up like this is powerful. > By 1963, he was already *thinking graphically. *The storyboard for *For My > Crushed Right Eye* actually looks like a timeline in Premiere or FCP! Even > in thumbnail form they are a thing of beauty. There have been some bumps in > this project, and I'm thrilled to see it take off. > > 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 31, 2019 at 10:49 PM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> The Postwar Japan Moving Image Archive website has started uploading >> materials to the Toshio Matsumoto Digital Archive. The first batch is >> storyboards for some of Matsumoto's most famous experimental shorts, such >> as Song of Stones, For the Damaged Right Eye, and Atman. >> >> https://pjmia.wordpress.com/toshio_matsumoto_digital_archive/ >> >> >> Aaron Gerow >> Professor >> Film and Media Studies Program/East Asian Languages and Literatures >> Chair, East Asian Languages and Literatures >> Yale University >> 143 Elm Street, Room 210 >> PO Box 208324 >> New Haven, CT 06520-8324 >> USA >> Phone: 1-203-432-7082 >> Fax: 1-203-432-6729 >> e-mail: aaron.gerow at yale.edu >> website: www.aarongerow.com >> >> >> From dlewis24 at wustl.edu Fri Jan 3 11:22:25 2020 From: dlewis24 at wustl.edu (Lewis, Diane) Date: Fri, 3 Jan 2020 16:22:25 +0000 Subject: [KineJapan] New book on interwar Japanese cinema Message-ID: Dear KineJapaners, Please forgive the self-promotion, but I would like to announce that my book Powers of the Real: Cinema, Gender, and Emotion in Interwar Japan is now available. I would like to thank the many, many list members who provided feedback at all stages of this project -- during my research in Japan, as co-panelists, as readers, and when it came to putting the final touches on the manuscript. I am eternally grateful for this community! Happy New Year! Diane -- Diane Wei Lewis Assistant Professor, Film & Media Studies Washington University in St. Louis Campus Box 1174, Seigle Hall 416 One Brookings Drive St. Louis, MO 63130-4899 tel. (314) 935-7363 / fax (314) 935-3400 dlewis24 at wustl.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sat Jan 4 08:13:26 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sat, 4 Jan 2020 13:13:26 +0000 (UTC) Subject: [KineJapan] Tanaka Kinuyo screening in London References: <503849673.10502180.1578143606240.ref@mail.yahoo.com> Message-ID: <503849673.10502180.1578143606240@mail.yahoo.com> Dear KineJapaners, Happy New Year. For anyone in range of London,since it?s not the usual venue, I thought I?d mention that there?s a screeningof Tanaka Kinuyo?s first direction, ?Love Letter?, 'Koibumi', 1953, at theBarbican on Feb 26th, from 35mm. Love Letter (12A*) + Introduction | Ba | | | | | | | | | | | Love Letter (12A*) + Introduction | Barbican Kinuyo Tanaka?s debut feature is a marvellous post-war melodrama, following the relationship between a reserved ... | | | Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From linda.ehrlich at gmail.com Mon Jan 6 21:16:09 2020 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Mon, 6 Jan 2020 21:16:09 -0500 Subject: [KineJapan] announcing a new book Message-ID: <4104D3A2-D5E5-40F7-AA1A-032ABC5ECEDE@gmail.com> Linda Ehrlich linda.ehrlich at gmail.com braidednarrative.com -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Elemental Cinema flyer.pdf Type: application/pdf Size: 470907 bytes Desc: not available URL: -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Mon Jan 6 22:47:20 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 6 Jan 2020 22:47:20 -0500 Subject: [KineJapan] announcing a new book In-Reply-To: <4104D3A2-D5E5-40F7-AA1A-032ABC5ECEDE@gmail.com> References: <4104D3A2-D5E5-40F7-AA1A-032ABC5ECEDE@gmail.com> Message-ID: <8699D1C4-1898-482E-976C-02587C7EBAC3@yale.edu> Linda, congratulations on your new, a much awaited book on Koreeda Hirokazu. I much look forward to it. Just a note for you and others about KineJapan: The Mailman software scrubs images when it constructs the KineJapan archive (there is no way to change this). So if anyone wants their messages to be recorded in the archive, make sure to include a text version and not just the image. 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/ > 2020/01/06 ??9:16?Linda Ehrlich via KineJapan ????: > > > > Linda Ehrlich > linda.ehrlich at gmail.com > braidednarrative.com > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From linda.ehrlich at gmail.com Tue Jan 7 19:40:06 2020 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Tue, 7 Jan 2020 19:40:06 -0500 Subject: [KineJapan] discount on new Kore-eda book Message-ID: <653D87AB-C0B4-40A4-BB9F-4C1E4E7227C4@gmail.com> I?m pleased to report that Palgrave Macmillan is offering a discount on my new book for about 3 months. From the message from one of the editors: The standard discount is 20% off, using code PM20TWENTY1. This is valid until March 31st. I look forward to hearing your comments. Please do ask your libraries to order a copy. The ebook is available now, and the hardcover version in 2 weeks. Thanks. Here is the back-cover description, minus the image, for the archive: Book description The Films of KORE-EDA Hirokazu: An Elemental Cinema draws readers into the first 13 feature films and documentaries of award-winning Japanese film director KORE-EDA Hirokazu. With his recent top prize at the Cannes Film Festival for Shoplifters, Kore-eda is arguably Japan?s greatest living director with an international viewership. He approaches difficult subjects (child abandonment, suicide, marginality) with a realistic and compassionate eye. An Elemental Cinema presents Kore-eda?s oeuvre as a connected whole with overarching thematic concerns, despite frequent generic experimentation. It also offers an example of how the poetics of cinema can be practiced in writing, as well as on the screen, and helps readers understand the films of this contemporary director as works of art that relate to their own lives. Linda Ehrlich linda.ehrlich at gmail.com braidednarrative.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Jan 11 11:24:59 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 11 Jan 2020 11:24:59 -0500 Subject: [KineJapan] Sputnik 2019 Message-ID: <37434A15-B181-43E6-BD3D-45DEC763A171@yale.edu> Sputlink 2019, the official guidebook to the Yamagata International Documentary Film Festival 2019, containing bilingual (J+E) essays on many of the films or events at the festival, is available for free PDF download. Authors include Jean-Michel Frodon, Ayako Saito, Fujii Jinshi, Koguchi Utako, Suzuki Hitoshi, and Narita Yuta. http://www.yidff.jp/pub/pub2.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Sat Jan 11 19:27:58 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sun, 12 Jan 2020 00:27:58 +0000 Subject: [KineJapan] Pre-AAS Roundtable Announcement Message-ID: <322A793C-645A-4441-A058-F595237F90F0@fas.harvard.edu> Hello Everyone, Since film will play a big role at the event and Japan will feature as well this announcement may be interesting for people on the list- If you are going to AAS and have time during the day before panels kick off in the evening please feel free to drop by! All best, Alex Future Trajectories of Asian Media Studies - An All-Day Roundtable March 19, 2020 Harvard University In the run-up to the Association for Asian Studies (AAS) Conference in Boston we invite all interested to join us for ?Future Trajectories of Asian Media Studies - An All-Day Roundtable?. The event will introduce current scholarship by the participants, interrogate basic assumptions and problematic issues of the emerging field of ?Asian Media Studies?, and discuss possible future directions for the study of media in the context of Asia. Keynote speakers are Laikwan Pang (Chinese University of Hong Kong) and Kazunori Mizushima (Osaka Sangyo University). The schedule and a full list of the participants is inserted below. In choosing to call this event an ?All-Day Roundtable,? we wish to emphasize discussion and interlocution over conventional presentations of conference papers. To this end, each member of each three-person panel will introduce and comment on another panelist's abstract, ending with one or two questions to the author of the abstract, who can then respond before we move to the next panelist. This format will build dialogue into the preparation and presentation as well as allow maximum time for discussion, which will also include the larger round of attendees. If you are interested in attending, please send a brief message to: AllDayRoundtable at gmail.com Organizers: Jie Li Tomiko Yoda Alexander Zahlten This event is made possible by the generous support of the Harvard University Asia Center, the Reischauer Institute of Japanese Studies, and the Department of East Asian Languages and Civilizations. Roundtable Venue: CGIS South Building Harvard University Campus 1730 Cambridge Street Cambridge, MA 02138 Schedule: 9:00 - 9:10 Opening Remarks 9:10-10:00 Keynote Kazunori Mizushima (Osaka Sangyo University): On Post-Media Futurability 10:15-11:15 Panel 1 (moderator Tomiko Yoda): Aniruddha Maitra (Colgate University), Ying Qian (Columbia University), Tom Lamarre (Duke University) 11:30-12:30 Panel 2 (moderator Alexander Zahlten): Noriko Manabe (Temple University), Jae Won Chung (Rutgers University), Feng Mei Heberer (NYU Tisch) 12:30-1:45 Lunchtime discussion 2:00-2:50 Keynote Laikwan Pang (Chinese University of Hong Kong): Mask as Identity? The Political and the Judiciary Subject in Hong Kong?s Social Unrest 3:00-4:00 Panel 3 (moderator Jie Li): Arnika Fuhrmann (Cornell University), Bhaskar Sarkar (UC Santa Barbara), Guobin Yang (Annenberg School of Communication, U. of Pennsylvania) 4:10-5:30 Closing discussion We look forward to seeing you at the event! -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Fri Jan 17 05:01:47 2020 From: earljac at gmail.com (Earl Jackson) Date: Fri, 17 Jan 2020 18:01:47 +0800 Subject: [KineJapan] Empaku Message-ID: Dear everyone, I will try not to let my despair seep through this request. I have a small research grant for time in Tokyo. I was going to use it this august to do research at Waseda Empaku but they were closed for reconstruction. So I moved it to 1/26-2/09. Just now I was told they decided to close it again in January. Everything is booked and I have to be there at that time. I would appreciate any suggestions for other libraries I might have access to. Of course, I'm always happy to be in Tokyo but I had a very specific work schedule and agenda with empaku and i don't know when i will get funding for another try. Thank you earl Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz Co-Director Trans-Asia Screen Cultures Institute -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Jan 17 09:05:08 2020 From: nornes at umich.edu (Markus Nornes) Date: Fri, 17 Jan 2020 09:05:08 -0500 Subject: [KineJapan] Empaku In-Reply-To: References: Message-ID: The experience at the Film Archive gets better and better all the time. The staff is incredibly helpful and the collection is fantastic. The copying policy will slow you down, though. Depending on your topic there might be a better place.... M On Fri, Jan 17, 2020 at 5:02 AM Earl Jackson via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear everyone, > I will try not to let my despair seep through this request. I have a small > research grant for time in Tokyo. I was going to use it this august to do > research at Waseda Empaku but they were closed for reconstruction. So I > moved it to 1/26-2/09. Just now I was told they decided to close it again > in January. Everything is booked and I have to be there at that time. I > would appreciate any suggestions for other libraries I might have access > to. > Of course, I'm always happy to be in Tokyo but I had a very specific work > schedule and agenda with empaku and i don't know when i will get funding > for another try. > Thank you > earl > Earl Jackson > Chair Professor > Foreign Languages and Literatures > Asia University > Professor Emeritus > National Chiao Tung University > Associate Professor Emeritus > University of California, Santa Cruz > Co-Director > Trans-Asia Screen Cultures Institute > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Fri Jan 17 09:55:04 2020 From: earljac at gmail.com (Earl Jackson) Date: Fri, 17 Jan 2020 22:55:04 +0800 Subject: [KineJapan] Empaku In-Reply-To: References: Message-ID: Thank you! On Fri, Jan 17, 2020, 22:05 Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > The experience at the Film Archive gets better and better all the time. > The staff is incredibly helpful and the collection is fantastic. The > copying policy will slow you down, though. > > Depending on your topic there might be a better place.... > > M > > On Fri, Jan 17, 2020 at 5:02 AM Earl Jackson via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Dear everyone, >> I will try not to let my despair seep through this request. I have a >> small research grant for time in Tokyo. I was going to use it this august >> to do research at Waseda Empaku but they were closed for reconstruction. So >> I moved it to 1/26-2/09. Just now I was told they decided to close it again >> in January. Everything is booked and I have to be there at that time. I >> would appreciate any suggestions for other libraries I might have access >> to. >> Of course, I'm always happy to be in Tokyo but I had a very specific work >> schedule and agenda with empaku and i don't know when i will get funding >> for another try. >> Thank you >> earl >> Earl Jackson >> Chair Professor >> Foreign Languages and Literatures >> Asia University >> Professor Emeritus >> National Chiao Tung University >> Associate Professor Emeritus >> University of California, Santa Cruz >> Co-Director >> Trans-Asia Screen Cultures Institute >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Jan 17 22:06:54 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 17 Jan 2020 22:06:54 -0500 Subject: [KineJapan] Murakami anthology Message-ID: I thought some KineJapanners might want to know that I just uploaded a post on my blog about the new anthology (in Japanese) on Murakami Haruki. Bunka hyosho toshite no Murakami Haruki (???????????? / Murakami Haruki as Cultural Representation) Seikyusha, 2020. Covering a wide variety of perspectives, including a number that are critical, it was the fruit of the hard work of Ishida Hitoshi and Antonin Bechler, who first organized the symposium in France in March 2018 on which the anthology is based. I have an article in there on Murakami and cinema, and there are many exciting contributions by colleagues such as Stephen Dodd, Nakamura Miharu, Nonaka Jun, Giorgio Amitrano, Azusa Omura, Anne Bayard-Sakai, Fumiko Sugie, Gerald Peloux, Sugibuchi Yoichi, Sukegawa Yoichiro, and many others. One of the four sections in the anthology is devoted to contributions discussing Murakami?s relation to cinema. http://www.aarongerow.com/news/speculating-on-murakami.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com From williamjamescarroll at gmail.com Sun Jan 19 13:52:34 2020 From: williamjamescarroll at gmail.com (William Carroll) Date: Sun, 19 Jan 2020 13:52:34 -0500 Subject: [KineJapan] Empaku In-Reply-To: References: Message-ID: Hi everyone, Does anyone know when Empaku will be opening again? I was hoping to go on a short research trip either in March or May, but I can't find any information online about when it reopens. I'm hoping to look specifically at some rare screenplays they have, but that aren't (as far as I've been able to tell) held at the other main film libraries/archives that I know of. Best, Will On Fri, Jan 17, 2020 at 9:55 AM Earl Jackson via KineJapan < kinejapan at mailman.yale.edu> wrote: > Thank you! > > On Fri, Jan 17, 2020, 22:05 Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> The experience at the Film Archive gets better and better all the time. >> The staff is incredibly helpful and the collection is fantastic. The >> copying policy will slow you down, though. >> >> Depending on your topic there might be a better place.... >> >> M >> >> On Fri, Jan 17, 2020 at 5:02 AM Earl Jackson via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> Dear everyone, >>> I will try not to let my despair seep through this request. I have a >>> small research grant for time in Tokyo. I was going to use it this august >>> to do research at Waseda Empaku but they were closed for reconstruction. So >>> I moved it to 1/26-2/09. Just now I was told they decided to close it again >>> in January. Everything is booked and I have to be there at that time. I >>> would appreciate any suggestions for other libraries I might have access >>> to. >>> Of course, I'm always happy to be in Tokyo but I had a very specific >>> work schedule and agenda with empaku and i don't know when i will get >>> funding for another try. >>> Thank you >>> earl >>> Earl Jackson >>> Chair Professor >>> Foreign Languages and Literatures >>> Asia University >>> Professor Emeritus >>> National Chiao Tung University >>> Associate Professor Emeritus >>> University of California, Santa Cruz >>> Co-Director >>> Trans-Asia Screen Cultures Institute >>> _______________________________________________ >>> KineJapan mailing list >>> KineJapan at mailman.yale.edu >>> https://mailman.yale.edu/mailman/listinfo/kinejapan >>> >> -- >> --- >> >> *Markus Nornes* >> *Professor of Asian Cinema* >> Department of Film, Television and Media, Department of Asian Languages >> and Cultures, Penny Stamps School of Art & Design >> >> *Department of Film, Television and Media* >> *6348 North Quad* >> *105 S. State Street >> * >> *Ann Arbor, MI 48109 >> -1285* >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sun Jan 19 17:21:32 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 19 Jan 2020 17:21:32 -0500 Subject: [KineJapan] Empaku In-Reply-To: References: Message-ID: <60BBCE51-C8BA-432F-A12F-6D5F434E3D39@yale.edu> It?s a bit confusing, because they?ve been opening some parts of the building and closing others, but this appears to say the library room will open for good March 1, and the exhibition rooms March 25. https://www.waseda.jp/enpaku/info/9493/ Aaron > 2020/01/19 ??1:52?William Carroll via KineJapan ????: > > Hi everyone, > > Does anyone know when Empaku will be opening again? I was hoping to go on a short research trip either in March or May, but I can't find any information online about when it reopens. I'm hoping to look specifically at some rare screenplays they have, but that aren't (as far as I've been able to tell) held at the other main film libraries/archives that I know of. > > Best, > Will From williamjamescarroll at gmail.com Mon Jan 20 08:19:51 2020 From: williamjamescarroll at gmail.com (William Carroll) Date: Mon, 20 Jan 2020 08:19:51 -0500 Subject: [KineJapan] Empaku In-Reply-To: <60BBCE51-C8BA-432F-A12F-6D5F434E3D39@yale.edu> References: <60BBCE51-C8BA-432F-A12F-6D5F434E3D39@yale.edu> Message-ID: Thank you! On Sun, Jan 19, 2020 at 5:21 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > It?s a bit confusing, because they?ve been opening some parts of the > building and closing others, but this appears to say the library room will > open for good March 1, and the exhibition rooms March 25. > > https://www.waseda.jp/enpaku/info/9493/ > > Aaron > > > 2020/01/19 ??1:52?William Carroll via KineJapan < > kinejapan at mailman.yale.edu>????: > > > > Hi everyone, > > > > Does anyone know when Empaku will be opening again? I was hoping to go > on a short research trip either in March or May, but I can't find any > information online about when it reopens. I'm hoping to look specifically > at some rare screenplays they have, but that aren't (as far as I've been > able to tell) held at the other main film libraries/archives that I know of. > > > > Best, > > Will > > _______________________________________________ > 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 Tue Jan 21 20:32:35 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 21 Jan 2020 20:32:35 -0500 Subject: [KineJapan] Mainichi Film Awards for 2019 Message-ID: <161196E8-7622-4AF6-A792-573AA9F20DE4@yale.edu> The Mainichi Film Awards were announced with Listen to the Universe (Mitsubachi to enrai) getting best film. Narita Ryo (Katsuben!) got best actor, and Shim Eun-kyung (Shinbun kisha/The Journalist) got best actress. Ishikawa Kei got best director for Listen to the Universe. https://natalie.mu/eiga/news/364019 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 susanneschermann at yahoo.co.jp Wed Jan 22 06:48:16 2020 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Wed, 22 Jan 2020 20:48:16 +0900 (JST) Subject: [KineJapan] Mainichi Film Awards for 2019 In-Reply-To: <161196E8-7622-4AF6-A792-573AA9F20DE4@yale.edu> References: <161196E8-7622-4AF6-A792-573AA9F20DE4@yale.edu> Message-ID: <1242137856.18168.1579693696667.JavaMail.yahoo@mail.yahoo.co.jp> Wonderful that Shinbun kisha got a prize!! The topic is very important,? and Shim should get a prize not only for her acting, but also for her courage to play in this film Susanne ----- Original Message ----- From: Gerow Aaron via KineJapan To: Japanese Cinema Discussion Forum Cc: Gerow Aaron Date: 2020/1/22, Wed 10:32 Subject: [KineJapan] Mainichi Film Awards for 2019 The Mainichi Film Awards were announced with Listen to the Universe (Mitsubachi to enrai) getting best film. Narita Ryo (Katsuben!) got best actor, and Shim Eun-kyung (Shinbun kisha/The Journalist) got best actress. Ishikawa Kei got best director for Listen to the Universe.? https://natalie.mu/eiga/news/364019 Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and LiteraturesChair,?East Asian Languages and LiteraturesYale University143 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.eduwebsite: 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 Wed Jan 22 13:00:36 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 22 Jan 2020 13:00:36 -0500 Subject: [KineJapan] Abayo Jo! Message-ID: <15C4FB13-9FE7-465B-B02C-34842351B299@yale.edu> Upon hearing of the passing of Shishido Jo, I wrote up a little remembrance of him, based in part on the event I did with him and Yomota Inuhiko at Meiji Gakuin back in 1999. I even found the poster for the event in my files! Jo was not only a great performer, but he was my first real experience of what a Japanese movie star from the studio era is like. www.aarongerow.com/news/abayo-joe-shishido-jo-the.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Thu Jan 23 09:43:00 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 23 Jan 2020 14:43:00 +0000 (UTC) Subject: [KineJapan] Tanaka Kinuyo retrospective References: <1714586306.27190132.1579790580221.ref@mail.yahoo.com> Message-ID: <1714586306.27190132.1579790580221@mail.yahoo.com> Dear KineJapaners, The Locarno Film Festival has announced today they are doing aretrospective this year (Aug 5-15) of Tanaka Kinuyo, including all the filmsshe directed. 73rd Locarno Film Festival: early news on this year?s features | | | | | | | | | | | 73rd Locarno Film Festival: early news on this year?s features Today, 23 January, the Solothurn Film Festival provided an opportunity for a sneak preview of this? | | | Locarno during the festivalis a really expensive place to stay. I?ve settled for a youth hostel inBellinzona, which has transport links to the festival, I am told. But paragraphsix tells us that it will travel, including Berlin,Paris, Amsterdam, Madrid, New Yorkand Washington. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Sun Jan 26 10:02:44 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Sun, 26 Jan 2020 15:02:44 +0000 Subject: [KineJapan] : Kinema Club 2020 Message-ID: <06E77CBD-4AE1-4DC1-91B9-8B70EEA51223@fas.harvard.edu> Hello Everyone, This is just a quick reminder that the deadline for proposals for the 20th Kinema Club Conference at Nippon Connection 20 is coming up. Remember that you can propose papers, panels, roundtables, or even just apply to participate in a roundtable / filmmaker interview. So, lots to choose from- All best, Alex Call for Papers for: Kinema Club Conference for Film and Moving Images from Japan 20/20 at the Nippon Connection Film Festival Dates: June 11-13, 2020 Location: Frankfurt a.M., Germany Goethe University Frankfurt / Nippon Connection Film Festival Proposal Deadline: January 30, 2020 (Nippon Connection Film Festival dates: June 9 - June 14) We welcome paper proposals and roundtable participation proposals for the 20th Kinema Club Conference for Film and Moving Images from Japan, to be held in conjunction with the 20th anniversary edition of the Nippon Connection Film Festival. The conference will consist of two sections, one with panel presentations and one with events that are coordinated with the festival screening schedule. The latter will include roundtable discussions on broader topics, ?wildcard roundtables? the topics of which will be decided to create maximum synergies with the festival, and more focused conversations with filmmakers. Through this we hope to take advantage of the current films from all corners of Japanese moving image production showing at the festival, and the large number of filmmakers in attendance. Papers / Panels: We encourage submission of papers that point - be it in methodology or topic - to the future of the study of film and moving images from Japan, or the future of film and moving images from Japan themselves. Papers will be ten minutes in length, with the emphasis on leaving ample time for discussion. Roundtables / Interviews: We also encourage applications for participation in round table discussions, ?wildcard roundtables? that will be coordinated with festival screenings and events, and filmmaker conversations. The ?wildcard? events will take on form as the Nippon Connection program becomes clearer, and we hope to use them to further develop ideas on the future of the field or to discuss with attending filmmakers some of the ongoing developments in film in Japan. Each participant in a roundtable will be asked to prepare a very brief statement with thoughts and questions regarding the roundtable theme. To a large degree, these are roundtable that will improvise, explore, and be an opportunity for learning and discussion. See the roundtable topics below - though we also encourage proposing additional topics similar to a panel proposal.. We especially seek for graduate students to apply, and encourage drawing on dissertation topics. While obtaining funding for a conference taking place in Germany but organized from the U.S. presents challenges we hope to be able to cover accommodation costs for at least graduate students participating in the conference, and if possible for all participants. Nippon Connection is one of the best venues in the world to gain an overview of the current state of all corners of moving image production from Japan ? no other festival shows the same number of films or covers the same span of all moving image production in Japan. The festival usually features over 100 films and over 60 filmmakers, though for the 20th edition a higher number of guests than usual are expected. Discounted tickets will be available for conference participants. The conference is open to the public. Fixed roundtable themes: * Changing Canons * Female Filmmakers * Censorship and Control * Sound Studies: Current and Future Roles * Changing Approaches, Recent Scholarship * PhD & Masters Theses: Institutions, Emerging Scholarship, Challenges, Possible Futures Proposals: Panel papers: Please send abstracts of up to 200 words and a bio (up to 100 words). Fixed roundtables: Please send a statement on the future of the study of film and moving images from Japan that takes the roundtable theme as its focal point. Consider especially questions of: What are promising directions, how can we consider connected issues in new and more generative ways? What are central issues that need to be highlighted and critiqued more? If you can, include concrete examples. Proposals will have up to 200 words and a bio (up to 100 words). Wildcard roundtables: Please send a statement of what you find the most pressing issue for discussing the future of the study of film and moving images from Japan of up to 200 words and a bio (up to 100 words). Note: It is possible to send in proposals for both a panel paper and for a spot on a roundtable. Proposal submission: please write ?Panel? or ?Roundtable? in the subject field and send to: kinemaclub2020 at gmail.com Deadlines: Paper proposals: January 30 Roundtable proposals: January 30 Line-up Announcement: February 16 We hope to see you there! Mycah Braxton (Harvard University) Yedong Chen (Harvard University) Phil Kaffen (UNC Charlotte) Chika Kinoshita (Kyoto University) Florian Wessels (Goethe University Frankfurt) Alexander Zahlten (Harvard University) -------------------------------------------------------------------------------------------------------------- What is Kinema Club? Kinema Club is an informal community of scholars, artists, and fans interested in Japanese moving image media established in the early 1990s. Back then we were a small group of like-minded graduate students, frustrated at the lack of community and of bibliographic resources for Japanese film (particularly for work in the language). Each ?member? of this little club xeroxed and swapped the tables of contents for major film journals. When someone new came in, they would go and copy the table of contents for a new journal in return for receiving the core collection. In 1995, bibliography Maureen Donovan (OSU) provided a website and encouraged KC to go digital and see what would come of it. KC established a newsgroup called KineJapan, which instantly grew to 50 names. KineJapan now has over 600 participants from every part of the world. From this description you might gather than Kinema Club is more an idea than a group. The idea is that Kinema Club provides a rubric within which anything is possible. No one owns it. Anyone can take it and do something creative with it. We have no dues (and no budget or bank account). No system of introductions. No office. It is amorphous, even anarchic, but it has definitely played an important role in networking all the scholars, programmers and fans interested in Japanese cinema. One of the most important activities has been workshops and conferences. At the end of the 1990s, the study of Japanese cinema was undergoing some interesting transformations. Most notably, it was becoming increasingly interdisciplinary. To confront these changes head-on, a workshop was held at the University of Michigan in 1999. One thing became immediately evident: although there were many students and professors studying Japanese film and television, no one really knew each other. KineJapan already had over 200 members at that point, but few people had met face to face. So subsequent workshops and conferences were held in Hawai?i (2003), NYU (2004), McGill (2004), Tokyo (2005), NYU (2005), Yale (2006), and Frankfurt (2007) and more. The programs for the complete list of conferences are on the archives section of the Kinema Club website: https://kinemaclub.org/ ---------------------------------------------------------------------------------------------------------------- What is Nippon Connection? The Japanese Film Festival Nippon Connection is the largest platform for Japanese cinema worldwide and takes place in Frankfurt a. M., Germany. It screens around 100 films in various programs, as well as a retrospective shown at the German Film Museum, just across the Main river. From the beginning, Nippon Connection has tried to show the most interesting work from every section of moving image production in Japan, including documentary, blockbusters, experimental film, independent film, animation, or TV commercials, Around 17,000 visitors attend the event annually, as well as around 60 directors, actors, and producers from Japan and over 300 accredited professionals. The festival gives out various awards, among them an honor award for achievements in cinema; recent honorees have included Kurosawa Kiyoshi, Terajima Shinobu, or Shinya Tsukamoto. Since the year 2000 the festival has been organized by the non-profit organization Nippon Connection e.V. on a volunteer basis - a very unusual arrangement for a festival of this size. -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Jan 27 20:17:32 2020 From: nornes at umich.edu (Markus Nornes) Date: Mon, 27 Jan 2020 20:17:32 -0500 Subject: [KineJapan] Dotei o Produce back in the news Message-ID: Dotei o Produce??????????? is back in the news. (For those who are unfamiliar with this, there is more in an old KineJapan message I wrote in summer 2017. There was a 10th anniversary screening of this documentary, after which the subject of the film (Kaga Kenzo) confronted and physically attacked the director (Matsue Tetsuaki) for a sexual assault?Kaga, held down by Company Matsuo and other staff while an actress felated him?on the set of an AV production produced by Company Matsuo, who was present. I'm sure you can still find this on Youtube if you're curious. It caused an uproar, but the discussion was truncated. This was unfortunate, considering the Weinstein case broke out in the middle of it all.) After a few years of quiet, the new journal f/22 ran an interview with Kaga last fall. f/22 is a fantastic journal being put out by cinematographers; I highly recommend picking it up. Kaga gave another interview. And then at the beginning of the year, Matsue appears out of nowhere with a very long response (and the producer of Dotei, Naoi, put an apology on his homepage). This started a pretty lively discussion on social media with heavy hitters like Soda and Fukada weighing in. Also a symposium with Mori. I suspect Matsue's long note was anticipating the interview that f/22 just published on its webpage. It's a shockingly long taidan between Matsue and Kaga that takes the controversy head on, and is something like a Rashomon exercise at getting at the Truth. There are also interviews coming with Company Matsuo and producer Naoi. Each of these sessions was apparently 3 hours. I believe it. The PDF I made of the Matsue/Kaga taidan came to 186 pages! Here it is, along with links, a timeline and other information. http://f22.hicross-cinematography.com/2020/01/22/ ?????%E3%80%82??????????-??????/ I just happen to be writing on ethics and Japanese documentary, so back in 2017 I interviewed Kaga and have been following the discourse surrounding the film. It's seriously hampered by the fact that almost no one has actually seen the film. One consequence of this is that the focus is, not surprisingly, on the rape. But I think what is actually more important is the power harassment, which is documented in nearly every scene. I've only given Matsue's recent note and this interview a cursory reading, but I still think he really doesn't get it. The abuse of power on the part of both he and Matsuo is invisible to him. And perhaps I am being an overly sensitive (ie., dense) foreigner, but the tone of the interview and Matsue's use of the suffix -kun under these circumstances is expressive of his obliviousness to power. Frankly speaking, this is the natural end to the self-documentary genre when it's in the hands of filmmakers who get off on being edgy. (Another great and even more troubling example is Hirano's *Kantoku shikkaku.)* These are very unnerving films. Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Jan 27 22:18:38 2020 From: nornes at umich.edu (Markus Nornes) Date: Mon, 27 Jan 2020 22:18:38 -0500 Subject: [KineJapan] Ex-position 42 Message-ID: There are some interesting articles in this collection... http://ex-position.org/?page_id=2055 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 joelnevilleanderson at gmail.com Tue Jan 28 08:05:49 2020 From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA)) Date: Tue, 28 Jan 2020 08:05:49 -0500 Subject: [KineJapan] =?utf-8?b?Q0ZQOiBUaGUgSmFwYW4gSXNzdWUg44Ki44OK44K2?= =?utf-8?b?44O844Ky44Kk44K6OuaXpeacrOeJuembhiAtIEFub3RoZXIgR2F6ZTogQSBG?= =?utf-8?q?eminist_Film_Journal?= Message-ID: https://www.anothergaze.com/call-for-submissions-another-gaze-the-japan-issue/ https://twitter.com/anothergaze/status/1220377849850474496?s=21 > > Call For Submissions ? Another Gaze: The Japan Issue ???????:???? > > January 23, 2020 > > In November 2019, Another Gaze travelled to Japan to interview sixteen women filmmakers. For our fifth issue, we are seeking essay submissions to accompany the publication of several of these interviews. These essays will be translated into Japanese and will be published as an insert for Japanese readers. > > Another Gaze is a printed and online journal, founded as a sustained and evolving forum for discussion around women and the moving image. Our issues ? distributed worldwide ? contain essays, reviews, fragments and interviews on narrative, documentary and experimental film work, and cover women as filmmakers, spectators and filmic subjects. We are also keen to accept feminist writing on areas including disability, race, sexuality and class. > > We?re open to all forms of writing from all kinds of writers and would be pleased to receive more experimental pitches. The writing we publish is thorough and research-based but not academic or opaque in style. > > NB: We welcome cross-national comparisons and analysis of films not made by women. We are particularly, though not exclusively, interested in the following subject areas: > > * (Women?s) film festivals / women programmers (eg. Etsuko Takano) / directors working in non-women?s film festivals (eg. Pia, Yamagata) / the history of programming of films by women and queers at the ?major? festivals / (women?s) film collectives > * Transnational circulation of the Japanese (woman) image > * The ?pink cinema? as exhibition space > * Microcinemas / rep theatres / film clubs > * Women film critics and theorists in Japan (eg. Osaki Midori) > * Women screen writers / women writers adapted to the screen > * Gender and the production pipeline (eg. Movement from actress to director in ?pink?) / Japanese studio system & labour dynamics > * Fan cultures / grassroots film financing > * Gender, sexuality and pink (pinku) film. Non-studio filmmaking & independence. > * Japanese women filmmakers living and working abroad (eg. New York in the ?60s, women video artist in Europe, Japanese women in Korean and other Asian countries) > * Women in silent cinemas / women as benshi, eg. ?mori Kumiko > * Photography (and filmmaking) / the ?girly? photo movement / photographers who went on to make films > * Woman?s liberation (uman ribu) in and on film / generational feminism / the overlap or non-overlap of waves with other countries > * Censorship / forced ?softening? of gender and sexuality on film > * Data-driven studies about women working in media industries in Japan > * Recent representations of the figure of the ?comfort woman?/empire/colonial history on film > * Marginalised identities and locations: Zainichi and Nikkei identities, Okinawa status, Ainu culture, Burakumin people > * Women?s response to Fukushima disaster and 3/11 (2011 Tohoku earthquake and tsunami) > * Political/radical filmmaking and gender non-conforming actors (eg. Shinnosuke Ikehata [Peter]) > * Girl gangs/good for nothings > * Mothers and motherhood on screen (eg. Kawase Naomi?s documentaries; mothers in the work of Terayama Shuji) > * Fashion in and on film (eg. Mika Ninagawa) > * Queer Icons & Divas/Cinematic Expressions of LGBTQ+ life > > Some filmmakers we are keen to cover: > Akiko Ashizawa, Akiko Ohku, Atsugi Taka, Aya Igashi, Ayaka Kat?, Chiaki Kon, Chie Yamayoshi, Chihiro Ikeda, Chiho Aoshima, Haruka Komori, Hisako Matsui, Hitomi Kamanaka, Kaori Momoi, Kaori Oda, Kaze Shindo, Kei Fujiwara, Keiko Tsuruoka, Kinuyo Tanaka, Kyoko Miyake, Ky?ko Aizome, Lisa Takeba, Maiko Endo, Mai Tominaga, Mako Idemitsu, Makoto Moriwaki, Mami Sunada, Mana Yasuda, Mari Asato, Mariko Miyagi, Mariko Mori, Mari Okada, Mari Terashima, Mika Ninagawa, Mipo O, Miwa Nishikawa, Momoko Ando, Momoko Fukuda, Nami Iguchi, Naoko Ogigami, Naoko Yamada, Naomi Kawase, Natsuka Kusano, Rei Hayama, Rie Matsumoto, Rumi Tama, Sachi Hamano, Sachiko Hidari, Satoko Yokohama, Sawako Kabuki, Sayo Yamamoto, Shigeko Kubota, Shimako Sato, Shiori Kazama, Soni Kum, Sumiko Haneda, Tamaki Matsuoka, Tazuko Sakane, Tomoko Kana, Toshie Tokieda, UMMMI, Yang Yong-hi, Yayoi Kusama, Yokna Hasegawa, Yoko Ono, Yoko Yamanaka, Yoriko Mizushiri, Yoshiko Shimada, Yui Kiyohara, Yuiko Matsuyama, Yuka Eda, Yukiko Mishima, Yuki Yamato, Yumi Yoshiyuki > > Unfortunately, due to the linguistic capabilities of our editorial team, submissions must be made in English and will then be translated into Japanese. > > We are able to offer a small fee for accepted submissions. Submissions should be under 300 words and include two writing samples. The deadline for submissions is Sunday 15th February at midnight GMT. > > Please send pitches to editorial (at) anothergaze (dot) com > > Thank you, > > Daniella Shreir & Heather Williams > Guest editors: Alejandra Armendariz-Hernandez & Kimberly Icreverzi > Japanese editors: Fumina Hamasaki & Kanako Nakanishi > > Image credit: Motonaga Sadamasa > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: c32edf20-948c-4613-a450-2540ba814979-1-1050x851.jpeg Type: image/jpeg Size: 62614 bytes Desc: not available URL: From aaron.gerow at yale.edu Tue Jan 28 17:52:29 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 28 Jan 2020 17:52:29 -0500 Subject: [KineJapan] 2019 Japanese film industry statistics Message-ID: <5F4B50CD-8236-403E-B428-817B590C4ADE@yale.edu> Eiren announced the industry stats for 2019. Most encouraging was that attendance topped 190 million for the first time in 48 years. The box office also set a new record. Japanese film still beats foreign films 54% to 46% at the box office. The top Japanese films were again mostly anime, with Weathering for You being number one of all films, beating even Frozen II. Toho still dominates, but Toei did not do so badly. The number of screens increased slightly, getting closer to the number (if you equate screens with theaters in the old days) last seen in 1969. https://www.asahi.com/articles/ASN1X55P1N1XUCVL01B.html Here are Eiren?s statistics: http://www.eiren.org/toukei/index.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed Jan 29 13:19:51 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 29 Jan 2020 13:19:51 -0500 Subject: [KineJapan] Kawasaki City Museum In-Reply-To: <7A70827D-6D3E-42BE-BE52-93E2A769A40A@yale.edu> References: <021401d5865e$9ecd7350$dc6859f0$@org> <7A70827D-6D3E-42BE-BE52-93E2A769A40A@yale.edu> Message-ID: According to this article, Kawasaki City announced that of the many items damaged in the flooding of the Kawasaki City Museum's vaults, there are some that will be impossible to restore. The article mentions that films are among those. It seems that it is taking a lot of time to attend to the damaged collection. Only a third of the items in the affected vaults have even been removed from the vaults. https://www.tokyo-np.co.jp/article/kanagawa/list/202001/CK2020012902000142.html Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 143 Elm Street, Room 210 PO Box 208324 New Haven, CT 06520-8324 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From cailleahsg at gmail.com Thu Jan 30 16:19:04 2020 From: cailleahsg at gmail.com (Cailleah Scott-Grimes) Date: Thu, 30 Jan 2020 16:19:04 -0500 Subject: [KineJapan] =?utf-8?b?Q0ZQOiBUaGUgSmFwYW4gSXNzdWUg44Ki44OK44K2?= =?utf-8?b?44O844Ky44Kk44K6OuaXpeacrOeJuembhiAtIEFub3RoZXIgR2F6ZTog?= =?utf-8?q?A_Feminist_Film_Journal?= In-Reply-To: References: Message-ID: Plate is full, but it's important to start going public with the story of making this film, and I'd only do it if it tied into writing the support paper. On Tue., Jan. 28, 2020, 8:05 a.m. Joel Neville Anderson (JNA) via KineJapan, wrote: > > https://www.anothergaze.com/call-for-submissions-another-gaze-the-japan-issue/ > > https://twitter.com/anothergaze/status/1220377849850474496?s=21 > > > Call For Submissions ? Another Gaze: The Japan Issue ???????:???? > January 23, 2020 > > In November 2019, *Another Gaze* travelled to Japan to interview sixteen > women filmmakers. For our fifth issue, we are seeking essay submissions to > accompany the publication of several of these interviews. These essays will > be translated into Japanese and will be published as an insert for Japanese > readers. > > *Another Gaze *is a printed and online journal, founded as a sustained > and evolving forum for discussion around women and the moving image. Our > issues ? distributed worldwide ? contain essays, reviews, fragments and > interviews on narrative, documentary and experimental film work, and cover > women as filmmakers, spectators and filmic subjects. We are also keen to > accept feminist writing on areas including disability, race, sexuality and > class. > > We?re open to all forms of writing from all kinds of writers and would be > pleased to receive more experimental pitches. The writing we publish is > thorough and research-based but not academic or opaque in style. > > *NB: We welcome cross-national comparisons and analysis of films **not** > made by women. We are particularly, though not exclusively, interested in > the following subject areas: * > > * (Women?s) film festivals / women programmers (eg. Etsuko Takano) / > directors working in non-women?s film festivals (eg. Pia, Yamagata) / the > history of programming of films by women and queers at the ?major? > festivals / (women?s) film collectives > * Transnational circulation of the Japanese (woman) image > * The ?pink cinema? as exhibition space > * Microcinemas / rep theatres / film clubs > * Women film critics and theorists in Japan (eg. Osaki Midori) > * Women screen writers / women writers adapted to the screen > * Gender and the production pipeline (eg. Movement from actress to > director in ?pink?) / Japanese studio system & labour dynamics > * Fan cultures / grassroots film financing > * Gender, sexuality and pink (*pinku*) film. Non-studio filmmaking & > independence. > * Japanese women filmmakers living and working abroad (eg. New York in the > ?60s, women video artist in Europe, Japanese women in Korean and other > Asian countries) > * Women in silent cinemas / women as benshi, eg. ?mori Kumiko > * Photography (and filmmaking) / the ?girly? photo movement / > photographers who went on to make films > * Woman?s liberation (*uman ribu*) in and on film / generational feminism > / the overlap or non-overlap of waves with other countries > * Censorship / forced ?softening? of gender and sexuality on film > * Data-driven studies about women working in media industries in Japan > * Recent representations of the figure of the ?comfort > woman?/empire/colonial history on film > * Marginalised identities and locations: Zainichi and Nikkei identities, > Okinawa status, Ainu culture, Burakumin people > * Women?s response to Fukushima disaster and 3/11 (2011 Tohoku earthquake > and tsunami) > * Political/radical filmmaking and gender non-conforming actors (eg. > Shinnosuke Ikehata [Peter]) > * Girl gangs/good for nothings > * Mothers and motherhood on screen (eg. Kawase Naomi?s documentaries; > mothers in the work of Terayama Shuji) > * Fashion in and on film (eg. Mika Ninagawa) > * Queer Icons & Divas/Cinematic Expressions of LGBTQ+ life > > > *Some filmmakers we are keen to cover:*Akiko Ashizawa, Akiko Ohku, Atsugi > Taka, Aya Igashi, Ayaka Kat?, Chiaki Kon, Chie Yamayoshi, Chihiro Ikeda, > Chiho Aoshima, Haruka Komori, Hisako Matsui, Hitomi Kamanaka, Kaori Momoi, > Kaori Oda, Kaze Shindo, Kei Fujiwara, Keiko Tsuruoka, Kinuyo Tanaka, Kyoko > Miyake, Ky?ko Aizome, Lisa Takeba, Maiko Endo, Mai Tominaga, Mako Idemitsu, > Makoto Moriwaki, Mami Sunada, Mana Yasuda, Mari Asato, Mariko Miyagi, > Mariko Mori, Mari Okada, Mari Terashima, Mika Ninagawa, Mipo O, Miwa > Nishikawa, Momoko Ando, Momoko Fukuda, Nami Iguchi, Naoko Ogigami, Naoko > Yamada, Naomi Kawase, Natsuka Kusano, Rei Hayama, Rie Matsumoto, Rumi Tama, > Sachi Hamano, Sachiko Hidari, Satoko Yokohama, Sawako Kabuki, Sayo > Yamamoto, Shigeko Kubota, Shimako Sato, Shiori Kazama, Soni Kum, Sumiko > Haneda, Tamaki Matsuoka, Tazuko Sakane, Tomoko Kana, Toshie Tokieda, UMMMI, > Yang Yong-hi, Yayoi Kusama, Yokna Hasegawa, Yoko Ono, Yoko Yamanaka, Yoriko > Mizushiri, Yoshiko Shimada, Yui Kiyohara, Yuiko Matsuyama, Yuka Eda, Yukiko > Mishima, Yuki Yamato, Yumi Yoshiyuki > > Unfortunately, due to the linguistic capabilities of our editorial team, > submissions must be made in English and will then be translated into > Japanese. > > We are able to offer a small fee for accepted submissions. Submissions > should be under 300 words and include two writing samples. The deadline for > submissions is Sunday 15th February at midnight GMT. > > Please send pitches to editorial (at) anothergaze (dot) com > > Thank you, > > Daniella Shreir & Heather Williams > Guest editors: Alejandra Armendariz-Hernandez & Kimberly Icreverzi > Japanese editors: Fumina Hamasaki & Kanako Nakanishi > > Image credit: Motonaga Sadamasa > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: c32edf20-948c-4613-a450-2540ba814979-1-1050x851.jpeg Type: image/jpeg Size: 62614 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... 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