From tkarsavina at yahoo.com  Tue Jun  2 22:12:21 2020
From: tkarsavina at yahoo.com (Maria Jose Gonzalez)
Date: Wed, 3 Jun 2020 02:12:21 +0000 (UTC)
Subject: [KineJapan] Online summer course on Japanese media/anime or
 similar
References: <2010052347.2071155.1591150341353.ref@mail.yahoo.com>
Message-ID: <2010052347.2071155.1591150341353@mail.yahoo.com>

 Hello Eija.This might come a bit late but a friend resent it to me.My name is Mar?a Jos? Gonz?lez Mu?oz and I am currently teaching two related courses, one semester each: Japanese Pop Culture and Japanese Cinema at Kwansei Gakuin in Nishinomiya, Japan.I am also involved in Intensives for international students , mainly about Pop Culture/ Manga, Anime and derived topics/ interests/ industries.
It might well be some of these intensive courses will have to go online this summer/ winter!I would be interested to hear about Helsinki University's Programmes first and then contact Kwansei.We are all working remotely now.Best wishes,
Mar?a Jos?


     On Monday, 18 May 2020, 12:33:01 am GMT+9, Eija Niskanen via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Hi!
Helsinki University is offering graduate students to take an online summer course also from another university, covering the charge. Can you give recommendations for ex. on courses the list members?are teaching, and I will forward them to interested parties.
Best,
Eija Niskanenhelsinkicineaasia.fi
+358-50-355 3189

_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
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From marion at nipponconnection.com  Fri Jun  5 15:03:56 2020
From: marion at nipponconnection.com (Marion Klomfass)
Date: Fri, 5 Jun 2020 21:03:56 +0200
Subject: [KineJapan] =?utf-8?q?Nippon_Connection_ONLINE_Film_Festival=2C_?=
 =?utf-8?q?June_9_=E2=80=93_14=2C_2020?=
In-Reply-To: <CAKENDRG8W598VCvq2imxDKts=jRx++x3t_v5kMNK1RmU1WYgNg@mail.gmail.com>
References: <CAKENDRG8W598VCvq2imxDKts=jRx++x3t_v5kMNK1RmU1WYgNg@mail.gmail.com>
Message-ID: <472a8e21-c2ee-82d0-1f27-4d3237068223@nipponconnection.com>

Dear KineJapan subscribers,

With the restrictions caused by the current COVID-19 global pandemic, 
the 20th anniversary edition of the Japanese Film Festival Nippon 
Connection in Frankfurt am Main, Germany, will take place online from 
June 9 to 14, 2020. Even under the given circumstances, the program 
still comprises around 70 short and feature-length films, many of them 
presented as German, European, or international premieres via the 
festival?s video-on-demand platform on Vimeo. Feature-length films, as 
well as various short film programs, will be available for streaming for 
5 euros each. For the complete line-up including regional restrictions, 
see the list below.

Since filmmakers and artists will not be able to present their works in 
person this year, the festival will offer a number of pre-recorded film 
talks, including interviews with Akiko Oku (director of My Sweet Grappa 
Remedies), Werner Herzog (director of Family Romance, LLC), Isamu 
Hirabayashi (director of Shell And Joint), and Nanako Hirose (director 
of Book-Paper-Scissors). Live stream lectures and panel discussions will 
also be accessible online, including panels on The Post-Covid Future of 
Japan?s Film Industry (moderator: Karen Severns, panelists: Shozo 
Ichiyama, Miyuki Takamatsu, Isao Yukisada) and Nippon Connection 2020 ? 
Two Decades Of Japanese Cinema (moderator: Alexander Zahlten (Harvard 
University), panelists: Stephan Holl, Marion Klomfass, Tom Mes).

The film program will have a special focus directed at the topic of 
Female Futures? ? New Visions of Women in Japan. Since the turn of the 
millennium, the role of women in front of and behind the camera has 
become more differentiated in Japan. Our interest lies with the 
underlying changes in the film industry and the forms of expression that 
Japanese filmmakers use to encounter today?s gender relations in their 
society. These issues will be taken up in a live stream lecture by 
Chantal Bertalanffy (University of Edinburgh), entitled Women In 
Contemporary Japanese Cinema, and in a live stream panel discussion 
moderated by Maggie Lee (Variety), talking to panelists Haruka Komori 
(director of Listening To The Air), Yukiko Mishima (director of Shape Of 
Red), and Naomi Mizoguchi (director of Ainu ? Indigenous People of Japan).

A diverse supporting program will include online concerts, lectures, 
performances, and workshops. The complete line-up can be found on the 
festival website: www.nipponconnection.com

I hope you will enjoy the program! Stay safe!

Marion Klomfass
Festival director


Nippon Connection ONLINE
20th Japanese Film Festival
June 9 ? 14, 2020
NipponConnection.com

*Film program, with regional restrictions:*

NIPPON CINEMA
A Life Turned Upside Down: My Dad's An Alcoholic (You to bakemono ni 
naru chichi ga tsurai) by Kenji Katagiri, J 2019, GP, Worldwide except 
Japan and Mainland China
After The Sunset (Yuhi no ato) by Michio Koshikawa, J 2019, IP, Germany
Dancing Mary by SABU, J 2019, GP, Germany
Family Romance, LLC by Werner Herzog, USA 2019, Germany
Labyrinth Of Cinema (Umibe no eigakan ? Kinema no tamatebako) by 
Nobuhiko Obayashi, J 2019, GP, Germany
Little Miss Period (Seirichan) by Shunsuke Shinada, J 2019, GP, 
Worldwide except Japan, Mainland China, Taiwan, Hong Kong & Macau, 
Thailand, Laos, Cambodia and Myanmar
Makuko by Keiko Tsuruoka, J 2019, GP, Germany
My Sweet Grappa Remedies (Amai osake de ugai) by Akiko Oku, J 2019, GP, 
Worldwide except Japan, Mainland China, Taiwan, USA and Italy
Shape Of Red (Red) by Yukiko Mishima, J 2020, EP-Online, Germany
The Journalist (Shimbunkisha) by Michihito Fujii, J 2019, EP, Germany
Under Your Bed by Mari Asato, J 2019, GP, Germany

NIPPON VISIONS
Beautiful, Goodbye by Eiichi Imamura, J 2019, IP, Worldwide
Chiyo by Chiemi Shimada, GB, J 2019, Germany
CRAP-MAN (Unkoman) by Hikaru Tsukuda, J 2019, GP, Germany
Extro by Naoki Murahashi, J 2019, GP, Worldwide except Japan and USA
F Is For Future (Mi wa mirai no mi) by Teppei Isobe, J 2019, IP, Europe
Flowers And Rain (Hana to ame) by Takafumi Tsuchiya, J 2019, GP, Worldwide
Forgiven Children (Yurusareta kodomotachi) by Eisuke Naito, J 2020, EP, 
Germany
Infinite Foundation (Mugen Foundation) by Akira Osaki, J 2018, Worldwide
Kinta And Ginji (Kinta to Ginji) by Takuya Dairiki, Takashi Miura, J 
2019, GP, Worldwide except North America
Me & My Brother's Mistress (Orokamono) by Takashi Haga, Sho Suzuki, J 
2019, IP, Worldwide except Japan
Minori, On The Brink (Ojochan) by Ryutaro Ninomiya, J 2019, IP, 
Worldwide except Japan and Italy
Mrs. Noisy by Chihiro Amano, J 2019, GP, Germany
Shell And Joint by Isamu Hirabayashi, J 2019, GP, Worldwide except North 
America
Tamaran Hill (Tamaranzaka) by Tadasuke Kotani, J 2019, GP, Worldwide
The Wandering Plants (Sanpo suru shokubutsu) by Yurina Kaneko, J 2019, 
IP, Worldwide
Tokyo Girl (Tokyo shojo) by Nebiro Hashimoto, J 2019, IP, Germany
Transparent, The World Is. (Tomei na sekai) by Yuri Muraoka, J 2019, GP, 
Germany
WAAAH (En) by Sawako Kabuki, J 2018, Germany
What A Wonderful World (Subarashiki sekai) by Tatsuya Ishii, J 2018, EP, 
Germany
When The Rain Stops (Ame no yamu toki) by Yui Yamaguchi, J 2019, IP, 
Worldwide
Yan by Keisuke Imamura, J 2019, EP, Europe

NIPPON DOCS
Ainu ? Indigenous People Of Japan (Ainu hito) by Naomi Mizoguchi, J 
2019, EP, Germany
An Ant Strikes Back (Ari jigoku tengoku) by Tokachi Tsuchiya, J 2019, 
EP, Worldwide
Book-Paper-Scissors (Tsutsunde, hiraite) by Nanako Hirose, J 2019, Europe
Cenote by Kaori Oda, J, MEX 2019, GP, Worldwide except Japan and North 
America
i -Documentary Of The Journalist- (i -Shimbunkisha dokyumento-) by 
Tatsuya Mori, J 2019, GP, Germany
Listening To The Air (Sora ni kiku) by Haruka Komori, J 2018, IP, 
Worldwide except Japan
Lost Three Make One Found (Forunarya no seisen) by Atsushi Kuwayama, 
PRT, J, BEL, HUN 2019, Worldwide
Prison Circle by Kaori Sakagami, J 2019, IP, Germany
Proof Of Family (Kazoku no shomei) by Yu Iwasaki, J 2019, IP, Worldwide
Sleeping Village (Nemuru mura) by Reika KAMATA, Junichi Saito, J 2018, 
IP, Worldwide except Japan
This Planet Is Not My planet (Kono hoshi wa, watashi no hoshi janai) by 
Miwa Yoshimine, J 2019, EP, Germany
Transition by Kana OHASHI & Daijiro Mizuno, J 2019, GP, Worldwide
What Can You Do About It? (Datte shoganai janai) by Yoshifumi Tsubota, J 
2019, EP, Worldwide except Japan

NIPPON ANIMATION
100PercentElectrical (Denki 100%) by Yoko Yuki, J 2016, GP, Worldwide
A Snowflake Into the Night (Yoru ni natta yuki no hanashi) by Yoko Yuki, 
J 2018, GP, Worldwide
Deep-Sea?s Rainbow (Shinkai no niji) by Makiko Sukikara, J 2019, GP, 
Worldwide
Hello World by Tomohiko Ito, J 2019, GP, Germany, Austria, Switzerland
Her Blue Sky (Sora no aosa o shiru hito yo) by Tatsuyuki Nagai, J 2019, 
GP, Germany, Austria, Switzerland
Love Hate Relationship by Sarina Nihei, J 2012, Worldwide
Mimi by Lisa Fukaya, J 2018, Worldwide
Rabbit Tales by Lisa Fukaya, J 2016, GP, Worldwide
Rabbit?s Blood by Sarina Nihei, GB, J 2017, Worldwide
Shimizu Bonno ?Shara Bon Bon? by Yoko Yuki, J 2019, Worldwide
Small People With Hats by Sarina Nihei, GB 2014, Worldwide
Trifling Habits by Sarina Nihei, GB 2013, Worldwide
While The Crow Weeps (Karasu no namida) by Makiko Sukikara, J 2013, 
Worldwide
Wild Pear (Yamanashi) by Makiko Sukikara, J 2011, Worldwide

NIPPON KIDS
Ein Sommer mit Coo (Kappa no ku to natsuyasumi) by Keiichi HARA, J 2007, 
Germany, Austria, Switzerland
The Piano Forest (Piano no mori) by Masayuki KOJIMA, J 2007, Germany, 
Austria, Switzerland
Yoyo und Nene ? Die magischen Schwestern (Majokko shimai no Yoyo to 
Nene) by Takayuki HIRAO, J 2013, Germany, Austria, Switzerland

BEST OF NIPPON CONNECTION
100 Yen Love (Hyakuen no koi) by Masaharu Take, J 2014, Germany, 
Austria, Switzerland
Fuku-chan Of Fukufuku Flats (Fukufukuso no Fukuchan) by Yosuke Fujita, 
J, GB, I, D, TWN 2014, Germany, Austria, Switzerland
House (Hausu) by Nobuhiko Obayashi, J 1977, Germany, Austria, Switzerland
Lesson Of The Evil (Aku no kyoten) by Takashi Miike, J 2012, Germany, 
Austria, Switzerland
Miss Hokusai (Sarusuberi: Miss Hokusai) by Keiichi Hara, J 2015, 
Germany, Austria, Switzerland
The Night Is Short, Walk On Girl (Yoru wa mijikashi arukeyo otome) by 
Masaaki Yuasa, J 2017, Germany, Austria, Switzerland
The Whispering Star (Hiso hiso boshi) by Sion Sono, J 2015, Germany, 
Austria, Switzerland
The World Of Kanako (Kawaki.) by Tetsuya Nakashima, J 2014, Germany, Austria

NHK WORLD-JAPAN
A Stranger in Shanghai (Episode 1 & 2) by Taku Kato, 2019, Worldwide

EP: European premiere / GP: German premiere / IP: International premiere




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From aaron.gerow at yale.edu  Sun Jun  7 21:38:28 2020
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sun, 7 Jun 2020 21:38:28 -0400
Subject: [KineJapan] Japanese Film and the COVID Pandemic
Message-ID: <AACA5C5B-A611-423C-B071-D65EB74B6B2B@yale.edu>

Sorry that this deals with the previous crisis (though that one is not by any means over), but I wanted to mention that I wrote up a piece, in part as a record or remembrance, about some of what happened in the Japanese film/media world during the COVID pandemic. I recite the history of some of the movements to help theaters, etc., but I also talk about a few of the films/videos made during that period, including some by Fukada Koji, Iwai Shunji, and Saito Takumi.

http://www.aarongerow.com/news/japanese-film-and-the-covid.html


Aaron Gerow
Professor
Film and Media Studies Program/East Asian Languages and Literatures
Chair, East Asian Languages and Literatures
Yale University
143 Elm Street, Room 210
PO Box 208324
New Haven, CT 06520-8324
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From aaron.gerow at yale.edu  Wed Jun 17 21:44:44 2020
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Wed, 17 Jun 2020 21:44:44 -0400
Subject: [KineJapan] Uplink lawsuit
Message-ID: <314B26B2-7721-4F49-BFE9-0382E0AA709E@yale.edu>

Four former employees of Uplink, the film theater and distribution company, have sued the president of the company, Asai Takashi, accusing him of repeated instances of power harassment. They said he continually yelled at and berated employees, even in front of others, forcing them to write apologies and work overtime without pay. The four have made their names public and held a press conference. Major news agencies, as well as the wide shows, have taken up the story. Here?s one story:

https://www.cinra.net/column/202006-uplink_skkskcl

This has been a major shock for the indie film community in Japan since Uplink has been instrumental in enabling even the smallest of art and experimental films to get a theatrical release. Asai has also been active in defending alternative culture, even suing the authorities two decades ago when police tried to prevent him from selling a Robert Mapplethorpe photo book. When theaters had to close down due to COVID-19, Asai was one of the leaders in arguing the case for the importance of small theaters. 

My Facebook feed has been full of comments by people who know Asai. Everyone condemns what he did, but a few mentioned their regrets over knowing it happened, but never saying anything about it. One TV report I saw used the term ?yarigai sakushu ???????--perhaps ?exploiting rewarding work??to describe exploitation of the desire of people to work at place, often associated with culture, that is contributing to society in a positive way. I am afraid there is probably a lot of that in Japan, with many culture-related institutions depending on young people working for little or no money, but Asai brought it into the foreground by harassing those who were being exploited in that way.

Asai made a quick apology on the company website and says he will make a full comment in a day or two.

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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From nornes at umich.edu  Wed Jun 17 23:11:58 2020
From: nornes at umich.edu (Markus Nornes)
Date: Wed, 17 Jun 2020 23:11:58 -0400
Subject: [KineJapan] Uplink lawsuit
In-Reply-To: <314B26B2-7721-4F49-BFE9-0382E0AA709E@yale.edu>
References: <314B26B2-7721-4F49-BFE9-0382E0AA709E@yale.edu>
Message-ID: <CANoSnpDzPJgkTLOny+Zcr-HST1+qnpV74Xxe+Zs-K1EjBwFVcA@mail.gmail.com>

This has been rough to watch play out, for the reasons Aaron notes. Uplink
is such a precious place for independent film and of all modes and budgets.
Still, when I saw the initial news, somehow I wasn't surprised. Asai-san
has an edge about him. The reactions have been moving and complicated. Here
are a few things that circulated on Twitter for those that haven't seen.

Markus

[image: Appeal1.jpg]
[image: Appeal2.jpg]
[image: Response.jpg]
[image: Fukada.jpg]
[image: Screen Shot 2020-06-17 at 11.04.39 PM.png]
And Asai's statement:

?????????????????????????????????????????????????????????????????????????????????????????

???????????????????????????

?????????????????????????????????????????

2020?6?16?
??????????
????? ???






---

*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, Jun 17, 2020 at 9:44 PM Gerow Aaron via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Four former employees of Uplink, the film theater and distribution
> company, have sued the president of the company, Asai Takashi, accusing him
> of repeated instances of power harassment. They said he continually yelled
> at and berated employees, even in front of others, forcing them to write
> apologies and work overtime without pay. The four have made their names
> public and held a press conference. Major news agencies, as well as the
> wide shows, have taken up the story. Here?s one story:
>
> https://www.cinra.net/column/202006-uplink_skkskcl
>
> This has been a major shock for the indie film community in Japan since
> Uplink has been instrumental in enabling even the smallest of art and
> experimental films to get a theatrical release. Asai has also been active
> in defending alternative culture, even suing the authorities two decades
> ago when police tried to prevent him from selling a Robert Mapplethorpe
> photo book. When theaters had to close down due to COVID-19, Asai was one
> of the leaders in arguing the case for the importance of small theaters.
>
> My Facebook feed has been full of comments by people who know Asai.
> Everyone condemns what he did, but a few mentioned their regrets over
> knowing it happened, but never saying anything about it. One TV report I
> saw used the term ?yarigai sakushu ???????--perhaps ?exploiting rewarding
> work??to describe exploitation of the desire of people to work at place,
> often associated with culture, that is contributing to society in a
> positive way. I am afraid there is probably a lot of that in Japan, with
> many culture-related institutions depending on young people working for
> little or no money, but Asai brought it into the foreground by harassing
> those who were being exploited in that way.
>
> Asai made a quick apology on the company website and says he will make a
> full comment in a day or two.
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Chair, East Asian Languages and Literatures
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From macyroger at yahoo.co.uk  Thu Jun 18 16:21:01 2020
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Thu, 18 Jun 2020 20:21:01 +0000 (UTC)
Subject: [KineJapan] Nippon Connection 20
References: <447906128.935538.1592511661579.ref@mail.yahoo.com>
Message-ID: <447906128.935538.1592511661579@mail.yahoo.com>


Here?s a report from Nippon Connection 20 which concludedrecently. It is necessarily selective and other list-members are welcome to addor disagree.

As previous posts have mentioned, the festival was held entirely online,necessarily, of course, due to ongoing Covid-19 restrictions.

The first thing to say is that it worked ? 70 or so films were madeavailable online via a payment system, and a range of other events werestreamed to keep alive the many non-film strands of the traditional festival (if that is the right word for a 20-year-old event). I only hooked up to acouple of the talks which allowed some interaction through a ?chat? board,spending what time I had available searching out the films. The Vimeo streamingwas entirely without glitches, the website information and links were accurateand the distributors can be assured that the country restrictions also worked ?when I mistakenly selected ?Nippon Visions shorts? in stead of ?Nippon Docsshorts., I was barred.

I have no inside information from the Festival but I can imagine theorganization would be a struggle in any circumstances, particularly negotiatingand implementing the country restrictions. I can only guess what films aremissing entirely because distributors were too difficult or uncontactable. List-memberswon?t need telling that many Japanese distributors have unrealistic ideas ofhow marketable their films are abroad but I would have thought those thatdecided to take what was on offer made the smarter move.

And so to some of the films I saw. Although I concentrated on thedocumentaries, the ones I caught elsewhere were rewarding. The mainstream, ?Cinema?strand was the most restricted outside Germany, but I?d liked the previous filmI had seen here by ?KU Akiko and My Sweet Grappa Remedies ???????? proved to be another well-made, sensitiveentertainment film. The script, fromhis own novel, was by ?KAWARA Jir??- the ?Jir?? half of the duo SISSONE ? who had also adapted ?ku?sprevious film. She also used music by TAKANO Masaki, which I found intelligentand thrifty ? qualities not always evident in Japanese entertainment films.It?s at least the third time she has used Takano and she seems to be buildingup a team.

In the ?Visions? section, the one character of the title, ?is to be read as ?Yan?. But the child in thestory, adamantly says to his Taiwanese mother, that his name is to be said, japanese, as ?Tsubame?, and not the chinese ?Yan?. In flash-back sequences, a relationshipbetween a young child and his mother breaks down under the cultural oppressionof his need not to be a nail sticking up in the Japanese school system. Themain story portrays the grown-up Tsubame/Yan making contact with his estrangedelder brother in Kaohsiung. It was thedebut directorship of the photographer IMAMURA Keisuke from a script by WASHIZU Noriko, for whom I can trace noother credits. Imamura could have let his excellent actors express without someof the photographic over-emphasis but It touched all sorts of buttons for me,in contrast with a set-up in Japan which, in contrast, I found flawed.

Also in the ?Visions? section, ????? I think means ?the thing/things we don?t talk about?but the english rendering spits it out: ?Me and My Brother?s Mistress?.That ?me? is a 17-year-old younger sister of a brother already in the businessworld. Between domestic and walking episodes, character and story are developedby a series of duologues between sister, brother, his fianc?e and his mistress.If that sounds Rohmerian, the brash and extrovert ending is somewhere else ? I thoughta subversion of a classic American film, but I won?t spoil it further, althoughthe publicity still does. It was jointly made by two directors, HAGA Takashi and SUZUKI Sh? with script by NUMATA Masataka,all names new to me.

Is there a film-school director in Japan who?s a special admirer of Rohmer ?? Minori, on the Brink ?????, is not only built aroundduologues and walking scenes, it?s opening and closing shots are on the beach.it?s star, HAGIWARA Minori convinces asa 20-year-old frustrated at her dead-end social world, but a series of minorparts are acted without a trace of clich?. I didn?t catch the previous film of NINOMIYA Ry?tar?, which got to Locarno but this is very well made and full ofsharp observation. He clearly had a tightly conceived script before he started.

It was a documentary, An Ant StrikesBack, that won the Nippon Online award. It tells a story of a drawn-outbattle between one employee who refuses to be bullied out of a job, and the?Busy Ant? removal company, Arisan M?ku Hikkoshi-sha. At the end of the film, Iparticularly missed a Q&A which, in normal years, are a particular strengthof this strand, as NC often gets both the maker and the subject of the film tobe present. I had a couple of questions which would probably have been answeredbefore I had to ask and which would likely have cleared my queries. Thejapanese title, ??????, ?Ant hell &heaven?, gets a bit closer to the point, but I didn?t see the heaven. I wouldthink the company would be quite comfortable showing the film to recruits, insupport of their programme of intimidation against all resistance. The film, byTSUCHIYA Tokachi, after all, reports that not a single member of theirworkforce had joined the ?Precariat?, or any other independent union.

Only after watching Prison Circle, did I realize that its maker, SAKAGAMIKaori, although born in ?saka, had made two previous documentaries on prisoner programmesin the U.S., partly whilst waiting for permission tostart her shoot in a first-offender prison in Shimane. The physical environmentitself is visually toned down with shadowless soft lighting, soft mid-tonecolours with reduced contrasts in both decor and prisoner uniform. Prisoners?seating and movements were all highly defined. Added to that, the faces of allprisoners are blurred. This restriction seems valid, as they are in no positionto give free consent. So, visually, it affords one of the least stimulating twohours you are likely to find on film. But, in fact, the restriction helped bothcamera-operators to emphasize awkward body reaction to the therapy sessionswhich were the subject of the film. It demonstrated clearly that offenders weremore than capable of giving and receiving therapy, and by no means gaveperpetrators an easy time, when they acted as victims. Sakagami organized hermaterial? around a half-dozen subjects,punctuated with animations of? achildhood reminiscence of each subject. The ?TC? unit handled just 40 of Japan?s 40,000 prison population but it showedwhat could and should be done to drastically reduce the recidivism rate.

Very different, and visually much richer was another long-termobservational documentary, Book, Paper Scissors, ?????????. HIROSE Nanako, in her debut feature documentary,had followed KIKUCHI Nobuyoshi, who has designed over 15,000 books or at leasttheir covers. It both conveys one man?s art, and a still-vibrant culture in Japanof making printed books which are meant to be held, admired and bought inbookshops. There are over-the-shoulder shots of him at work; reflections onthat, with Hirose sometimes heard; and very revealing interviews with Kikuchi?sex-apprentices. Kikuchi still works alone, apart from his long-term assistantwho digitizes all his hand-crafted designs. I intend to write more on thisfilm.

With no way of sensing the numbers participating, I can only judge anonline festival by the films I saw. I had much rewarding viewing but ?still long to get back to Frankfurt nextyear and get to grips with what we see at Q&A?s, discussions and bar-sidechats.

Roger

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From rob at phillyasianfilmfest.org  Thu Jun 18 17:38:22 2020
From: rob at phillyasianfilmfest.org (Rob Buscher)
Date: Thu, 18 Jun 2020 17:38:22 -0400
Subject: [KineJapan] Tadaima! Virtual Pilgrimage Online Film Festival
Message-ID: <CAKgqfTh=R6U2TLCf7bpUWN553kG==dwFztvZ66jHDMKADmUkGQ@mail.gmail.com>

Dear KineJapan,

Apologies for cross-posting, but I wanted to share details of the Tadaima!
Virtual Pilgrimage Online Film Festival with you.

Although the bulk of this program is centered on the Japanese American
experience and other Nikkei diasporic content, there are several films that
may be of interest to you. All content is available free to the public, in
total about 55 films between now and August 16.

See below links with more details and feel free to reach out directly if
you have any questions.

https://www.jampilgrimages.com/opening-ceremony
https://www.jampilgrimages.com/film-festival
https://www.jampilgrimages.com/ff-curator-statement

Best regards,

Rob Buscher
Board Chair
Philadelphia Asian American Film Festival
www.paaff.org
203.449.6140
Website <https://www.phillyasianfilmfest.org/> *?* Facebook
<https://www.facebook.com/PAAFF/> *? *Instagram
<https://www.instagram.com/phillyasianfilmfest>
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From aaron.gerow at yale.edu  Fri Jun 19 09:15:53 2020
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Fri, 19 Jun 2020 09:15:53 -0400
Subject: [KineJapan] Uplink lawsuit
In-Reply-To: <CANoSnpDzPJgkTLOny+Zcr-HST1+qnpV74Xxe+Zs-K1EjBwFVcA@mail.gmail.com>
References: <314B26B2-7721-4F49-BFE9-0382E0AA709E@yale.edu>
 <CANoSnpDzPJgkTLOny+Zcr-HST1+qnpV74Xxe+Zs-K1EjBwFVcA@mail.gmail.com>
Message-ID: <70DA69AF-53CA-488D-9101-3270DF05C227@yale.edu>

Asai-san has posted an apology and an announcement of the measures he will take, including outside reviews, counseling, and a move away from a ?one-man? company.

https://www.uplink.co.jp/news/2020/53509 <https://www.uplink.co.jp/news/2020/53509>


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 <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com


















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From nornes at umich.edu  Fri Jun 19 12:07:18 2020
From: nornes at umich.edu (Markus Nornes)
Date: Fri, 19 Jun 2020 12:07:18 -0400
Subject: [KineJapan] Uplink lawsuit
In-Reply-To: <70DA69AF-53CA-488D-9101-3270DF05C227@yale.edu>
References: <314B26B2-7721-4F49-BFE9-0382E0AA709E@yale.edu>
 <CANoSnpDzPJgkTLOny+Zcr-HST1+qnpV74Xxe+Zs-K1EjBwFVcA@mail.gmail.com>
 <70DA69AF-53CA-488D-9101-3270DF05C227@yale.edu>
Message-ID: <CANoSnpC9OtOdP9i3cFqTsLYZ2awid=7E+LrV6BE-SJwTLWpcUA@mail.gmail.com>

Asai leaned into this. It's not just an apology, but implements a set of
concrete changes to individual and company practices.

Here is the proper website created by the complainants. It
includes individual statements.

https://uwvah2020.wixsite.com/mysite

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, Jun 19, 2020 at 9:16 AM Gerow Aaron via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Asai-san has posted an apology and an announcement of the measures he will
> take, including outside reviews, counseling, and a move away from a
> ?one-man? company.
>
> https://www.uplink.co.jp/news/2020/53509
>
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Chair, East Asian Languages and Literatures
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From nornes at umich.edu  Fri Jun 19 13:32:27 2020
From: nornes at umich.edu (Markus Nornes)
Date: Fri, 19 Jun 2020 13:32:27 -0400
Subject: [KineJapan] MOMA's 1970 Japanese Film Retrospective
Message-ID: <CANoSnpDEq6hvpfRUU098WcdOrzJvJyEDDKinsBjaFUMsDZMbhA@mail.gmail.com>

Thinking about Donald Richie while reading up on Film Anpan, I did some
Googling and stumbled on this site:

https://www.moma.org/calendar/exhibitions/2695

Moma has a small, online record of Donald Richie's 90-film retrospective.
The press release has the film list. It's an interesting selection. I
didn't realize it was linked to the opening of the National Museum of
Modern Art's Film Museum. Richie also programmed a retrospective of silent
American film to send to Japan.

I once visited their archive to see what Richie left behind. Charles Silver
was so welcoming, and searched their cabinets high and low for
correspondence, memos and the like. Unfortunately, there wasn't much. But
Silver had many nice things to say about Donald, having started his career
under Richie's tenure as the film curator.

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*
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From linda.ehrlich at gmail.com  Fri Jun 19 13:36:24 2020
From: linda.ehrlich at gmail.com (Linda Ehrlich)
Date: Fri, 19 Jun 2020 13:36:24 -0400
Subject: [KineJapan] MOMA's 1970 Japanese Film Retrospective
In-Reply-To: <CANoSnpDEq6hvpfRUU098WcdOrzJvJyEDDKinsBjaFUMsDZMbhA@mail.gmail.com>
References: <CANoSnpDEq6hvpfRUU098WcdOrzJvJyEDDKinsBjaFUMsDZMbhA@mail.gmail.com>
Message-ID: <CAMU7UL=NVpM1xRMDz1gasdAuf_O6vU1k0nsrhjuYKgDwv+0hnw@mail.gmail.com>

Many thanks Markus. Charles Silver has always been so helpful to me and my
students as well.

I recall Donald R. telling me: "When we screened Ozu's TOKYO STORY, even
hard-hearted New Yorkers [his words] lingered in the lobby of MOMA
afterwards to talk to each other about the film."


Linda Ehrlich


Braided Narrative <http://braidednarrative.com>
Amazon Author Page <http://www.amazon.com/Linda-C.-Ehrlich/e/B00E6K8JTO>


On Fri, Jun 19, 2020 at 1:32 PM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Thinking about Donald Richie while reading up on Film Anpan, I did some
> Googling and stumbled on this site:
>
> https://www.moma.org/calendar/exhibitions/2695
>
> Moma has a small, online record of Donald Richie's 90-film retrospective.
> The press release has the film list. It's an interesting selection. I
> didn't realize it was linked to the opening of the National Museum of
> Modern Art's Film Museum. Richie also programmed a retrospective of silent
> American film to send to Japan.
>
> I once visited their archive to see what Richie left behind. Charles
> Silver was so welcoming, and searched their cabinets high and low for
> correspondence, memos and the like. Unfortunately, there wasn't much. But
> Silver had many nice things to say about Donald, having started his career
> under Richie's tenure as the film curator.
>
> 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
>
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From dm6 at soas.ac.uk  Fri Jun 19 13:59:13 2020
From: dm6 at soas.ac.uk (Dolores Martinez)
Date: Fri, 19 Jun 2020 18:59:13 +0100
Subject: [KineJapan] MOMA's 1970 Japanese Film Retrospective
In-Reply-To: <CANoSnpDEq6hvpfRUU098WcdOrzJvJyEDDKinsBjaFUMsDZMbhA@mail.gmail.com>
References: <CANoSnpDEq6hvpfRUU098WcdOrzJvJyEDDKinsBjaFUMsDZMbhA@mail.gmail.com>
Message-ID: <CAGdu56Pu3uKGADs9Do71EnRymk5hAfwA1s4bb2UGC8mSjQmDUQ@mail.gmail.com>

As Linda notes, Donald always had great stories. I still remember my first
dinner with him, back in 1981 I think it was, when he came to speak on
Kurosawa for the U of Chicago retrospective, he kept all of us enthralled
for hours over a long Chinese meal!
Lola

On Friday, 19 June 2020, Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Thinking about Donald Richie while reading up on Film Anpan, I did some
> Googling and stumbled on this site:
>
> https://www.moma.org/calendar/exhibitions/2695
>
> Moma has a small, online record of Donald Richie's 90-film retrospective.
> The press release has the film list. It's an interesting selection. I
> didn't realize it was linked to the opening of the National Museum of
> Modern Art's Film Museum. Richie also programmed a retrospective of silent
> American film to send to Japan.
>
> I once visited their archive to see what Richie left behind. Charles
> Silver was so welcoming, and searched their cabinets high and low for
> correspondence, memos and the like. Unfortunately, there wasn't much. But
> Silver had many nice things to say about Donald, having started his career
> under Richie's tenure as the film curator.
>
> 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
> <https://www.google.com/maps/search/105+S.+State+Street+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
> *Ann Arbor, MI 48109
> <https://www.google.com/maps/search/105+S.+State+Street+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>
>

-- 
Sent from Gmail Mobile
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From alexanderjacoby at brookes.ac.uk  Fri Jun 19 19:07:37 2020
From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby)
Date: Sat, 20 Jun 2020 00:07:37 +0100
Subject: [KineJapan] MOMA's 1970 Japanese Film Retrospective
In-Reply-To: <CAGdu56Pu3uKGADs9Do71EnRymk5hAfwA1s4bb2UGC8mSjQmDUQ@mail.gmail.com>
References: <CANoSnpDEq6hvpfRUU098WcdOrzJvJyEDDKinsBjaFUMsDZMbhA@mail.gmail.com>
 <CAGdu56Pu3uKGADs9Do71EnRymk5hAfwA1s4bb2UGC8mSjQmDUQ@mail.gmail.com>
Message-ID: <CANN9ZtSna5D5GyuY7Cx01z_+qe=i78cQ8W8wcbm+-b3OtQ-3cw@mail.gmail.com>

Thanks - what a wonderful voyage of discovery that must have been, fifty
years ago. And I wonder if there's been another chance to see Yasuki
Chiba's Oban outside Japan since! (Donald wrote enthusiastically about that
film specifically and about Chiba in general in the small 1961 book,
Japanese Movies, which few people seem to have).

ALEX





On Fri, 19 Jun 2020 at 18:59, Dolores Martinez via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> As Linda notes, Donald always had great stories. I still remember my first
> dinner with him, back in 1981 I think it was, when he came to speak on
> Kurosawa for the U of Chicago retrospective, he kept all of us enthralled
> for hours over a long Chinese meal!
> Lola
>
> On Friday, 19 June 2020, Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> Thinking about Donald Richie while reading up on Film Anpan, I did some
>> Googling and stumbled on this site:
>>
>> https://www.moma.org/calendar/exhibitions/2695
>>
>> Moma has a small, online record of Donald Richie's 90-film retrospective.
>> The press release has the film list. It's an interesting selection. I
>> didn't realize it was linked to the opening of the National Museum of
>> Modern Art's Film Museum. Richie also programmed a retrospective of silent
>> American film to send to Japan.
>>
>> I once visited their archive to see what Richie left behind. Charles
>> Silver was so welcoming, and searched their cabinets high and low for
>> correspondence, memos and the like. Unfortunately, there wasn't much. But
>> Silver had many nice things to say about Donald, having started his career
>> under Richie's tenure as the film curator.
>>
>> 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
>> <https://www.google.com/maps/search/105+S.+State+Street+Ann+Arbor,+MI+48109?entry=gmail&source=g>*
>> *Ann Arbor, MI 48109
>> <https://www.google.com/maps/search/105+S.+State+Street+Ann+Arbor,+MI+48109?entry=gmail&source=g>-1285*
>>
>>
>
> --
> Sent from Gmail Mobile
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From macyroger at yahoo.co.uk  Mon Jun 22 18:57:20 2020
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 22 Jun 2020 22:57:20 +0000 (UTC)
Subject: [KineJapan] Kawase Naomi interview
References: <1770709464.3945326.1592866640779.ref@mail.yahoo.com>
Message-ID: <1770709464.3945326.1592866640779@mail.yahoo.com>

As list-members might find it difficult to access digitally, I'm attaching a photo of the print edition of an interview with Kawase Naomi in the 'Financial Times' today by Leo Lewis, in case it's of interest.Roger
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From joelnevilleanderson at gmail.com  Wed Jun 24 16:19:28 2020
From: joelnevilleanderson at gmail.com (Joel Neville Anderson (JNA))
Date: Wed, 24 Jun 2020 16:19:28 -0400
Subject: [KineJapan] JAPAN CUTS: Festival of New Japanese Film (July 17-30,
 2020)
Message-ID: <B5DC0D49-91E2-4412-AFCE-8E8C0FCC9A36@gmail.com>

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