From reeldrew at aol.com Wed Jul 1 04:04:51 2020 From: reeldrew at aol.com (reeldrew at aol.com) Date: Wed, 1 Jul 2020 08:04:51 +0000 (UTC) Subject: [KineJapan] Information needed for end notes for a book I'm completing on silent serial queen Pearl White References: <898755524.538543.1593590691372.ref@mail.yahoo.com> Message-ID: <898755524.538543.1593590691372@mail.yahoo.com> I am presently completing the end notes for a biography on silent serial queen Pearl White. There are sections in the book in which I discuss her enormous world-wide popularity and influence. I have been working on this book, off and on, for a number of years. The research has encompassed thousands of sources. In compiling the notes, it has often been difficult to locate the specific source for some of the information in my text after all this lapse of time. In particular, I would very much appreciate it if any members of KineJapan could furnish me with exact sources for the following paragraph in my text: ? ? In Japan, Pearl's films regularly drew throngs to the theaters; her photograph was frequently featured in Japanese movie magazines, and in a popularity poll in the Japanese movie magazine, "Katsudo no Sekai," she ranked far ahead of most of her competitors. Her assertive performances made such an impression on young women of the period that, according to one male critic, Japanese female fans had even started to imitate Pearl's manner of walking. Now I believe I may have obtained that very information from a member of this group some 15 years ago--or perhaps it was through personal correspondence. It was so long ago I'm not sure, and it would be a Herculean task to go through the piles of printed-out e-mails in my archive to locate it. I wonder, therefore, if someone here could furnish me with an exact source for the information in the above paragraph--title and author of publication, the date and place it was printed, and page number. I will include you in my acknowledgments if you help. I should note that the above paragraph serves as a lead-in to another one discussing Yasujiro Ozu's admiration of Pearl White during his boyhood in Matsusaka, but in that case I do have the sources I will cite in the end notes. Thanks in advance for any help you can give me in this matter. William M. Drew -------------- next part -------------- An HTML attachment was scrubbed... URL: From annekmcknight at gmail.com Wed Jul 1 23:32:53 2020 From: annekmcknight at gmail.com (Anne McKnight) Date: Wed, 1 Jul 2020 20:32:53 -0700 Subject: [KineJapan] New Herzog film Message-ID: <832BB09D-6749-495D-A731-7ADD507F5639@gmail.com> Apologies if this has already been posted and I missed it, but I was surprised to see that Werner Herzog?s new film, Family Romance, LLC, is set in Tokyo. It?s a bit more found-family whimsy than I am used to from Herzog, but who knows? The article in Variety says that it will have its US premiere on Mubi. https://variety.com/2020/film/global/werner-herzog-family-romance-llc-mubi-1234692879/ Anne -------------- next part -------------- An HTML attachment was scrubbed... URL: From sogawa at nagoya-u.jp Wed Jul 1 23:37:06 2020 From: sogawa at nagoya-u.jp (shota ogawa) Date: Thu, 2 Jul 2020 12:37:06 +0900 Subject: [KineJapan] New Herzog film In-Reply-To: <832BB09D-6749-495D-A731-7ADD507F5639@gmail.com> References: <832BB09D-6749-495D-A731-7ADD507F5639@gmail.com> Message-ID: And here's the link to Mubi's invite page! https://mubi.com/herzog?lt=4br84mt7ecygqonlpheogvax3uj5iy7z5k24pz1594494525&utm_source=MUBI+Users&utm_campaign=4e9c104616-EMAIL_CAMPAIGN_2019_03_07_04_02_COPY_01&utm_medium=email&utm_term=0_d387ba6747-4e9c104616-216788893 On Thu, Jul 2, 2020 at 12:33 PM Anne McKnight via KineJapan < kinejapan at mailman.yale.edu> wrote: > Apologies if this has already been posted and I missed it, but I was > surprised to see that Werner Herzog?s new film, *Family Romance, LLC*, is > set in Tokyo. It?s a bit more found-family whimsy than I am used to from > Herzog, but who knows? > > The article in *Variety* says that it will have its US premiere on Mubi. > > > https://variety.com/2020/film/global/werner-herzog-family-romance-llc-mubi-1234692879/ > > Anne > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- __________________ Shota Ogawa ???? Graduate School of Letters Nagoya University Furo-cho, Chikusa-ku Nagoya 464-8601 T. 052-789-2252 Pronouns: he/him/his __________________ -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Jul 2 15:47:29 2020 From: nornes at umich.edu (Markus Nornes) Date: Thu, 2 Jul 2020 15:47:29 -0400 Subject: [KineJapan] New Herzog film In-Reply-To: References: <832BB09D-6749-495D-A731-7ADD507F5639@gmail.com> Message-ID: Florian H?hr Florian H?hr, the program director for Nippon Connection did a very nice Q and A on the film with Herzog last month. It's still on Youtube, and has English CC (thanks!). It's about rent-a-families in Japan, which he found out about through one of his students in LA, a young Japanese filmmaker. I guess they made this together, and it's some kind of combination of fiction and documentary about actual fictive families. The idea has great potential. Can't wait to see the film. https://youtu.be/l0MrUBDxTZA 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 Wed, Jul 1, 2020 at 11:37 PM shota ogawa via KineJapan < kinejapan at mailman.yale.edu> wrote: > And here's the link to Mubi's invite page! > > > https://mubi.com/herzog?lt=4br84mt7ecygqonlpheogvax3uj5iy7z5k24pz1594494525&utm_source=MUBI+Users&utm_campaign=4e9c104616-EMAIL_CAMPAIGN_2019_03_07_04_02_COPY_01&utm_medium=email&utm_term=0_d387ba6747-4e9c104616-216788893 > > > > On Thu, Jul 2, 2020 at 12:33 PM Anne McKnight via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Apologies if this has already been posted and I missed it, but I was >> surprised to see that Werner Herzog?s new film, *Family Romance, LLC*, >> is set in Tokyo. It?s a bit more found-family whimsy than I am used to from >> Herzog, but who knows? >> >> The article in *Variety* says that it will have its US premiere on Mubi. >> >> >> https://variety.com/2020/film/global/werner-herzog-family-romance-llc-mubi-1234692879/ >> >> Anne >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > __________________ > Shota Ogawa ???? > Graduate School of Letters > Nagoya University > Furo-cho, Chikusa-ku > Nagoya 464-8601 > T. 052-789-2252 > > Pronouns: he/him/his > __________________ > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From hayashi at yorku.ca Fri Jul 3 20:27:21 2020 From: hayashi at yorku.ca (Sharon Hayashi) Date: Fri, 3 Jul 2020 17:27:21 -0700 Subject: [KineJapan] New Herzog film In-Reply-To: References: <832BB09D-6749-495D-A731-7ADD507F5639@gmail.com> Message-ID: Hi All, To add to Shota's email and to revive the thread that Katherine, Jonathan and Aaron started a couple of months ago on online resources, I wanted to add this portal where students and faculty can get free MUBI memberships through the MUBI Film Schools Program. The definition of film school from what I understand is quite expansive and 'flexible.' (Scroll down on the drop down menu and register through the Film Schools Program. Faculty sign up with a university email address is below student sign up.) https://mubi.com/filmstudent I suspect in return for the 'free' subscription there's some tracking involved, but maybe we can teach the algorithm to offer more Japanese Cinema? Cheers, Sharon On Wed, Jul 1, 2020 at 8:37 PM shota ogawa via KineJapan < kinejapan at mailman.yale.edu> wrote: > And here's the link to Mubi's invite page! > > > https://mubi.com/herzog?lt=4br84mt7ecygqonlpheogvax3uj5iy7z5k24pz1594494525&utm_source=MUBI+Users&utm_campaign=4e9c104616-EMAIL_CAMPAIGN_2019_03_07_04_02_COPY_01&utm_medium=email&utm_term=0_d387ba6747-4e9c104616-216788893 > > > > On Thu, Jul 2, 2020 at 12:33 PM Anne McKnight via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Apologies if this has already been posted and I missed it, but I was >> surprised to see that Werner Herzog?s new film, *Family Romance, LLC*, >> is set in Tokyo. It?s a bit more found-family whimsy than I am used to from >> Herzog, but who knows? >> >> The article in *Variety* says that it will have its US premiere on Mubi. >> >> >> https://variety.com/2020/film/global/werner-herzog-family-romance-llc-mubi-1234692879/ >> >> Anne >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > __________________ > Shota Ogawa ???? > Graduate School of Letters > Nagoya University > Furo-cho, Chikusa-ku > Nagoya 464-8601 > T. 052-789-2252 > > Pronouns: he/him/his > __________________ > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- *Sharon Hayashi* Department of Cinema & Media Arts School of the Arts, Media, Performance & Design YORK UNIVERSITY CFT 232 ? 4700 Keele Street Toronto ON ? Canada M3J 1P3 -------------- next part -------------- An HTML attachment was scrubbed... URL: From jonathanmarkhall at gmail.com Sat Jul 4 16:07:05 2020 From: jonathanmarkhall at gmail.com (Jonathan M. Hall) Date: Sat, 4 Jul 2020 15:07:05 -0500 Subject: [KineJapan] Toda Natsuko's story Message-ID: Hello All, I enjoyed reading this /rough/ transcription of a talk in Osaka last month by famous Japanese subtitler Toda Natsuko about her career in the world of subtitling. It's a quick read but the glimpse of the early history of subtitling in Japan is interesting, and, through the modesty of her self-history, you can hear Toda's powerful determination to break into a male clique. https://swet.jp/columns/article/event_report_toda_natsuko_talks_about_her_life/_C38 By the way, the Society of Writers, Editors, and Translators is a great association. And their very helpful Japan Style Book can be downloaded for free. Follow this link: https://japanstylesheet.com/download-jss/ Best regards to all, Jonathan -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Jul 4 18:53:13 2020 From: nornes at umich.edu (Markus Nornes) Date: Sat, 4 Jul 2020 18:53:13 -0400 Subject: [KineJapan] Toda Natsuko's story In-Reply-To: References: Message-ID: The gender thread in her story is really interesting and impressive. I suspect that a majority of subtitles in Japan are now women. Toda paved the way. Interesting that she calls it a solitary job. I?ve heard from many people that in recent decades, she has an uncredited staff that help keep volume up. Wish she talked more about that. Toda always talks And writes about Tom Cruise and Harrison Ford. I always cynically felt she was milking their cultural capital, but here she does seem quite star struck. I?ve seen her interpret for Hollywood types, and she was both accurate and appropriately festive in affect for the occasion and the shiny stars. She made it fun. But her subtitles are something else again. It?s interesting she mentions the ?philosophical ? Thin Red Line, as I?ve written an analysis of her translation of that film. It?s precisely the philosophical side that she excises, transforming a contemplation on war into a dumb Hollywood blockbuster. It was quite disheartening, as I adore Malick?s film. The link at the bottom is also interesting. Markus On Sat, Jul 4, 2020 at 4:07 PM Jonathan M. Hall via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hello All, > > I enjoyed reading this /rough/ transcription of a talk in Osaka last month > by famous Japanese subtitler Toda Natsuko about her career in the world of > subtitling. It's a quick read but the glimpse of the early history of > subtitling in Japan is interesting, and, through the modesty of her > self-history, you can hear Toda's powerful determination to break into a > male clique. > > > https://swet.jp/columns/article/event_report_toda_natsuko_talks_about_her_life/_C38 > > By the way, the Society of Writers, Editors, and Translators is a great > association. And their very helpful Japan Style Book can be downloaded for > free. Follow this link: > > https://japanstylesheet.com/download-jss/ > > Best regards to all, > Jonathan > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun Jul 5 04:08:09 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 5 Jul 2020 08:08:09 +0000 (UTC) Subject: [KineJapan] Toda Natsuko's story In-Reply-To: References: Message-ID: <261537394.4597759.1593936489875@mail.yahoo.com> Can I just clear up a point ? Although Jonathan mentions ?talk in Osaka last month?, the date,at the bottom of the piece is 1999.? Thatseems worth saying in relation to Markus? point about not mentioning hercollaborations ?in recent decades?. But thanks, Jonathan ? it is an interesting, lively and informative read.And it?s in english, in case anyone (like me initially) thought they hadn?t gotthe time to follow the link. kind regards, Roger On Saturday, 4 July 2020, 23:53:33 BST, Markus Nornes via KineJapan wrote: The gender thread in her story is really interesting and impressive. I suspect that a majority of subtitles in Japan are now women. Toda paved the way.? Interesting that she calls it a solitary job. I?ve heard from many people that in recent decades, she has an uncredited staff that help keep volume up. Wish she talked more about that.? Toda always talks And writes about Tom Cruise and Harrison Ford. I always cynically felt she was milking their cultural capital, but here she does seem quite star struck.? I?ve seen her interpret for Hollywood types, and she was both accurate and appropriately festive in affect for the occasion and the shiny stars. She made it fun.? But her subtitles are something else again. It?s interesting she mentions the ?philosophical ? Thin Red Line, as I?ve written an analysis of her translation of that film. It?s precisely the philosophical side that she excises, transforming a contemplation on war into a dumb Hollywood blockbuster. It was quite disheartening, as I adore Malick?s film.? The link at the bottom is also interesting.? Markus On Sat, Jul 4, 2020 at 4:07 PM Jonathan M. Hall via KineJapan wrote: Hello All,? I enjoyed reading this /rough/ transcription of a talk in Osaka last month by famous Japanese subtitler Toda Natsuko about her career in the world of subtitling. It's a quick read but the glimpse of the early history of subtitling in Japan is interesting, and, through the modesty of her self-history, you can hear Toda's powerful determination to break into a male clique. https://swet.jp/columns/article/event_report_toda_natsuko_talks_about_her_life/_C38 By the way, the Society of Writers, Editors, and Translators is a great association. And their very helpful Japan Style Book can be downloaded for free. Follow this link: https://japanstylesheet.com/download-jss/ Best regards to all,Jonathan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -- ---? Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Jul 11 08:30:33 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 11 Jul 2020 21:30:33 +0900 Subject: [KineJapan] Post on travel to Japan Message-ID: <3B5837EC-0910-48DD-95E8-C078328D5439@yale.edu> I hope all of you are safe and sound! For various reasons, my wife and I had to make a trip to Japan. It was certainly a strange journey, so I wrote about it on Facebook. Since it might help others thinking about a trip, I was encouraged to turn it into a blog post, which I did: http://www.aarongerow.com/news/traveling-to-japan-in-the.html Since it?s a film blog, I felt the need to tack on a section on the movies I saw on the plane. 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 lorenzojavier.torres.hortelano at urjc.es Wed Jul 15 16:02:56 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Wed, 15 Jul 2020 20:02:56 +0000 Subject: [KineJapan] =?utf-8?q?New_paper_on_GARC=C3=8DA_M=C3=81RQUEZ_and_?= =?utf-8?q?SARABA_HAKOBUNE?= Message-ID: Dear friends, The last e-mail from Aaron could be in a Tereyama?s film? Hope everything was OK in Yokohama. Please forgive this self-promotion, but as some Kinejapaners helped with very valuable information to write it, here you have the paper just published (in Spanish): https://www.academia.edu/43630694/El_tiempo_deconstruido_en_Saraba_Hakobune_la_versi%C3%B3n_cinematogr%C3%A1fica_de_Cien_a%C3%B1os_de_soledad Torres Hortelano, L. J. (enero-junio, 2020). El tiempo deconstruido en Saraba Hakobune, la versi?n cinematogr?fica de Cien a?os de soledad. Cuadernos de literatura del Caribe e Hispanoam?rica, (31), p. 131 - 159. Doi: https://doi.org/10.15648/cl.31.2020 Thanks and Best regards, [cid:image001.jpg at 01D65AF0.DA6DAD00] 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 matteo.boscarol at gmail.com Fri Jul 17 00:25:53 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Fri, 17 Jul 2020 13:25:53 +0900 Subject: [KineJapan] Morisaki Azuma has passed away Message-ID: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> Hello everyone, It was reported today that director and screenwriter Morisaki Azuma has passed away, he was 92. Born in 1927 he joined Shochiku in 1956, first working as an assistant director for Nomura Yoshitar? and Yamada Y?ji. His first work as a screenwriter was for Yamada?s ???????? The Lovable Tramp in 1966 (not the Tora-san one), a nice comedy with undertones of seriousness and satire, with Baish? Chieko and Hana Hajime. In the same year he wrote or co-wrote the script for other 3 movies and in the second half of the 60s while continuing to write, always for Sh?chiku, he had his debut behind the camera with ?? ???? Women Can?t be Beaten (1969) with Baish? Mitsuko (Chieko?s sister) and Atsumi Kiyoshi, from an original idea by Yamada himself. In 1969 he co-wrote with Yamada the first Tora-san ?????? and the following year Morisaki directed one of the only two films in the entire series not directed by Yamada, ?????? ??????. He?s relatively known for Nuclear Gypsies ??????????????????????? (1985), one of the best titles ever and a underseen masterpiece, for Location ?????? (1984), the fictionalized adaptation of photographer Tsuda Ichir??s book ???????, about his experiences on pink eiga sets, and more recently for the touching and funny Pecoross' Mother and Her Days ???????????? (2013). Matteo Boscarol ??????????? Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Jul 17 01:07:21 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 17 Jul 2020 14:07:21 +0900 Subject: [KineJapan] Morisaki Azuma has passed away In-Reply-To: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> References: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> Message-ID: <732BD0A9-A917-4589-81A5-4C74F6D98C59@yale.edu> Sad to hear of Morisaki?s death. His comedies were different from Yamada?s, even though they worked together for a time. He tended to focus on marginal, nomadic, and sometime multi-ethnic communities, in a satirical sometimes acerbic way. He is definitely one Japanese director virtually unknown abroad whose work deserves far more attention. Fujii Jinshi edited this critical anthology on Morisaki?s work, which is a good place to start: Morisaki Azuma-t? sengen http://hdl.handle.net/10079/bibid/11912416 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 Fri Jul 17 03:17:04 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 17 Jul 2020 07:17:04 +0000 (UTC) Subject: [KineJapan] Morisaki Azuma has passed away In-Reply-To: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> References: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> Message-ID: <808791567.4558633.1594970224562@mail.yahoo.com> Thanks for this, Matteo and Aaron. I expect Fujii included this but can I just add that there was a substantialKinema Club Conference Report by Luke CROMER, November 2013. ?Morisaki Azuma?s Postwar:A Talk with Yamane Sadao, Ueno K?shi and Fujii?Jinshi? https://kinemaclub.org/conference-report/morisaki-azuma-s-postwar-talk-yamane-sadao-ueno-k-shi-and-fujii-jinshi Roger From: Gerow Aaron via KineJapan To: Japanese Cinema Discussion Forum Cc: Gerow Aaron Sent: Friday, 17 July 2020, 06:07:33 BSTSubject: Re: [KineJapan] Morisaki Azuma has passed away Sad to hear of Morisaki?s death. His comedies were different from Yamada?s, even though they worked together for a time. He tended to focus on marginal, nomadic, and sometime multi-ethnic communities, in a satirical sometimes acerbic way. He is definitely one Japanese director virtually unknown abroad whose work deserves far more attention.? Fujii Jinshi edited this critical anthology on Morisaki?s work, which is a good place to start: Morisaki Azuma-t? sengenhttp://hdl.handle.net/10079/bibid/11912416 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 On Friday, 17 July 2020, 05:26:03 BST, matteo boscarol via KineJapan wrote: Hello everyone,? It was reported today that director and screenwriter Morisaki Azuma has passed away, he was 92.? Born in 1927 he joined Shochiku in 1956, first working as an assistant director for Nomura Yoshitar? and ?Yamada Y?ji. His first work as a screenwriter was for Yamada?s ???????? The Lovable Tramp in 1966 (not the Tora-san one), a nice comedy with undertones of seriousness and satire, with Baish? Chieko and Hana Hajime. In the same year he wrote or co-wrote the script for other 3 movies and in the second half of the 60s while continuing to write, always for Sh?chiku, he had his debut behind the camera with ?? ???? ? Women Can?t be Beaten (1969) with Baish? Mitsuko (Chieko?s sister) and Atsumi Kiyoshi, from an original idea by Yamada himself. In 1969 he co-wrote with Yamada the first Tora-san ?????? and the following year Morisaki directed one of the only two films in the entire series not directed by Yamada,??????? ??????.?He?s relatively known for Nuclear Gypsies ??????????????????????? (1985), one of the best titles ever and a underseen masterpiece, for Location ?????? (1984), the fictionalized adaptation of photographer Tsuda Ichir??s book ???????, about his experiences on pink eiga sets, and more recently for the touching and funny Pecoross' Mother and Her Days ???????????? (2013).? Matteo Boscarol ???????????Asian Docs- Documentary in Japan and Asiahttp://storiadocgiappone.wordpress.com- Film writer for Il Manifestohttp://ilmanifesto.it _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From joelnevilleanderson at gmail.com Fri Jul 17 15:50:23 2020 From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA)) Date: Fri, 17 Jul 2020 15:50:23 -0400 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 17-30, 2020) In-Reply-To: References: Message-ID: The JAPAN CUTS online festival platform is now streaming through July 30th: https://japancuts.japansociety.org/ Enjoy! On Jun 24, 2020, at 4:19 PM, Joel Neville Anderson (JNA) wrote: Dear KineJapan subscribers, The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the online 14th edition of the festival, slated for July 17-30, 2020: https://japancuts.japansociety.org/ Films will be available to rent via video streaming with access largely limited to the U.S. Expanding the festival?s reach beyond New York, the lineup includes 30 features and 12 short films. The exclusive selection of film streaming options will be supplemented with live and pre-recorded virtual Q&As, discussion panels, and video introductions from filmmakers to maintain the festival?s sense of community and dedication to intercultural communication during the COVID-19 crisis, creating a meaningful online experience as we look forward to returning to physical cinemas together again in the future. The Opening Night Selection is SPECIAL ACTORS (dir. Shinichiro Ueda) and the Centerpiece Presentation is FUKUSHIMA 50 (dir. Setsuro Wakamatsu), awarding the 2020 CUT ABOVE Awards for Outstanding Achievement in Film to Koichi Sato and Ken Watanabe. In addition, this year?s festival commemorates the life and work of filmmaker Nobuhiko Obayashi (1938-2020). We will present his final film LABYRINTH OF CINEMA, the documentary portrait SEIJO STORY: 60 YEARS OF MAKING FILMS (dir. Isshin Inudo, Eiki Takahashi), a memorial panel, and introduce the Obayashi Prize?a competitive award given to an early career director whose independent narrative feature film is determined as the most accomplished by a jury of diverse industry professionals within the brand-new Next Generation section, the first competitive section in the festival?s history. The inaugural iteration of this section includes seven titles and will be juried by film director Momoko Ando (0.5mm), programmer Julian Ross of Locarno Film Festival and International Film Festival Rotterdam, and producer and Free Stone Productions CEO Miyuki Takamatsu (TEN YEARS JAPAN). Please browse the entire dynamic lineup on the website, listed below by program section: FEATURE SLATE -Extro (dir. Naoki Murahashi) -Fukushima 50 (dir. Setsuro Wakamatsu) -It Feels So Good (dir. Haruhiko Arai) -Labyrinth of Cinema (dir. Nobuhiko Obayashi) -Mrs. Noisy (dir. Chihiro Amano) -My Sweet Grappa Remedies (dir. Akiko Ohku) -On-Gaku: Our Sound (dir. Kenji Iwaisawa) -Special Actors (dir. Shinichiro Ueda) -Tora-san, Wish You Were Here (dir. Yoji Yamada) -Voices in the Wind (dir. Nobuhiro Suwa) NEXT GENERATION -Beyond the Night (dir. Natsuki Nakagawa) -Kontora (dir. Anshul Chauhan) -Life: Untitled (dir. Kana Yamada) -The Murders of Oiso (dir. Takuya Misawa) -My Identity (dir. Sae Suzuki) -Roar (dir. Ryo Katayama) -Sacrifice (dir. Taku Tsuboi) CLASSICS -Tora-san, Our Lovable Tramp (4K restoration) (dir. Yoji Yamada) -Tora-san Meets the Songstress Again (4K restoration) (dir. Yoji Yamada) -Tora-san, My Uncle (4K restoration) (dir. Yoji Yamada) DOCUMENTARY FOCUS -Book-Paper-Scissors (dir. Nanako Hirose) -i -Documentary of the Journalist- (dir. Tatsuya Mori) -Prison Circle (dir. Kaori Sakagami) -Reiwa Uprising (dir. Kazuo Hara) -Seijo Story: 60 Years of Making Films (dir. Isshin Inudo and Eiki Takahashi) -Sending Off (dir. Ian Thomas Ash) -What Can You Do About It? (dir. Yoshifumi Tsubota) EXPERIMENTAL SPOTLIGHT -Cenote (dir. Kaori Oda) -Kinta & Ginji (dir. Takuya Dairiki and Takashi Miura) -Shell and Joint (dir. Isamu Hirabayashi) SHORTS SHOWCASE (NARRATIVE) -Birdland (dir. Takeshi Kogahara) -See You on the Other Side (dir. Yoko Yamanaka) -Wolf?s Calling (dir. Toshiaki Toyoda) SHORTS SHOWCASE (DOCUMENTARY) -Bleached Bones Avenue (dir. Akio Fujimoto) -Lost Three Make One Found (dir. Atsushi Kuwayama) -Nana (dir. Fumiya Hayakawa) -The Sculpture of Place & Time (dir. Tatsuhito Utagawa) -Tokyo Girl (dir. Nebiro Hashimoto) SHORTS SHOWCASE (EXPERIMENTAL) -Bath House of Whales (dir. Mizuki Kiyama) -Blind Bombing, Filmed by a Bat (dir. Kota Takeuchi) -Fuel (dir. Yu Araki) -Wheel Music (dir. Nao Yoshigai) PANELS -"Collaboration and Community in Japanese Cinema During the Pandemic" Panelists: Ryusuke Hamaguchi (filmmaker), Yuko Iwasaki (Japan Community Cinema Center), Yuichi Watanabe (Tofoo Films), Noriko Yamasaki (Osaka Cine Nouveau) Moderator: Aiko Masubuchi -"Nobuhiko Obayashi: A Conversation" Panelists: Chigumi Obayashi, Noriki Ishitobi (Asahi Shimbun), Yo Nakajima (Theater Kino, Sapporo), Takako Tokiwa (actress) Moderator: Aaron Gerow -"New Approaches to Documentary from Japan" Panelists (all filmmakers): Ian Thomas Ash, Nanako Hirose, Kaori Oda, Kaori Sakagami Moderator: Amber No? ONLINE EVENTS -Opening Night Live Q&A with Shinichiro Ueda -CUT ABOVE Awards: Koichi Sato & Ken Watanabe -Closing Night Live Q&A with Obayashi Prize Recipient We hope many KineJapan subscribers are able to enjoy?please do share with your networks. -Facebook: http://www.facebook.com/japansocietyfilm -Twitter: http://twitter.com/JS_FILM_NYC/ (#JAPANCUTS) -The JAPAN CUTS Team K. F. Watanabe, Amber No?, Joel Neville Anderson -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Fri Jul 17 19:23:21 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sat, 18 Jul 2020 08:23:21 +0900 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 17-30, 2020) In-Reply-To: References: Message-ID: <50F07D9C-9491-48D4-9C6E-5D1104015C4E@gmail.com> thank you Joel, just a quick question: are the panels also area-restricted? Matteo Boscarol Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Jul 18, 2020, at 4:50, Joel Neville Anderson (JNA) via KineJapan wrote: > > ? > The JAPAN CUTS online festival platform is now streaming through July 30th: > https://japancuts.japansociety.org/ > > Enjoy! > > > On Jun 24, 2020, at 4:19 PM, Joel Neville Anderson (JNA) wrote: > > Dear KineJapan subscribers, > > The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the online 14th edition of the festival, slated for July 17-30, 2020: > https://japancuts.japansociety.org/ > > Films will be available to rent via video streaming with access largely limited to the U.S. Expanding the festival?s reach beyond New York, the lineup includes 30 features and 12 short films. The exclusive selection of film streaming options will be supplemented with live and pre-recorded virtual Q&As, discussion panels, and video introductions from filmmakers to maintain the festival?s sense of community and dedication to intercultural communication during the COVID-19 crisis, creating a meaningful online experience as we look forward to returning to physical cinemas together again in the future. > > The Opening Night Selection is SPECIAL ACTORS (dir. Shinichiro Ueda) and the Centerpiece Presentation is FUKUSHIMA 50 (dir. Setsuro Wakamatsu), awarding the 2020 CUT ABOVE Awards for Outstanding Achievement in Film to Koichi Sato and Ken Watanabe. > > In addition, this year?s festival commemorates the life and work of filmmaker Nobuhiko Obayashi (1938-2020). We will present his final film LABYRINTH OF CINEMA, the documentary portrait SEIJO STORY: 60 YEARS OF MAKING FILMS (dir. Isshin Inudo, Eiki Takahashi), a memorial panel, and introduce the Obayashi Prize?a competitive award given to an early career director whose independent narrative feature film is determined as the most accomplished by a jury of diverse industry professionals within the brand-new Next Generation section, the first competitive section in the festival?s history. The inaugural iteration of this section includes seven titles and will be juried by film director Momoko Ando (0.5mm), programmer Julian Ross of Locarno Film Festival and International Film Festival Rotterdam, and producer and Free Stone Productions CEO Miyuki Takamatsu (TEN YEARS JAPAN). > > Please browse the entire dynamic lineup on the website, listed below by program section: > > FEATURE SLATE > -Extro (dir. Naoki Murahashi) > -Fukushima 50 (dir. Setsuro Wakamatsu) > -It Feels So Good (dir. Haruhiko Arai) > -Labyrinth of Cinema (dir. Nobuhiko Obayashi) > -Mrs. Noisy (dir. Chihiro Amano) > -My Sweet Grappa Remedies (dir. Akiko Ohku) > -On-Gaku: Our Sound (dir. Kenji Iwaisawa) > -Special Actors (dir. Shinichiro Ueda) > -Tora-san, Wish You Were Here (dir. Yoji Yamada) > -Voices in the Wind (dir. Nobuhiro Suwa) > > NEXT GENERATION > -Beyond the Night (dir. Natsuki Nakagawa) > -Kontora (dir. Anshul Chauhan) > -Life: Untitled (dir. Kana Yamada) > -The Murders of Oiso (dir. Takuya Misawa) > -My Identity (dir. Sae Suzuki) > -Roar (dir. Ryo Katayama) > -Sacrifice (dir. Taku Tsuboi) > > CLASSICS > -Tora-san, Our Lovable Tramp (4K restoration) (dir. Yoji Yamada) > -Tora-san Meets the Songstress Again (4K restoration) (dir. Yoji Yamada) > -Tora-san, My Uncle (4K restoration) (dir. Yoji Yamada) > > DOCUMENTARY FOCUS > -Book-Paper-Scissors (dir. Nanako Hirose) > -i -Documentary of the Journalist- (dir. Tatsuya Mori) > -Prison Circle (dir. Kaori Sakagami) > -Reiwa Uprising (dir. Kazuo Hara) > -Seijo Story: 60 Years of Making Films (dir. Isshin Inudo and Eiki Takahashi) > -Sending Off (dir. Ian Thomas Ash) > -What Can You Do About It? (dir. Yoshifumi Tsubota) > > EXPERIMENTAL SPOTLIGHT > -Cenote (dir. Kaori Oda) > -Kinta & Ginji (dir. Takuya Dairiki and Takashi Miura) > -Shell and Joint (dir. Isamu Hirabayashi) > > SHORTS SHOWCASE (NARRATIVE) > -Birdland (dir. Takeshi Kogahara) > -See You on the Other Side (dir. Yoko Yamanaka) > -Wolf?s Calling (dir. Toshiaki Toyoda) > > SHORTS SHOWCASE (DOCUMENTARY) > -Bleached Bones Avenue (dir. Akio Fujimoto) > -Lost Three Make One Found (dir. Atsushi Kuwayama) > -Nana (dir. Fumiya Hayakawa) > -The Sculpture of Place & Time (dir. Tatsuhito Utagawa) > -Tokyo Girl (dir. Nebiro Hashimoto) > > SHORTS SHOWCASE (EXPERIMENTAL) > -Bath House of Whales (dir. Mizuki Kiyama) > -Blind Bombing, Filmed by a Bat (dir. Kota Takeuchi) > -Fuel (dir. Yu Araki) > -Wheel Music (dir. Nao Yoshigai) > > PANELS > -"Collaboration and Community in Japanese Cinema During the Pandemic" > Panelists: Ryusuke Hamaguchi (filmmaker), Yuko Iwasaki (Japan Community Cinema Center), Yuichi Watanabe (Tofoo Films), Noriko Yamasaki (Osaka Cine Nouveau) > Moderator: Aiko Masubuchi > > -"Nobuhiko Obayashi: A Conversation" > Panelists: Chigumi Obayashi, Noriki Ishitobi (Asahi Shimbun), Yo Nakajima (Theater Kino, Sapporo), Takako Tokiwa (actress) > Moderator: Aaron Gerow > > -"New Approaches to Documentary from Japan" > Panelists (all filmmakers): Ian Thomas Ash, Nanako Hirose, Kaori Oda, Kaori Sakagami > Moderator: Amber No? > > ONLINE EVENTS > -Opening Night Live Q&A with Shinichiro Ueda > -CUT ABOVE Awards: Koichi Sato & Ken Watanabe > -Closing Night Live Q&A with Obayashi Prize Recipient > > We hope many KineJapan subscribers are able to enjoy?please do share with your networks. > -Facebook: http://www.facebook.com/japansocietyfilm > -Twitter: http://twitter.com/JS_FILM_NYC/ (#JAPANCUTS) > > -The JAPAN CUTS Team > K. F. Watanabe, Amber No?, Joel Neville Anderson > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From joelnevilleanderson at gmail.com Fri Jul 17 19:59:54 2020 From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA)) Date: Fri, 17 Jul 2020 19:59:54 -0400 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 17-30, 2020) In-Reply-To: <50F07D9C-9491-48D4-9C6E-5D1104015C4E@gmail.com> References: <50F07D9C-9491-48D4-9C6E-5D1104015C4E@gmail.com> Message-ID: Hi Matteo?The panels are free and not restricted by area, and the live Q&As will be archived on the site as well. You can also find a selection of titles available worldwide on the homepage in the ?Available to Stream Worldwide? slider. Best, Joel On Jul 17, 2020, at 7:23 PM, matteo boscarol via KineJapan wrote: thank you Joel, just a quick question: are the panels also area-restricted? Matteo Boscarol Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Jul 18, 2020, at 4:50, Joel Neville Anderson (JNA) via KineJapan wrote: > > ? > The JAPAN CUTS online festival platform is now streaming through July 30th: > https://japancuts.japansociety.org/ > > Enjoy! > > > On Jun 24, 2020, at 4:19 PM, Joel Neville Anderson (JNA) > wrote: > > Dear KineJapan subscribers, > > The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the online 14th edition of the festival, slated for July 17-30, 2020: > https://japancuts.japansociety.org/ > > Films will be available to rent via video streaming with access largely limited to the U.S. Expanding the festival?s reach beyond New York, the lineup includes 30 features and 12 short films. The exclusive selection of film streaming options will be supplemented with live and pre-recorded virtual Q&As, discussion panels, and video introductions from filmmakers to maintain the festival?s sense of community and dedication to intercultural communication during the COVID-19 crisis, creating a meaningful online experience as we look forward to returning to physical cinemas together again in the future. > > The Opening Night Selection is SPECIAL ACTORS (dir. Shinichiro Ueda) and the Centerpiece Presentation is FUKUSHIMA 50 (dir. Setsuro Wakamatsu), awarding the 2020 CUT ABOVE Awards for Outstanding Achievement in Film to Koichi Sato and Ken Watanabe. > > In addition, this year?s festival commemorates the life and work of filmmaker Nobuhiko Obayashi (1938-2020). We will present his final film LABYRINTH OF CINEMA, the documentary portrait SEIJO STORY: 60 YEARS OF MAKING FILMS (dir. Isshin Inudo, Eiki Takahashi), a memorial panel, and introduce the Obayashi Prize?a competitive award given to an early career director whose independent narrative feature film is determined as the most accomplished by a jury of diverse industry professionals within the brand-new Next Generation section, the first competitive section in the festival?s history. The inaugural iteration of this section includes seven titles and will be juried by film director Momoko Ando (0.5mm), programmer Julian Ross of Locarno Film Festival and International Film Festival Rotterdam, and producer and Free Stone Productions CEO Miyuki Takamatsu (TEN YEARS JAPAN). > > Please browse the entire dynamic lineup on the website, listed below by program section: > > FEATURE SLATE > -Extro (dir. Naoki Murahashi) > -Fukushima 50 (dir. Setsuro Wakamatsu) > -It Feels So Good (dir. Haruhiko Arai) > -Labyrinth of Cinema (dir. Nobuhiko Obayashi) > -Mrs. Noisy (dir. Chihiro Amano) > -My Sweet Grappa Remedies (dir. Akiko Ohku) > -On-Gaku: Our Sound (dir. Kenji Iwaisawa) > -Special Actors (dir. Shinichiro Ueda) > -Tora-san, Wish You Were Here (dir. Yoji Yamada) > -Voices in the Wind (dir. Nobuhiro Suwa) > > NEXT GENERATION > -Beyond the Night (dir. Natsuki Nakagawa) > -Kontora (dir. Anshul Chauhan) > -Life: Untitled (dir. Kana Yamada) > -The Murders of Oiso (dir. Takuya Misawa) > -My Identity (dir. Sae Suzuki) > -Roar (dir. Ryo Katayama) > -Sacrifice (dir. Taku Tsuboi) > > CLASSICS > -Tora-san, Our Lovable Tramp (4K restoration) (dir. Yoji Yamada) > -Tora-san Meets the Songstress Again (4K restoration) (dir. Yoji Yamada) > -Tora-san, My Uncle (4K restoration) (dir. Yoji Yamada) > > DOCUMENTARY FOCUS > -Book-Paper-Scissors (dir. Nanako Hirose) > -i -Documentary of the Journalist- (dir. Tatsuya Mori) > -Prison Circle (dir. Kaori Sakagami) > -Reiwa Uprising (dir. Kazuo Hara) > -Seijo Story: 60 Years of Making Films (dir. Isshin Inudo and Eiki Takahashi) > -Sending Off (dir. Ian Thomas Ash) > -What Can You Do About It? (dir. Yoshifumi Tsubota) > > EXPERIMENTAL SPOTLIGHT > -Cenote (dir. Kaori Oda) > -Kinta & Ginji (dir. Takuya Dairiki and Takashi Miura) > -Shell and Joint (dir. Isamu Hirabayashi) > > SHORTS SHOWCASE (NARRATIVE) > -Birdland (dir. Takeshi Kogahara) > -See You on the Other Side (dir. Yoko Yamanaka) > -Wolf?s Calling (dir. Toshiaki Toyoda) > > SHORTS SHOWCASE (DOCUMENTARY) > -Bleached Bones Avenue (dir. Akio Fujimoto) > -Lost Three Make One Found (dir. Atsushi Kuwayama) > -Nana (dir. Fumiya Hayakawa) > -The Sculpture of Place & Time (dir. Tatsuhito Utagawa) > -Tokyo Girl (dir. Nebiro Hashimoto) > > SHORTS SHOWCASE (EXPERIMENTAL) > -Bath House of Whales (dir. Mizuki Kiyama) > -Blind Bombing, Filmed by a Bat (dir. Kota Takeuchi) > -Fuel (dir. Yu Araki) > -Wheel Music (dir. Nao Yoshigai) > > PANELS > -"Collaboration and Community in Japanese Cinema During the Pandemic" > Panelists: Ryusuke Hamaguchi (filmmaker), Yuko Iwasaki (Japan Community Cinema Center), Yuichi Watanabe (Tofoo Films), Noriko Yamasaki (Osaka Cine Nouveau) > Moderator: Aiko Masubuchi > > -"Nobuhiko Obayashi: A Conversation" > Panelists: Chigumi Obayashi, Noriki Ishitobi (Asahi Shimbun), Yo Nakajima (Theater Kino, Sapporo), Takako Tokiwa (actress) > Moderator: Aaron Gerow > > -"New Approaches to Documentary from Japan" > Panelists (all filmmakers): Ian Thomas Ash, Nanako Hirose, Kaori Oda, Kaori Sakagami > Moderator: Amber No? > > ONLINE EVENTS > -Opening Night Live Q&A with Shinichiro Ueda > -CUT ABOVE Awards: Koichi Sato & Ken Watanabe > -Closing Night Live Q&A with Obayashi Prize Recipient > > We hope many KineJapan subscribers are able to enjoy?please do share with your networks. > -Facebook: http://www.facebook.com/japansocietyfilm > -Twitter: http://twitter.com/JS_FILM_NYC/ (#JAPANCUTS) > > -The JAPAN CUTS Team > K. F. Watanabe, Amber No?, Joel Neville Anderson > > _______________________________________________ > 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 matteo.boscarol at gmail.com Fri Jul 17 20:14:07 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sat, 18 Jul 2020 09:14:07 +0900 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 17-30, 2020) In-Reply-To: References: Message-ID: Thank you Joel, good to know Matteo Boscarol Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Jul 18, 2020, at 8:59, Joel Neville Anderson (JNA) wrote: > > ? > Hi Matteo?The panels are free and not restricted by area, and the live Q&As will be archived on the site as well. You can also find a selection of titles available worldwide on the homepage in the ?Available to Stream Worldwide? slider. > > > Best, > Joel > > On Jul 17, 2020, at 7:23 PM, matteo boscarol via KineJapan wrote: > > thank you Joel, > > just a quick question: are the panels also area-restricted? > > Matteo Boscarol > Asian Docs > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > - Film writer for Il Manifesto > http://ilmanifesto.it > > >>> On Jul 18, 2020, at 4:50, Joel Neville Anderson (JNA) via KineJapan wrote: >>> >> ? >> The JAPAN CUTS online festival platform is now streaming through July 30th: >> https://japancuts.japansociety.org/ >> >> Enjoy! >> >> >> On Jun 24, 2020, at 4:19 PM, Joel Neville Anderson (JNA) wrote: >> >> Dear KineJapan subscribers, >> >> The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the online 14th edition of the festival, slated for July 17-30, 2020: >> https://japancuts.japansociety.org/ >> >> Films will be available to rent via video streaming with access largely limited to the U.S. Expanding the festival?s reach beyond New York, the lineup includes 30 features and 12 short films. The exclusive selection of film streaming options will be supplemented with live and pre-recorded virtual Q&As, discussion panels, and video introductions from filmmakers to maintain the festival?s sense of community and dedication to intercultural communication during the COVID-19 crisis, creating a meaningful online experience as we look forward to returning to physical cinemas together again in the future. >> >> The Opening Night Selection is SPECIAL ACTORS (dir. Shinichiro Ueda) and the Centerpiece Presentation is FUKUSHIMA 50 (dir. Setsuro Wakamatsu), awarding the 2020 CUT ABOVE Awards for Outstanding Achievement in Film to Koichi Sato and Ken Watanabe. >> >> In addition, this year?s festival commemorates the life and work of filmmaker Nobuhiko Obayashi (1938-2020). We will present his final film LABYRINTH OF CINEMA, the documentary portrait SEIJO STORY: 60 YEARS OF MAKING FILMS (dir. Isshin Inudo, Eiki Takahashi), a memorial panel, and introduce the Obayashi Prize?a competitive award given to an early career director whose independent narrative feature film is determined as the most accomplished by a jury of diverse industry professionals within the brand-new Next Generation section, the first competitive section in the festival?s history. The inaugural iteration of this section includes seven titles and will be juried by film director Momoko Ando (0.5mm), programmer Julian Ross of Locarno Film Festival and International Film Festival Rotterdam, and producer and Free Stone Productions CEO Miyuki Takamatsu (TEN YEARS JAPAN). >> >> Please browse the entire dynamic lineup on the website, listed below by program section: >> >> FEATURE SLATE >> -Extro (dir. Naoki Murahashi) >> -Fukushima 50 (dir. Setsuro Wakamatsu) >> -It Feels So Good (dir. Haruhiko Arai) >> -Labyrinth of Cinema (dir. Nobuhiko Obayashi) >> -Mrs. Noisy (dir. Chihiro Amano) >> -My Sweet Grappa Remedies (dir. Akiko Ohku) >> -On-Gaku: Our Sound (dir. Kenji Iwaisawa) >> -Special Actors (dir. Shinichiro Ueda) >> -Tora-san, Wish You Were Here (dir. Yoji Yamada) >> -Voices in the Wind (dir. Nobuhiro Suwa) >> >> NEXT GENERATION >> -Beyond the Night (dir. Natsuki Nakagawa) >> -Kontora (dir. Anshul Chauhan) >> -Life: Untitled (dir. Kana Yamada) >> -The Murders of Oiso (dir. Takuya Misawa) >> -My Identity (dir. Sae Suzuki) >> -Roar (dir. Ryo Katayama) >> -Sacrifice (dir. Taku Tsuboi) >> >> CLASSICS >> -Tora-san, Our Lovable Tramp (4K restoration) (dir. Yoji Yamada) >> -Tora-san Meets the Songstress Again (4K restoration) (dir. Yoji Yamada) >> -Tora-san, My Uncle (4K restoration) (dir. Yoji Yamada) >> >> DOCUMENTARY FOCUS >> -Book-Paper-Scissors (dir. Nanako Hirose) >> -i -Documentary of the Journalist- (dir. Tatsuya Mori) >> -Prison Circle (dir. Kaori Sakagami) >> -Reiwa Uprising (dir. Kazuo Hara) >> -Seijo Story: 60 Years of Making Films (dir. Isshin Inudo and Eiki Takahashi) >> -Sending Off (dir. Ian Thomas Ash) >> -What Can You Do About It? (dir. Yoshifumi Tsubota) >> >> EXPERIMENTAL SPOTLIGHT >> -Cenote (dir. Kaori Oda) >> -Kinta & Ginji (dir. Takuya Dairiki and Takashi Miura) >> -Shell and Joint (dir. Isamu Hirabayashi) >> >> SHORTS SHOWCASE (NARRATIVE) >> -Birdland (dir. Takeshi Kogahara) >> -See You on the Other Side (dir. Yoko Yamanaka) >> -Wolf?s Calling (dir. Toshiaki Toyoda) >> >> SHORTS SHOWCASE (DOCUMENTARY) >> -Bleached Bones Avenue (dir. Akio Fujimoto) >> -Lost Three Make One Found (dir. Atsushi Kuwayama) >> -Nana (dir. Fumiya Hayakawa) >> -The Sculpture of Place & Time (dir. Tatsuhito Utagawa) >> -Tokyo Girl (dir. Nebiro Hashimoto) >> >> SHORTS SHOWCASE (EXPERIMENTAL) >> -Bath House of Whales (dir. Mizuki Kiyama) >> -Blind Bombing, Filmed by a Bat (dir. Kota Takeuchi) >> -Fuel (dir. Yu Araki) >> -Wheel Music (dir. Nao Yoshigai) >> >> PANELS >> -"Collaboration and Community in Japanese Cinema During the Pandemic" >> Panelists: Ryusuke Hamaguchi (filmmaker), Yuko Iwasaki (Japan Community Cinema Center), Yuichi Watanabe (Tofoo Films), Noriko Yamasaki (Osaka Cine Nouveau) >> Moderator: Aiko Masubuchi >> >> -"Nobuhiko Obayashi: A Conversation" >> Panelists: Chigumi Obayashi, Noriki Ishitobi (Asahi Shimbun), Yo Nakajima (Theater Kino, Sapporo), Takako Tokiwa (actress) >> Moderator: Aaron Gerow >> >> -"New Approaches to Documentary from Japan" >> Panelists (all filmmakers): Ian Thomas Ash, Nanako Hirose, Kaori Oda, Kaori Sakagami >> Moderator: Amber No? >> >> ONLINE EVENTS >> -Opening Night Live Q&A with Shinichiro Ueda >> -CUT ABOVE Awards: Koichi Sato & Ken Watanabe >> -Closing Night Live Q&A with Obayashi Prize Recipient >> >> We hope many KineJapan subscribers are able to enjoy?please do share with your networks. >> -Facebook: http://www.facebook.com/japansocietyfilm >> -Twitter: http://twitter.com/JS_FILM_NYC/ (#JAPANCUTS) >> >> -The JAPAN CUTS Team >> K. F. Watanabe, Amber No?, Joel Neville Anderson >> >> _______________________________________________ >> 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 lukestephencromer at gmail.com Mon Jul 20 20:26:48 2020 From: lukestephencromer at gmail.com (Luke Cromer) Date: Tue, 21 Jul 2020 10:26:48 +1000 Subject: [KineJapan] Morisaki Azuma has passed away In-Reply-To: <808791567.4558633.1594970224562@mail.yahoo.com> References: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> <808791567.4558633.1594970224562@mail.yahoo.com> Message-ID: Thank you for sharing this. I recall the NHK documentary in 2013 revealing that Morisaki's memory was deteriorating during production of his last film (Pecoross), and it is sad to learn of his passing now. And thank you Roger for reminding us of this report. It was written when I was a research student before commencing a master's degree at Waseda. The piece evolved from spending a lot of time with graduate students in Fujii Jinshi's course who put me onto Morisaki and Fujii's book. They knew that I was researching for a thesis on Kawashima Yuzo, and almost demanded that I write something on Morisaki if I was interested in somewhat outsider or rogue filmmakers. As Aaron has pointed out, Morisaki was concerned with marginalised and minority groups, with connections to Okinawa that of course adds further layers to his films. The last of the Shochiku rebels? Indeed Nuclear Gypsies (I never came across the English title back then), is one to watch and a film that I continue to think about whenever hearing of the continued nuclear problems in Japan. I'm sure we will begin to see some retrospective screenings for those fortunate to be in Japan, and probably more DVD releases. Luke Luke Cromer PhD Candidate and Sessional Tutor Department of Japanese Studies School of Languages and Cultures *The University of Sydney * On Fri, Jul 17, 2020 at 5:17 PM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > > * Thanks for this, Matteo and Aaron. I expect Fujii included this but can > I just add that there was a substantial Kinema Club Conference Report by > Luke CROMER, November 2013. ?Morisaki Azuma?s Postwar: A Talk with Yamane > Sadao, Ueno K?shi and Fujii Jinshi? > https://kinemaclub.org/conference-report/morisaki-azuma-s-postwar-talk-yamane-sadao-ueno-k-shi-and-fujii-jinshi > Roger > * > > *From:* Gerow Aaron via KineJapan > *To:* Japanese Cinema Discussion Forum > *Cc:* Gerow Aaron > *Sent:* Friday, 17 July 2020, 06:07:33 BST > *Subject:* Re: [KineJapan] Morisaki Azuma has passed away > > Sad to hear of Morisaki?s death. His comedies were different from > Yamada?s, even though they worked together for a time. He tended to focus > on marginal, nomadic, and sometime multi-ethnic communities, in a satirical > sometimes acerbic way. He is definitely one Japanese director virtually > unknown abroad whose work deserves far more attention. > > Fujii Jinshi edited this critical anthology on Morisaki?s work, which is a > good place to start: > > Morisaki Azuma > -t? sengen > http://hdl.handle.net/10079/bibid/11912416 > > > > 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 > > > On Friday, 17 July 2020, 05:26:03 BST, matteo boscarol via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Hello everyone, > > It was reported today that director and screenwriter Morisaki Azuma has > passed away, he was 92. > > Born in 1927 he joined Shochiku in 1956, first working as an assistant > director for Nomura Yoshitar? and Yamada Y?ji. His first work as a > screenwriter was for Yamada?s ???????? The Lovable Tramp in 1966 (not the > Tora-san one), a nice comedy with undertones of seriousness and satire, > with Baish? Chieko and Hana Hajime. In the same year he wrote or co-wrote > the script for other 3 movies and in the second half of the 60s while > continuing to write, always for Sh?chiku, he had his debut behind the > camera with ?? ???? Women Can?t be Beaten (1969) with Baish? Mitsuko > (Chieko?s sister) and Atsumi Kiyoshi, from an original idea by Yamada > himself. In 1969 he co-wrote with Yamada the first Tora-san ?????? and the > following year Morisaki directed one of the only two films in the entire > series not directed by Yamada, ?????? ??????. > He?s relatively known for Nuclear Gypsies ??????????????????????? (1985), > one of the best titles ever and a underseen masterpiece, for Location > ?????? (1984), the fictionalized adaptation of photographer Tsuda Ichir??s > book ???????, about his experiences on pink eiga sets, and more recently > for the touching and funny Pecoross' Mother and Her Days ???????????? > (2013). > > > Matteo Boscarol > ??????????? > Asian Docs > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > - Film writer for Il Manifesto > http://ilmanifesto.it > > _______________________________________________ > 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 macyroger at yahoo.co.uk Tue Jul 21 10:59:37 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Tue, 21 Jul 2020 14:59:37 +0000 (UTC) Subject: [KineJapan] Morisaki Azuma has passed away In-Reply-To: References: <1FED0249-723B-430C-832E-3E3577378B26@gmail.com> <808791567.4558633.1594970224562@mail.yahoo.com> Message-ID: <1257487328.7468630.1595343577277@mail.yahoo.com> Thank you, Luke, for getting in touch and giving morecontext.? I will actively undertake toget myself an education on some of Morisaki?s films which, at the momentconsists of that swan-song, an over-sweet (I thought) propaganda fictionalizedfilm encouraging the use of care homes for the elderly in Japan, along withmulti-generational and multi-gendered support. Indeed if, as you say, he wasalready suffering memory-loss, that film may be doubly unrepresentative of hisoeuvre.? The Japan Foundation UK 2016 screenings of Pekorosu no haha ni ai niiku were accompanied by a helpful short piece by SAKO Katsura [??], KeioUniversity, putting it in context of social trends and recent literature inJapan. Looking at my notes from the screening, I can still see the rawness ofmy reaction against the discrepancy between the film?s sweet depiction, and theexperience of my own relatives in care homes. Which leads me to the somewhat morbid, if contextual question ? does anyoneknow where and how Morisaki spent his final declining years. I read that hedied in hospital, but, before that, did he experience life in the care homesfor which he (on the shoulders of OKANO Y?ichi and AKUNE Tomoaki) propagandized? Roger On Tuesday, 21 July 2020, 01:27:10 BST, Luke Cromer via KineJapan wrote: Thank you for sharing this. I recall the NHK documentary in 2013 revealing that Morisaki's memory was deteriorating during production of his last film (Pecoross), and it is sad to learn of his passing now.? And thank you Roger for reminding us of this report. It was written when I was a research student before commencing a master's degree at Waseda. The piece evolved from spending a lot of time with graduate students in Fujii Jinshi's course who put me onto Morisaki and Fujii's book. They knew that I was researching for a thesis on Kawashima Yuzo, and almost demanded that I write something on Morisaki if I was interested in somewhat outsider or rogue filmmakers. As Aaron has pointed out, Morisaki was concerned with marginalised and minority groups, with connections to Okinawa that of course adds further layers to his films. The last of the Shochiku rebels? Indeed Nuclear Gypsies (I never came across?the English title back then), is one to watch and a film that I continue to think about whenever hearing of the continued nuclear problems in Japan. I'm sure we will begin to see some retrospective screenings for those fortunate to be in Japan, and probably more DVD releases.? Luke? Luke Cromer?PhD Candidate and Sessional Tutor? Department of Japanese StudiesSchool of Languages and Cultures The University of Sydney? On Fri, Jul 17, 2020 at 5:17 PM Roger Macy via KineJapan wrote: Thanks for this, Matteo and Aaron. I expect Fujii included this but can I just add that there was a substantialKinema Club Conference Report by Luke CROMER, November 2013. ?Morisaki Azuma?s Postwar:A Talk with Yamane Sadao, Ueno K?shi and Fujii?Jinshi? https://kinemaclub.org/conference-report/morisaki-azuma-s-postwar-talk-yamane-sadao-ueno-k-shi-and-fujii-jinshi Roger From: Gerow Aaron via KineJapan To: Japanese Cinema Discussion Forum Cc: Gerow Aaron Sent: Friday, 17 July 2020, 06:07:33 BSTSubject: Re: [KineJapan] Morisaki Azuma has passed away Sad to hear of Morisaki?s death. His comedies were different from Yamada?s, even though they worked together for a time. He tended to focus on marginal, nomadic, and sometime multi-ethnic communities, in a satirical sometimes acerbic way. He is definitely one Japanese director virtually unknown abroad whose work deserves far more attention.? Fujii Jinshi edited this critical anthology on Morisaki?s work, which is a good place to start: Morisaki Azuma-t? sengenhttp://hdl.handle.net/10079/bibid/11912416 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 On Friday, 17 July 2020, 05:26:03 BST, matteo boscarol via KineJapan wrote: Hello everyone,? It was reported today that director and screenwriter Morisaki Azuma has passed away, he was 92.? Born in 1927 he joined Shochiku in 1956, first working as an assistant director for Nomura Yoshitar? and ?Yamada Y?ji. His first work as a screenwriter was for Yamada?s ???????? The Lovable Tramp in 1966 (not the Tora-san one), a nice comedy with undertones of seriousness and satire, with Baish? Chieko and Hana Hajime. In the same year he wrote or co-wrote the script for other 3 movies and in the second half of the 60s while continuing to write, always for Sh?chiku, he had his debut behind the camera with ?? ???? ? Women Can?t be Beaten (1969) with Baish? Mitsuko (Chieko?s sister) and Atsumi Kiyoshi, from an original idea by Yamada himself. In 1969 he co-wrote with Yamada the first Tora-san ?????? and the following year Morisaki directed one of the only two films in the entire series not directed by Yamada,??????? ??????.?He?s relatively known for Nuclear Gypsies ??????????????????????? (1985), one of the best titles ever and a underseen masterpiece, for Location ?????? (1984), the fictionalized adaptation of photographer Tsuda Ichir??s book ???????, about his experiences on pink eiga sets, and more recently for the touching and funny Pecoross' Mother and Her Days ???????????? (2013).? Matteo Boscarol ???????????Asian Docs- Documentary in Japan and Asiahttp://storiadocgiappone.wordpress.com- Film writer for Il Manifestohttp://ilmanifesto.it _______________________________________________ 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 Thu Jul 23 15:55:34 2020 From: nornes at umich.edu (Markus Nornes) Date: Thu, 23 Jul 2020 15:55:34 -0400 Subject: [KineJapan] Ghost of Tsushima Message-ID: Here is a decent review by Kazuma Hashimoto of the new game that trades on the Kurosawa name. I closest I have come to this is the online trailer. Ironically, the ?Kurosawa Mode? is just black and white, while a few of the color bits included are direct quotes of Kagemusha. This review suggests the game is pretty much what you?d expect: ? A game that so heavily carries itself on the laurels of one of the most prolific Japanese filmmakers should investigate and reflect on his work in the same way that the audience engages with other pieces of media like film and literature. What is the intent of the creator versus the work?s broader meaning in relation to current events, or the history of the culture that is ultimately serving as a backdrop to yet another open-world romp? And how do these things intertwine and create something that can flirt on an edge of misunderstanding? Ghost of Tsushimais a surface-level reflection of these questions and quandaries, sporting a lens through which to experience Kurosawa, but not to understand his work. It ultimately doesn?t deal with the politics of the country it uses as a backdrop. For the makers of the game, recreating Kurosawa is just black and white.? https://www.polygon.com/2020/7/23/21333631/ghost-of-tsushima-kurosawa-films-samurai-japan-abe-politics 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 keungyoonbae at fas.harvard.edu Thu Jul 23 16:22:18 2020 From: keungyoonbae at fas.harvard.edu (Keung Yoon "Becky" Bae) Date: Thu, 23 Jul 2020 16:22:18 -0400 Subject: [KineJapan] Ghost of Tsushima In-Reply-To: References: Message-ID: I'm very glad Kazu wrote this piece, despite the fact that this will expose him to a hefty amount of online abuse (he recently privated his twitter account in preparation). The game studio Sucker Punch's marketing for Ghost of Tsushima relies heavily on its adherence to a certain kind of authenticity ("we photoscanned leaves from Tsushima! we invited Real Life Samurai to our studio!") without, it seems, a consideration for the stakes of history. On Thu, Jul 23, 2020 at 3:55 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Here is a decent review by Kazuma Hashimoto of the new game that trades on > the Kurosawa name. I closest I have come to this is the online trailer. > Ironically, the ?Kurosawa Mode? is just black and white, while a few of the > color bits included are direct quotes of Kagemusha. This review suggests > the game is pretty much what you?d expect: > > ? A game that so heavily carries itself on the laurels of one of the most > prolific Japanese filmmakers should investigate and reflect on his work in > the same way that the audience engages with other pieces of media like film > and literature. What is the intent of the creator versus the work?s broader > meaning in relation to current events, or the history of the culture that > is ultimately serving as a backdrop to yet another open-world romp? And how > do these things intertwine and create something that can flirt on an edge > of misunderstanding? Ghost of Tsushimais a surface-level reflection of > these questions and quandaries, sporting a lens through which to experience > Kurosawa, but not to understand his work. It ultimately doesn?t deal with > the politics of the country it uses as a backdrop. For the makers of the > game, recreating Kurosawa is just black and white.? > > > https://www.polygon.com/2020/7/23/21333631/ghost-of-tsushima-kurosawa-films-samurai-japan-abe-politics > > Markus > > > > > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- *Keung Yoon "Becky" Bae* *PhD Student, East Asian Languages and Civilizations* *Graduate School of Arts and Sciences, Harvard University* *Cambridge, MA* -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Fri Jul 24 03:43:47 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Fri, 24 Jul 2020 16:43:47 +0900 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= Message-ID: <8D5179C7-62D9-4142-B260-31E4A101A504@gmail.com> Dear members, The ???????????? in Kyoto is trying to gather information on the theatrical release of ??? The Day the Sun Rose, aka Gion Festival (Yamanouchi Tetsuya, 1968) outside of Japan. We know that it was shown in USA in February of 1969 (in Hawaii in 1973), but they couldn?t get anything about other parts of the world. Any help would be appreciated. Regards Matteo Boscarol - Film writer for Il Manifesto http://ilmanifesto.it Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Jul 24 04:00:03 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 24 Jul 2020 17:00:03 +0900 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: <8D5179C7-62D9-4142-B260-31E4A101A504@gmail.com> References: <8D5179C7-62D9-4142-B260-31E4A101A504@gmail.com> Message-ID: I was also asked the same question by Ota-san, and showed her this newspaper page from the Honolulu Star-Bulletin from February 18, 1969. https://www.newspapers.com/newspage/271234104/?fbclid=IwAR1cdXOghW8_yVBRaeS4sLTSz0K8NpwZGNpYnjy5dKYCMtCqF94i01U3gJc Even without getting the full view, you can see there is an ad for the film showing at the Nippon theater. More needs to be done to figure out where else it showed and what happened to the print(s). Aaron > 2020/07/24 ??4:43?matteo boscarol via KineJapan ????: > > Dear members, > > The ???????????? in Kyoto is trying to gather information on the theatrical release of ??? The Day the Sun Rose, aka Gion Festival (Yamanouchi Tetsuya, 1968) outside of Japan. We know that it was shown in USA in February of 1969 (in Hawaii in 1973), but they couldn?t get anything about other parts of the world. > > Any help would be appreciated. > > Regards > > Matteo Boscarol > > - Film writer for Il Manifesto > http://ilmanifesto.it > > Asian Docs > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Fri Jul 24 07:26:39 2020 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Fri, 24 Jul 2020 14:26:39 +0300 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: <8D5179C7-62D9-4142-B260-31E4A101A504@gmail.com> Message-ID: Hi! I asked Finnish Film Archive, and at least according to their knowledge it has not been shown in Finland, if this information helps. Eija Niskanen Programming director Helsinki Cine Aasia www.helsinkicineaasia.fi pe 24. hein?k. 2020 klo 11.00 Gerow Aaron via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > I was also asked the same question by Ota-san, and showed her this > newspaper page from the Honolulu Star-Bulletin from February 18, 1969. > > > https://www.newspapers.com/newspage/271234104/?fbclid=IwAR1cdXOghW8_yVBRaeS4sLTSz0K8NpwZGNpYnjy5dKYCMtCqF94i01U3gJc > > Even without getting the full view, you can see there is an ad for the > film showing at the Nippon theater. > > More needs to be done to figure out where else it showed and what happened > to the print(s). > > Aaron > > 2020/07/24 ??4:43?matteo boscarol via KineJapan < > kinejapan at mailman.yale.edu>????: > > Dear members, > > The ???????????? in Kyoto is trying to gather information on the > theatrical release of ??? The Day the Sun Rose, aka Gion Festival > (Yamanouchi Tetsuya, 1968) outside of Japan. We know that it was shown in > USA in February of 1969 (in Hawaii in 1973), but they couldn?t get anything > about other parts of the world. > > Any help would be appreciated. > > Regards > > Matteo Boscarol > > - Film writer for Il Manifesto > http://ilmanifesto.it > > Asian Docs > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.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 matteo.boscarol at gmail.com Fri Jul 24 07:33:34 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Fri, 24 Jul 2020 20:33:34 +0900 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: Message-ID: thank you Eija Matteo Boscarol - Film writer for Il Manifesto http://ilmanifesto.it Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com > On Jul 24, 2020, at 20:26, Eija Niskanen via KineJapan wrote: > > ? > Hi! > I asked Finnish Film Archive, and at least according to their knowledge it has not been shown in Finland, if this information helps. > > Eija Niskanen > Programming director > Helsinki Cine Aasia > www.helsinkicineaasia.fi > > > > > pe 24. hein?k. 2020 klo 11.00 Gerow Aaron via KineJapan (kinejapan at mailman.yale.edu) kirjoitti: >> I was also asked the same question by Ota-san, and showed her this newspaper page from the Honolulu Star-Bulletin from February 18, 1969. >> >> https://www.newspapers.com/newspage/271234104/?fbclid=IwAR1cdXOghW8_yVBRaeS4sLTSz0K8NpwZGNpYnjy5dKYCMtCqF94i01U3gJc >> >> Even without getting the full view, you can see there is an ad for the film showing at the Nippon theater. >> >> More needs to be done to figure out where else it showed and what happened to the print(s). >> >> Aaron >> >>> 2020/07/24 ??4:43?matteo boscarol via KineJapan ????: >>> >>> Dear members, >>> >>> The ???????????? in Kyoto is trying to gather information on the theatrical release of ??? The Day the Sun Rose, aka Gion Festival (Yamanouchi Tetsuya, 1968) outside of Japan. We know that it was shown in USA in February of 1969 (in Hawaii in 1973), but they couldn?t get anything about other parts of the world. >>> >>> Any help would be appreciated. >>> >>> Regards >>> >>> Matteo Boscarol >>> >>> - Film writer for Il Manifesto >>> http://ilmanifesto.it >>> >>> Asian Docs >>> - Documentary in Japan and Asia >>> http://storiadocgiappone.wordpress.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 > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From wct1 at columbia.edu Fri Jul 24 09:41:42 2020 From: wct1 at columbia.edu (William C. Thompson) Date: Fri, 24 Jul 2020 09:41:42 -0400 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: Message-ID: Roger Greenspun reviewed the film in the New York Times on August 30, 1973, when the film was opening at the Bijou Theater here. The Bijou showed Japanese films almost exclusively at one time. I had not yet moved to New York at that time. https://www.nytimes.com/1973/08/30/archives/day-the-sun-rose-kyoto-drama.html?searchResultPosition=1 Bill Thompson wct1 at columbia.edu On Fri, Jul 24, 2020 at 7:33 AM matteo boscarol via KineJapan < kinejapan at mailman.yale.edu> wrote: > thank you Eija > > Matteo Boscarol > > - Film writer for Il Manifesto > http://ilmanifesto.it > Asian Docs > - Documentary in Japan and Asia > http://storiadocgiappone.wordpress.com > > > On Jul 24, 2020, at 20:26, Eija Niskanen via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > ? > Hi! > I asked Finnish Film Archive, and at least according to their knowledge it > has not been shown in Finland, if this information helps. > > Eija Niskanen > Programming director > Helsinki Cine Aasia > www.helsinkicineaasia.fi > > > > > pe 24. hein?k. 2020 klo 11.00 Gerow Aaron via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > >> I was also asked the same question by Ota-san, and showed her this >> newspaper page from the Honolulu Star-Bulletin from February 18, 1969. >> >> >> https://www.newspapers.com/newspage/271234104/?fbclid=IwAR1cdXOghW8_yVBRaeS4sLTSz0K8NpwZGNpYnjy5dKYCMtCqF94i01U3gJc >> >> Even without getting the full view, you can see there is an ad for the >> film showing at the Nippon theater. >> >> More needs to be done to figure out where else it showed and what >> happened to the print(s). >> >> Aaron >> >> 2020/07/24 ??4:43?matteo boscarol via KineJapan < >> kinejapan at mailman.yale.edu>????: >> >> Dear members, >> >> The ???????????? in Kyoto is trying to gather information on the >> theatrical release of ??? The Day the Sun Rose, aka Gion Festival >> (Yamanouchi Tetsuya, 1968) outside of Japan. We know that it was shown in >> USA in February of 1969 (in Hawaii in 1973), but they couldn?t get anything >> about other parts of the world. >> >> Any help would be appreciated. >> >> Regards >> >> Matteo Boscarol >> >> - Film writer for Il Manifesto >> http://ilmanifesto.it >> >> Asian Docs >> - Documentary in Japan and Asia >> http://storiadocgiappone.wordpress.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 >> > _______________________________________________ > 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 Fri Jul 24 10:00:27 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 24 Jul 2020 23:00:27 +0900 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: Message-ID: Wow, Roger reviewed it! Roger Greenspan was one of my teachers in grad school at Columbia. Aaron > 2020/07/24 ??10:41?William C. Thompson via KineJapan ????: > > Roger Greenspun reviewed the film in the New York Times on August 30, 1973, when the film was opening at the Bijou Theater here. The Bijou showed Japanese films almost exclusively at one time. I had not yet moved to New York at that time. > > https://www.nytimes.com/1973/08/30/archives/day-the-sun-rose-kyoto-drama.html?searchResultPosition=1 > > Bill Thompson > wct1 at columbia.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Jul 24 13:57:16 2020 From: nornes at umich.edu (Markus Nornes) Date: Fri, 24 Jul 2020 13:57:16 -0400 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: Message-ID: I love this kind of thing......A quick search of the newspaper databases produced several reviews and ads and mentions. The Bijou in NY showed it as half of a double bill with Gosha's *Wolves. * The theater goes back to 1917, but between 1963 and 1965 it was Toho's NY outpost. Obviously, that experiment wasn't all that successful, but I guess it was good enough to revert to a Japanese film specialty house in 1973 after a period of switching between first run films and legit theater. *The Day the Sun Rose* double bill was to kick off a new strategy of exclusively showing Japanese films. Apparently, this was their strategy to tide themselves over until the property was razed to build the Marriot Marquis Hotel. (Cinema Treasures has great photos and some ads; man, they showed a lot of great films! http://cinematreasures.org/theaters/2932). Kevin Thomas, who was always a big supporter of Japanese releases, reviewed it for LA Times in 1969; it played at the Kabuki. It had a release in 1971 as the second film in a *Pale Flower* double bill. The Japan Information Centre in Delhi showed it in 1977. The Cinemateque in Jerusalem showed it through the Japanese embassy in 1973. It was included as a Japanese selection along with Gamera vs. Jigar at a international film festival that was part of the 1972 Munich Olympics. That's what comes up. I don't have their email at hand, but if you send it to me I can send them PDFs for the info above. Markus Box Office reviewed it that year, too. --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Fri, Jul 24, 2020 at 10:00 AM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > Wow, Roger reviewed it! > > Roger Greenspan was one of my teachers in grad school at Columbia. > > Aaron > > 2020/07/24 ??10:41?William C. Thompson via KineJapan < > kinejapan at mailman.yale.edu>????: > > Roger Greenspun reviewed the film in the New York Times on August 30, > 1973, when the film was opening at the Bijou Theater here. The Bijou > showed Japanese films almost exclusively at one time. I had not yet moved > to New York at that time. > > > https://www.nytimes.com/1973/08/30/archives/day-the-sun-rose-kyoto-drama.html?searchResultPosition=1 > > Bill Thompson > wct1 at columbia.edu > > > _______________________________________________ > 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 Fri Jul 24 15:58:24 2020 From: raine.michael.j at gmail.com (Michael Raine) Date: Fri, 24 Jul 2020 14:58:24 -0500 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: Message-ID: Interesting comment on the cinema treasures link: I was at the closing night of the Toho Cinema. The film they showed was Kurosawa?s Ikiru?To Live?with Takashi Shimura. A clerk finds out he is dying of cancer and builds a children?s park, to give something back. The movie ends with him on a swing in his park, humming a sad little tune, accompanied by the sobbing of 600 people in the theater, myself included. In the lobby were posters of the great Kurosawa films they had shown. The entire staff of the theater was in Japanese ceremonial dress. They thanked each person individually for attending. Auld Lang Syne was played over the loudspeaker. People were literally staggering, blinded by tears, clutching onto walls and railings. Years later I met someone who had been at the same performance. We agreed that seldom in our lives did we feel as close to suicide. On Fri, Jul 24, 2020 at 12:57 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > I love this kind of thing......A quick search of the newspaper databases > produced several reviews and ads and mentions. > > The Bijou in NY showed it as half of a double bill with Gosha's *Wolves. * > The theater goes back to 1917, but between 1963 and 1965 it was Toho's NY > outpost. Obviously, that experiment wasn't all that successful, but I guess > it was good enough to revert to a Japanese film specialty house in 1973 > after a period of switching between first run films and legit theater. *The > Day the Sun Rose* double bill was to kick off a new strategy of > exclusively showing Japanese films. Apparently, this was their strategy to > tide themselves over until the property was razed to build the Marriot > Marquis Hotel. (Cinema Treasures has great photos and some ads; man, they > showed a lot of great films! http://cinematreasures.org/theaters/2932). > > Kevin Thomas, who was always a big supporter of Japanese > releases, reviewed it for LA Times in 1969; it played at the Kabuki. It had > a release in 1971 as the second film in a *Pale Flower* double bill. > > The Japan Information Centre in Delhi showed it in 1977. > > The Cinemateque in Jerusalem showed it through the Japanese embassy in > 1973. > > It was included as a Japanese selection along with Gamera vs. Jigar at a > international film festival that was part of the 1972 Munich Olympics. > > That's what comes up. > > I don't have their email at hand, but if you send it to me I can send them > PDFs for the info above. > > Markus > > > > > > Box Office reviewed it that year, too. > > > > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Fri, Jul 24, 2020 at 10:00 AM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Wow, Roger reviewed it! >> >> Roger Greenspan was one of my teachers in grad school at Columbia. >> >> Aaron >> >> 2020/07/24 ??10:41?William C. Thompson via KineJapan < >> kinejapan at mailman.yale.edu>????: >> >> Roger Greenspun reviewed the film in the New York Times on August 30, >> 1973, when the film was opening at the Bijou Theater here. The Bijou >> showed Japanese films almost exclusively at one time. I had not yet moved >> to New York at that time. >> >> >> https://www.nytimes.com/1973/08/30/archives/day-the-sun-rose-kyoto-drama.html?searchResultPosition=1 >> >> Bill Thompson >> wct1 at columbia.edu >> >> >> _______________________________________________ >> 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 Fri Jul 24 16:05:11 2020 From: nornes at umich.edu (Markus Nornes) Date: Fri, 24 Jul 2020 16:05:11 -0400 Subject: [KineJapan] =?utf-8?q?theatrical_release_of_=E7=A5=87=E5=9C=92?= =?utf-8?q?=E7=A5=AD_outside_of_Japan?= In-Reply-To: References: Message-ID: I saw that. Really wonderful! As are the photos. I once interviewed Kevin Thomas about the Japanese film exhibition scene in LA, and he really had deep, fond memories of those theaters. My first stint in LA was in the early 80s, but I was in Westwood and between that concentration of theaters and the Nuart, there was no need to trek East. Plus, I was working at Mann's National (a wonderful theater, long gone) so I got into everything in the neighborhood free. The Nuart was playing a lot of Imamura and other classics at the time and that's where I was really discovering Japanese cinema. My second stint in LA overlapped with Shochiku's attempt to run a theater in Yaohan Plaza in Little Tokyo. I lived close?and for a while right in the heart of downtown?so I was watching films there at least once a week. They played a mix of recent Shochiku films and classics. It was really wonderful, and attendance ebbed and flowed depending on the film. And the audience was quite mixed. They were the last Japanese theater in LA, and closed down in 1990. After reading that comment about the Toho in New York, I really wished I had caught their last film. I wonder what it was like. At the time, I remember no fanfare?rather, it was like it just disappeared one day. I just discovered that the Shochiku was run by Hisamatsu-san, the director of Tokyo International Film Festival. Wow! I can't wait to sit down and ply him for stories. I'll have to buy the drinks, because boy did I learn a lot and cover a lot of ground in that theater. 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 Fri, Jul 24, 2020 at 3:58 PM Michael Raine via KineJapan < kinejapan at mailman.yale.edu> wrote: > Interesting comment on the cinema treasures link: > > I was at the closing night of the Toho Cinema. The film they showed was > Kurosawa?s Ikiru?To Live?with Takashi Shimura. A clerk finds out he is > dying of cancer and builds a children?s park, to give something back. The > movie ends with him on a swing in his park, humming a sad little tune, > accompanied by the sobbing of 600 people in the theater, myself included. > In the lobby were posters of the great Kurosawa films they had shown. The > entire staff of the theater was in Japanese ceremonial dress. They thanked > each person individually for attending. Auld Lang Syne was played over the > loudspeaker. People were literally staggering, blinded by tears, clutching > onto walls and railings. Years later I met someone who had been at the same > performance. We agreed that seldom in our lives did we feel as close to > suicide. > > > On Fri, Jul 24, 2020 at 12:57 PM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> I love this kind of thing......A quick search of the newspaper databases >> produced several reviews and ads and mentions. >> >> The Bijou in NY showed it as half of a double bill with Gosha's *Wolves. >> * The theater goes back to 1917, but between 1963 and 1965 it was Toho's >> NY outpost. Obviously, that experiment wasn't all that successful, but I >> guess it was good enough to revert to a Japanese film specialty house in >> 1973 after a period of switching between first run films and legit theater. *The >> Day the Sun Rose* double bill was to kick off a new strategy of >> exclusively showing Japanese films. Apparently, this was their strategy to >> tide themselves over until the property was razed to build the Marriot >> Marquis Hotel. (Cinema Treasures has great photos and some ads; man, they >> showed a lot of great films! http://cinematreasures.org/theaters/2932). >> >> Kevin Thomas, who was always a big supporter of Japanese >> releases, reviewed it for LA Times in 1969; it played at the Kabuki. It had >> a release in 1971 as the second film in a *Pale Flower* double bill. >> >> The Japan Information Centre in Delhi showed it in 1977. >> >> The Cinemateque in Jerusalem showed it through the Japanese embassy in >> 1973. >> >> It was included as a Japanese selection along with Gamera vs. Jigar at a >> international film festival that was part of the 1972 Munich Olympics. >> >> That's what comes up. >> >> I don't have their email at hand, but if you send it to me I can send >> them PDFs for the info above. >> >> Markus >> >> >> >> >> >> Box Office reviewed it that year, too. >> >> >> >> >> --- >> >> *Markus Nornes* >> *Professor of Asian Cinema* >> Department of Film, Television and Media, Department of Asian Languages >> and Cultures, Penny Stamps School of Art & Design >> >> *Department of Film, Television and Media* >> *6348 North Quad* >> *105 S. State Street* >> *Ann Arbor, MI 48109-1285* >> >> >> >> On Fri, Jul 24, 2020 at 10:00 AM Gerow Aaron via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> Wow, Roger reviewed it! >>> >>> Roger Greenspan was one of my teachers in grad school at Columbia. >>> >>> Aaron >>> >>> 2020/07/24 ??10:41?William C. Thompson via KineJapan < >>> kinejapan at mailman.yale.edu>????: >>> >>> Roger Greenspun reviewed the film in the New York Times on August 30, >>> 1973, when the film was opening at the Bijou Theater here. The Bijou >>> showed Japanese films almost exclusively at one time. I had not yet moved >>> to New York at that time. >>> >>> >>> https://www.nytimes.com/1973/08/30/archives/day-the-sun-rose-kyoto-drama.html?searchResultPosition=1 >>> >>> Bill Thompson >>> wct1 at columbia.edu >>> >>> >>> _______________________________________________ >>> 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 Sat Jul 25 13:01:35 2020 From: nornes at umich.edu (Markus Nornes) Date: Sat, 25 Jul 2020 13:01:35 -0400 Subject: [KineJapan] New Japanese Films at Shanghai Message-ID: Shanghai Int'l FF just opened. They breached the 500-film level a few years ago and it's unclear how large a festival they are shooting for this time around. It is in person, but with limited seating (30%), temperature taking, mandatory masking and no foreign guests. There are a ton of Japanese films this year. In the competition: ?One Summer Story? by Okita Shuichi, and ?Tracing Her Shadow,? a Sino-Japanese co-production from Pengfei. Animation competition: ?Words Bubble Up Like Soda Pop,? by Japan?s Ishiguro Kyohei. Documentary competition: Minamata Mandala by Hara Kazuo Asian New Talent: ?Daughters,? from Japan?s Tsuda Hajime Retrospectives of Kon Satoshi, Kitano Takeshi and Shochiku. Master classes by Japanese helmers Kore-eda and Kawase. Soda's Zero, Sabu's Dancing Mary, Sakamoto. Junji's I Never Shot Anyone, Obayashi's Labrynth of Cinema, Suwa's Voices in the Wind and others. 4k restorations of Kawashima's Elegant Beast and Masumura's Irezumi. A bunch more. The one I'm most curious about is Hara's Minamata Mandala. He's been working on this for 15+ years. It sounds like it's over 6 hours long, and SIFF will have an online dialogue between Hara and Wu Wenguang. This and the master classes will all be online. I'm trying to find out if they will be opened up globally. Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sat Jul 25 22:42:04 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sun, 26 Jul 2020 11:42:04 +0900 Subject: [KineJapan] New Japanese Films at Shanghai In-Reply-To: References: Message-ID: <597A2B3E-1D37-4B90-8327-4921211C958E@gmail.com> good line-up, as far as I understand, Minamata Mandala is divided in 3 parts, it?ll be interesting to see if they?re going to be screen and shown as 3 movies (like Soda?s Theatre 1,2 for instance) Matteo Boscarol Asian Docs - Documentary in Japan and Asia http://storiadocgiappone.wordpress.com - Film writer for Il Manifesto http://ilmanifesto.it > On Jul 26, 2020, at 2:01, Markus Nornes via KineJapan wrote: > > ? > Shanghai Int'l FF just opened. They breached the 500-film level a few years ago and it's unclear how large a festival they are shooting for this time around. It is in person, but with limited seating (30%), temperature taking, mandatory masking and no foreign guests. There are a ton of Japanese films this year. > > In the competition: ?One Summer Story? by Okita Shuichi, and > ?Tracing Her Shadow,? a Sino-Japanese co-production from Pengfei. > Animation competition: ?Words Bubble Up Like Soda Pop,? by Japan?s Ishiguro Kyohei. Documentary competition: Minamata Mandala by Hara Kazuo > > Asian New Talent: ?Daughters,? from Japan?s Tsuda Hajime > > Retrospectives of Kon Satoshi, Kitano Takeshi and Shochiku. > > Master classes by Japanese helmers Kore-eda and Kawase. > > Soda's Zero, Sabu's Dancing Mary, Sakamoto. Junji's I Never Shot Anyone, Obayashi's Labrynth of Cinema, Suwa's Voices in the Wind and others. > > 4k restorations of Kawashima's Elegant Beast and Masumura's Irezumi. > > A bunch more. > > The one I'm most curious about is Hara's Minamata Mandala. He's been working on this for 15+ years. It sounds like it's over 6 hours long, and SIFF will have an online dialogue between Hara and Wu Wenguang. > > This and the master classes will all be online. I'm trying to find out if they will be opened up globally. > > Markus > > > > > > > > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From wangxinyi40 at yahoo.com Sun Jul 26 10:08:16 2020 From: wangxinyi40 at yahoo.com (Wang Xinyi) Date: Sun, 26 Jul 2020 23:08:16 +0900 Subject: [KineJapan] New Japanese Films at Shanghai References: <8968A7C3-8AC7-46FD-BE23-D6C890716D16.ref@yahoo.com> Message-ID: <8968A7C3-8AC7-46FD-BE23-D6C890716D16@yahoo.com> Dear all, Here?s the website of 23rd Shanghai International Film Festival (2020.7.25 - 8.2). http://www.siff.com/siff/english/ There are some online master classes. https://t.youku.com/yep/page/m/shanghaidianyingjie23?wh_weex=true&isNeedBaseImage=1&from=home_floor You can click the photo of the director and watch it. You are able to watch the record version if you cannot watch the live stream. However, there?s no English subtitle at present. 7/25 22:30-23:30 JIA Zhang-ke 7/26 20:00-21:00 James Schamus 7/27 22:00-23:00 Olivier Assayas 7/28 22:00-23:00 Kawase Naomi 7/31 21:00-22:00 Lav Diaz 8/01 21:00-22:00 Denis Villeneuve 8/02 21:00-23:00 Koreeda Hirokazu Best, Xinyi ******************************************** Xinyi Wang Master, Cinema Studies Graduate School of Humanities, Nagoya University Mail Address: wangxinyi40 at yahoo.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From linda.ehrlich at gmail.com Sun Jul 26 10:14:02 2020 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Sun, 26 Jul 2020 10:14:02 -0400 Subject: [KineJapan] New Japanese Films at Shanghai In-Reply-To: <8968A7C3-8AC7-46FD-BE23-D6C890716D16@yahoo.com> References: <8968A7C3-8AC7-46FD-BE23-D6C890716D16.ref@yahoo.com> <8968A7C3-8AC7-46FD-BE23-D6C890716D16@yahoo.com> Message-ID: Thank you. Is this Shanghai time? (I assume so) On Sunday, July 26, 2020, Wang Xinyi via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear all, > > Here?s the website of 23rd Shanghai International Film Festival (2020.7.25 > - 8.2). http://www.siff.com/siff/english/ > > There are some online master classes. https://t.youku.com/yep/page/m/ > shanghaidianyingjie23?wh_weex=true&isNeedBaseImage=1&from=home_floor > You can click the photo of the director and watch it. You are able to > watch the record version if you cannot watch the live stream. > However, there?s no English subtitle at present. > > 7/25 22:30-23:30 JIA Zhang-ke > 7/26 20:00-21:00 James Schamus > 7/27 22:00-23:00 Olivier Assayas > 7/28 22:00-23:00 Kawase Naomi > 7/31 21:00-22:00 Lav Diaz > 8/01 21:00-22:00 Denis Villeneuve > 8/02 21:00-23:00 Koreeda Hirokazu > > Best, > Xinyi > ******************************************** > Xinyi Wang > Master, Cinema Studies > Graduate School of Humanities, Nagoya University > Mail Address: wangxinyi40 at yahoo.com > -- Linda E. Braided Narrative Amazon Author Page -------------- next part -------------- An HTML attachment was scrubbed... URL: From joelnevilleanderson at gmail.com Fri Jul 31 15:47:03 2020 From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA)) Date: Fri, 31 Jul 2020 15:47:03 -0400 Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 17-30, 2020) In-Reply-To: References: Message-ID: Many thanks to the KineJapan subscribers who joined JAPAN CUTS online this year. You can now watch the 2020 edition's archived live Q&As, panels, filmmaker introductions, and trailers here: https://www.youtube.com/playlist?list=PLzfrZ0tkPLmyQOKk8aLYKY36_-B3009Xa So grateful for filmmakers and audiences coming together to sustain the festival?s sense of community online as we look forward to returning to cinemas together in the future. On Jun 24, 2020, at 4:19 PM, Joel Neville Anderson (JNA) wrote: Dear KineJapan subscribers, The programming team behind JAPAN CUTS: Festival of New Japanese Film is proud to share the full lineup for the online 14th edition of the festival, slated for July 17-30, 2020: https://japancuts.japansociety.org/ Films will be available to rent via video streaming with access largely limited to the U.S. Expanding the festival?s reach beyond New York, the lineup includes 30 features and 12 short films. The exclusive selection of film streaming options will be supplemented with live and pre-recorded virtual Q&As, discussion panels, and video introductions from filmmakers to maintain the festival?s sense of community and dedication to intercultural communication during the COVID-19 crisis, creating a meaningful online experience as we look forward to returning to physical cinemas together again in the future. The Opening Night Selection is SPECIAL ACTORS (dir. Shinichiro Ueda) and the Centerpiece Presentation is FUKUSHIMA 50 (dir. Setsuro Wakamatsu), awarding the 2020 CUT ABOVE Awards for Outstanding Achievement in Film to Koichi Sato and Ken Watanabe. In addition, this year?s festival commemorates the life and work of filmmaker Nobuhiko Obayashi (1938-2020). We will present his final film LABYRINTH OF CINEMA, the documentary portrait SEIJO STORY: 60 YEARS OF MAKING FILMS (dir. Isshin Inudo, Eiki Takahashi), a memorial panel, and introduce the Obayashi Prize?a competitive award given to an early career director whose independent narrative feature film is determined as the most accomplished by a jury of diverse industry professionals within the brand-new Next Generation section, the first competitive section in the festival?s history. The inaugural iteration of this section includes seven titles and will be juried by film director Momoko Ando (0.5mm), programmer Julian Ross of Locarno Film Festival and International Film Festival Rotterdam, and producer and Free Stone Productions CEO Miyuki Takamatsu (TEN YEARS JAPAN). Please browse the entire dynamic lineup on the website, listed below by program section: FEATURE SLATE -Extro (dir. Naoki Murahashi) -Fukushima 50 (dir. Setsuro Wakamatsu) -It Feels So Good (dir. Haruhiko Arai) -Labyrinth of Cinema (dir. Nobuhiko Obayashi) -Mrs. Noisy (dir. Chihiro Amano) -My Sweet Grappa Remedies (dir. Akiko Ohku) -On-Gaku: Our Sound (dir. Kenji Iwaisawa) -Special Actors (dir. Shinichiro Ueda) -Tora-san, Wish You Were Here (dir. Yoji Yamada) -Voices in the Wind (dir. Nobuhiro Suwa) NEXT GENERATION -Beyond the Night (dir. Natsuki Nakagawa) -Kontora (dir. Anshul Chauhan) -Life: Untitled (dir. Kana Yamada) -The Murders of Oiso (dir. Takuya Misawa) -My Identity (dir. Sae Suzuki) -Roar (dir. Ryo Katayama) -Sacrifice (dir. Taku Tsuboi) CLASSICS -Tora-san, Our Lovable Tramp (4K restoration) (dir. Yoji Yamada) -Tora-san Meets the Songstress Again (4K restoration) (dir. Yoji Yamada) -Tora-san, My Uncle (4K restoration) (dir. Yoji Yamada) DOCUMENTARY FOCUS -Book-Paper-Scissors (dir. Nanako Hirose) -i -Documentary of the Journalist- (dir. Tatsuya Mori) -Prison Circle (dir. Kaori Sakagami) -Reiwa Uprising (dir. Kazuo Hara) -Seijo Story: 60 Years of Making Films (dir. Isshin Inudo and Eiki Takahashi) -Sending Off (dir. Ian Thomas Ash) -What Can You Do About It? (dir. Yoshifumi Tsubota) EXPERIMENTAL SPOTLIGHT -Cenote (dir. Kaori Oda) -Kinta & Ginji (dir. Takuya Dairiki and Takashi Miura) -Shell and Joint (dir. Isamu Hirabayashi) SHORTS SHOWCASE (NARRATIVE) -Birdland (dir. Takeshi Kogahara) -See You on the Other Side (dir. Yoko Yamanaka) -Wolf?s Calling (dir. Toshiaki Toyoda) SHORTS SHOWCASE (DOCUMENTARY) -Bleached Bones Avenue (dir. Akio Fujimoto) -Lost Three Make One Found (dir. Atsushi Kuwayama) -Nana (dir. Fumiya Hayakawa) -The Sculpture of Place & Time (dir. Tatsuhito Utagawa) -Tokyo Girl (dir. Nebiro Hashimoto) SHORTS SHOWCASE (EXPERIMENTAL) -Bath House of Whales (dir. Mizuki Kiyama) -Blind Bombing, Filmed by a Bat (dir. Kota Takeuchi) -Fuel (dir. Yu Araki) -Wheel Music (dir. Nao Yoshigai) PANELS -"Collaboration and Community in Japanese Cinema During the Pandemic" Panelists: Ryusuke Hamaguchi (filmmaker), Yuko Iwasaki (Japan Community Cinema Center), Yuichi Watanabe (Tofoo Films), Noriko Yamasaki (Osaka Cine Nouveau) Moderator: Aiko Masubuchi -"Nobuhiko Obayashi: A Conversation" Panelists: Chigumi Obayashi, Noriki Ishitobi (Asahi Shimbun), Yo Nakajima (Theater Kino, Sapporo), Takako Tokiwa (actress) Moderator: Aaron Gerow -"New Approaches to Documentary from Japan" Panelists (all filmmakers): Ian Thomas Ash, Nanako Hirose, Kaori Oda, Kaori Sakagami Moderator: Amber No? ONLINE EVENTS -Opening Night Live Q&A with Shinichiro Ueda -CUT ABOVE Awards: Koichi Sato & Ken Watanabe -Closing Night Live Q&A with Obayashi Prize Recipient We hope many KineJapan subscribers are able to enjoy?please do share with your networks. -Facebook: http://www.facebook.com/japansocietyfilm -Twitter: http://twitter.com/JS_FILM_NYC/ (#JAPANCUTS) -The JAPAN CUTS Team K. F. Watanabe, Amber No?, Joel Neville Anderson