From matteo.boscarol at gmail.com Sun May 3 01:26:25 2020 From: matteo.boscarol at gmail.com (matteo boscarol) Date: Sun, 3 May 2020 14:26:25 +0900 Subject: [KineJapan] Mini-theaters and VOD Message-ID: Hello everyone, Just a brief summary of what is happening in the mini-theater world in Japan (feel free to add): - The Mini-theater Aid has reached, as today May 3rd, 224 million yen, there are 12 more days to go, te goal is now to reach 300 million. https://motion-gallery.net/projects/minitheateraid - The temporary cinema platform, streaming movies that were supposed to be released in theaters, has kicked off on April 25th (1 movie), but from yesterday a bunch of other films, Included Soda?s Seishin O, have been added. Each movie ?ticket? costs 1800 yen (half of it goes to the theater). http://www.temporary-cinema.jp/ - Wakamatsu Productions launched a video on-demand system to support mini-theaters. You can watch 15 movies directed by Wakamatsu, all of them not yet on DVD, for 1000 yen per rental, half of it goes to help the mini-theaters. They?re available worldwide (no English subtitles I guess). http://wakamatsukoji.org/ondemand/lineup.html Cinema Discovery is a streaming VOD platform focussing on independent Japanese cinema. If you sign with them you get also original writings, interviews, etc. https://cinemadiscoveries.co.jp/ Stay safe Regards 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 lorenzojavier.torres.hortelano at urjc.es Tue May 5 13:05:23 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Tue, 5 May 2020 17:05:23 +0000 Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= Message-ID: Dear friends, I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez? Cien a?os de soledad. It is a very free and unknown adaptation and, apparently, Terayama did not ask the Colombian for permission, or did he not like the result: do you know any reliable sources that clarify the subject? Thank you in advance and encouragement with the pandemic, [cid:image001.jpg at 01D6230F.B1C13840] 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 steve.ridgely at wisc.edu Tue May 5 14:31:55 2020 From: steve.ridgely at wisc.edu (Steve Ridgely) Date: Tue, 5 May 2020 18:31:55 +0000 Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= In-Reply-To: References: Message-ID: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> Hi Lorenzo, I asked Hiroko Govaers about this when I interviewed her in Paris (summer of 2002). She said that she and Terayama screened the film that would be released as Saraba hakobune before Cannes for Garc?a M?rquez (I think in her apartment) as a way of asking his permission to use the title of his novel. But he felt that the narrative was too much of a departure, and asked them to release it under a different name. She presented it to me as an amicable exchange. Steve Ridgely UW-Madison On May 5, 2020, at 12:05 PM, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Dear friends, I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez? Cien a?os de soledad. It is a very free and unknown adaptation and, apparently, Terayama did not ask the Colombian for permission, or did he not like the result: do you know any reliable sources that clarify the subject? Thank you in advance and encouragement with the pandemic, Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Wed May 6 07:56:51 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 6 May 2020 11:56:51 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= In-Reply-To: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> References: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> Message-ID: <1258097806.23233.1588766211406@mail.yahoo.com> Dear Lorenzo and Steve, I contacted Tony Rayns when I saw this question, due to his dealings andknowledge of Terayama, and he kindly offered this :- About Saraba Hakobune:? I saw Terayama's three-ring-circus ofa stage production in Tokyo (it took place on three widely distanced stages setup in a cavernous warehouse on Tokyo Bay), which the film derives from, and Idid ask Terayama if he'd formally acquired the rights to adapt Garcia Marquez-- since the play was still called 100 Years of Solitude.? He toldme that he did clear it with the publisher of the Japanese translation, whichwas probably true.? I never asked Madame Govaers about the film rights, so I never heard theanecdote which Prof Bordwell's colleague Steve Ridgely reports.? It ringstrue to me that Govaers would have shown the film to Garcia Marquez and askedhis permission, but it's not possible that Terayama was present becausehis nephritis killed him in the very early stages of the post-production.Terayama would probably have wanted to keep Garcia Marquez's title, and themoney-minded Govaers would definitely have wanted to market Terayama'slast film as 100 Years of Solitude.? It also rings true that GarciaMarquez (always famously cagey about film adaptations of his work) would havejudged the film a very free adaptation and asked for a title change.?Incidentally, the film's post-production wasn't finished until nearly a yearafter Terayama's death.? Roger On Tuesday, 5 May 2020, 19:32:05 BST, Steve Ridgely via KineJapan wrote: Hi Lorenzo, I asked Hiroko Govaers about this when I interviewed her in Paris (summer of 2002). She said that she and Terayama screened the film that would be released as Saraba hakobune before Cannes for?Garc?a M?rquez (I think in her apartment) as a way of asking his permission to use the title of his novel. But he felt that the narrative was too much of a departure, and asked them to release it under a different name. She presented it to me as an amicable exchange. Steve RidgelyUW-Madison On May 5, 2020, at 12:05 PM, Lorenzo Javier Torres Hortelano via KineJapan wrote: Dear friends, ? I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez??Cien a?os de soledad.? ? It is a very free and unknown adaptation and, apparently, Terayama did not ask the Colombian for permission, or did he not like the result: do you know any reliable sources that clarify the subject? ? Thank you in advance and encouragement with the pandemic, ? ? ? Lorenzo J. Torres Hortelano? Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n? Departamento de Ciencias de la Comunicaci?n y Sociolog?a?? Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada? +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Thu May 7 10:10:16 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Thu, 7 May 2020 14:10:16 +0000 Subject: [KineJapan] Online films / event Mariko Tetsuya Message-ID: <77CB2116-0C5B-45DE-B68A-796BA087AE45@fas.harvard.edu> Hello Everyone, Just to point out a great opportunity, Mana Contemporary in cooperation with Full Spectrum Pictures has started streaming a different film for free every in week in their Shorts from Underground series. This week?s film is Mariko Tetsuya?s extraordinary Far East Mansion (Kyokut? no Manshon, 2003, 32 minutes); next week from Monday that will switch to his brilliant follow-up Mariko?s 30 Pirates (Mariko Sanj?ki, 2004, 28 minutes). And on Friday, May 15, at 6:00 pm Central they will host a live-streamed discussion between Mariko-san and myself about the films. This is a very rare opportunity to see Mariko-san?s early and quite legendary films - which won him the main prize at the Yubari International Fantastic Film Festival two years in a row. Mariko Tetsuya is best know outside of Japan for winning the Best Emerging Director Award at Locarno for Destruction Babies (2016) and for winning a whole host of the big film prizes for 2019 in Japan with Miyamoto (2019). You can find the film and more about the program here: https://www.fullspectrumfeatures.com/underground-series And here is a link to Mana Contemporary: https://www.manacontemporary.com/ Hopefully you have time to take a look- All best, Alex ???????? Alexander Zahlten Associate Professor Dept. of East Asian Languages and Civilizations Harvard University Director of Graduate Studies, Regional Studies East Asia -------------- next part -------------- An HTML attachment was scrubbed... URL: From lorenzojavier.torres.hortelano at urjc.es Fri May 8 06:54:08 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Fri, 8 May 2020 10:54:08 +0000 Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= In-Reply-To: <1258097806.23233.1588766211406@mail.yahoo.com> References: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> <1258097806.23233.1588766211406@mail.yahoo.com> Message-ID: Dear Roger, Thanks, this is also a good piece of information! Terayama died in 1983 and the film was released in 1984, coming to Cannes in 1985. So it is impossible that Terayama was present in that hypothetical screening in Cannes. We would have here a funny and surreal story say of both authors? Does anyone know, then, the extent to which the editing belongs to Terayama, did he give indications to Yamaji Sachiko for this? Best, [cid:image001.jpg at 01D623CA.5CDA3AA0] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: KineJapan En nombre de Roger Macy via KineJapan Enviado el: mi?rcoles, 6 de mayo de 2020 13:57 Para: Japanese Cinema Discussion Forum CC: Roger Macy Asunto: Re: [KineJapan] Terayama on Garc?a M?rquez Dear Lorenzo and Steve, I contacted Tony Rayns when I saw this question, due to his dealings and knowledge of Terayama, and he kindly offered this :- About Saraba Hakobune: I saw Terayama's three-ring-circus of a stage production in Tokyo (it took place on three widely distanced stages set up in a cavernous warehouse on Tokyo Bay), which the film derives from, and I did ask Terayama if he'd formally acquired the rights to adapt Garcia Marquez -- since the play was still called 100 Years of Solitude. He told me that he did clear it with the publisher of the Japanese translation, which was probably true. I never asked Madame Govaers about the film rights, so I never heard the anecdote which Prof Bordwell's colleague Steve Ridgely reports. It rings true to me that Govaers would have shown the film to Garcia Marquez and asked his permission, but it's not possible that Terayama was present because his nephritis killed him in the very early stages of the post-production. Terayama would probably have wanted to keep Garcia Marquez's title, and the money-minded Govaers would definitely have wanted to market Terayama's last film as 100 Years of Solitude. It also rings true that Garcia Marquez (always famously cagey about film adaptations of his work) would have judged the film a very free adaptation and asked for a title change. Incidentally, the film's post-production wasn't finished until nearly a year after Terayama's death. Roger On Tuesday, 5 May 2020, 19:32:05 BST, Steve Ridgely via KineJapan > wrote: Hi Lorenzo, I asked Hiroko Govaers about this when I interviewed her in Paris (summer of 2002). She said that she and Terayama screened the film that would be released as Saraba hakobune before Cannes for Garc?a M?rquez (I think in her apartment) as a way of asking his permission to use the title of his novel. But he felt that the narrative was too much of a departure, and asked them to release it under a different name. She presented it to me as an amicable exchange. Steve Ridgely UW-Madison On May 5, 2020, at 12:05 PM, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Dear friends, I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez? Cien a?os de soledad. It is a very free and unknown adaptation and, apparently, Terayama did not ask the Colombian for permission, or did he not like the result: do you know any reliable sources that clarify the subject? Thank you in advance and encouragement with the pandemic, Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From steve.ridgely at wisc.edu Fri May 8 08:42:25 2020 From: steve.ridgely at wisc.edu (Steve Ridgely) Date: Fri, 8 May 2020 12:42:25 +0000 Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= In-Reply-To: References: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> <1258097806.23233.1588766211406@mail.yahoo.com> Message-ID: <431A8261-8069-4D27-A83A-3F954D8560DC@wisc.edu> Dear Lorenzo and Roger, My apologies for suggesting that Terayama met Garc?a M?rquez after he was already dead, although you?re right, that is the kind of mythical tale Terayama would probably want written into the histories! I dug through some old notes and found some text I wrote on Saraba for an ATG retrospective many years ago. Here?s the relevant information: --------------- Terayama Sh?ji?s ATG application for funding to shoot a film version of Gabriel Garcia-Marquez?s One-Hundred Years of Solitude was accepted in 1981 and he immediately began preparations to shoot the picture. The location chosen was Okinawa and Terayama?s health was in such bad shape by then that he directed much of the film from a chaise lounge. He died, after a long struggle with nephritis, on May 5, 1983 without having completed the final edits. The editing was completed in 1984 and the film could have been screened in Japan under its planned title, Hyakunen no kodoku (One-Hundred Years of Solitude), but those who had worked on it wanted to make another run at Cannes?Den?en ni shisu had been entered in competition at Cannes but Terayama came home empty handed. It had already been announced as in production under the original title in the ATG?s monthly magazine, Art Theatre. Terayama had not yet contacted Garcia-Marquez, however, to get permission to use the title of his novel. Hiroko Govaers, Terayama?s agent in France, contacted Garcia-Marquez before the film was submitted to the festival and was able to show him the final edit (without subtitles) in her Paris apartment. He did not dislike the film, but felt that it had too little connection to his novel to share its title and asked that it be given another name. The title decided on was Saraba hakobune (Farewell to the Ark). There are elements from the novel in the film, such as the cockfight near the beginning and the modern gadgetry scattered throughout, but the majority of Terayama?s version concerns the loss of language by the protagonist, and his effort to regain it by labeling everything in his home with the word that names it. ----------------- Steve On May 8, 2020, at 5:54 AM, kinejapan at mailman.yale.edu wrote: Dear Roger, Thanks, this is also a good piece of information! Terayama died in 1983 and the film was released in 1984, coming to Cannes in 1985. So it is impossible that Terayama was present in that hypothetical screening in Cannes. We would have here a funny and surreal story say of both authors? Does anyone know, then, the extent to which the editing belongs to Terayama, did he give indications to Yamaji Sachiko for this? Best, Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: KineJapan > En nombre de Roger Macy via KineJapan Enviado el: mi?rcoles, 6 de mayo de 2020 13:57 Para: Japanese Cinema Discussion Forum > CC: Roger Macy > Asunto: Re: [KineJapan] Terayama on Garc?a M?rquez Dear Lorenzo and Steve, I contacted Tony Rayns when I saw this question, due to his dealings and knowledge of Terayama, and he kindly offered this :- About Saraba Hakobune: I saw Terayama's three-ring-circus of a stage production in Tokyo (it took place on three widely distanced stages set up in a cavernous warehouse on Tokyo Bay), which the film derives from, and I did ask Terayama if he'd formally acquired the rights to adapt Garcia Marquez -- since the play was still called 100 Years of Solitude. He told me that he did clear it with the publisher of the Japanese translation, which was probably true. I never asked Madame Govaers about the film rights, so I never heard the anecdote which Prof Bordwell's colleague Steve Ridgely reports. It rings true to me that Govaers would have shown the film to Garcia Marquez and asked his permission, but it's not possible that Terayama was present because his nephritis killed him in the very early stages of the post-production. Terayama would probably have wanted to keep Garcia Marquez's title, and the money-minded Govaers would definitely have wanted to market Terayama's last film as 100 Years of Solitude. It also rings true that Garcia Marquez (always famously cagey about film adaptations of his work) would have judged the film a very free adaptation and asked for a title change. Incidentally, the film's post-production wasn't finished until nearly a year after Terayama's death. Roger On Tuesday, 5 May 2020, 19:32:05 BST, Steve Ridgely via KineJapan > wrote: Hi Lorenzo, I asked Hiroko Govaers about this when I interviewed her in Paris (summer of 2002). She said that she and Terayama screened the film that would be released as Saraba hakobune before Cannes for Garc?a M?rquez (I think in her apartment) as a way of asking his permission to use the title of his novel. But he felt that the narrative was too much of a departure, and asked them to release it under a different name. She presented it to me as an amicable exchange. Steve Ridgely UW-Madison On May 5, 2020, at 12:05 PM, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Dear friends, I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez? Cien a?os de soledad. It is a very free and unknown adaptation and, apparently, Terayama did not ask the Colombian for permission, or did he not like the result: do you know any reliable sources that clarify the subject? Thank you in advance and encouragement with the pandemic, Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ 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 pslarson2 at gmail.com Fri May 8 08:52:23 2020 From: pslarson2 at gmail.com (Peter Larson) Date: Fri, 8 May 2020 08:52:23 -0400 Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= In-Reply-To: <431A8261-8069-4D27-A83A-3F954D8560DC@wisc.edu> References: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> <1258097806.23233.1588766211406@mail.yahoo.com> <431A8261-8069-4D27-A83A-3F954D8560DC@wisc.edu> Message-ID: "Terayama met Garc?a M?rquez after he was already dead" I don't think this is improbable. I would like to believe it happened. On Fri, May 8, 2020 at 8:42 AM Steve Ridgely via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear Lorenzo and Roger, > > My apologies for suggesting that Terayama met Garc?a M?rquez after he was > already dead, although you?re right, that is the kind of mythical tale > Terayama would probably want written into the histories! I dug through some > old notes and found some text I wrote on Saraba for an ATG retrospective > many years ago. Here?s the relevant information: > > --------------- > Terayama Sh?ji?s ATG application for funding to shoot a film > version of Gabriel Garcia-Marquez?s *One-Hundred Years of Solitude* was > accepted in 1981 and he immediately began preparations to shoot the > picture. The location chosen was Okinawa and Terayama?s health was in such > bad shape by then that he directed much of the film from a chaise > lounge. He died, after a long struggle with nephritis, on May 5, 1983 > without having completed the final edits. > > The editing was completed in 1984 and the film could have been > screened in Japan under its planned title, *Hyakunen no kodoku* (One-Hundred > Years of Solitude), but those who had worked on it wanted to make another > run at Cannes?*Den?en ni shisu* had been entered in competition at Cannes > but Terayama came home empty handed. It had already been announced as > in production under the original title in the ATG?s monthly magazine, Art > Theatre. Terayama had not yet contacted Garcia-Marquez, however, to get > permission to use the title of his novel. Hiroko Govaers, Terayama?s agent > in France, contacted Garcia-Marquez before the film was submitted to the > festival and was able to show him the final edit (without subtitles) in her > Paris apartment. He did not dislike the film, but felt that it had too > little connection to his novel to share its title and asked that it > be given another name. The title decided on was *Saraba hakobune* (Farewell > to the Ark). There are elements from the novel in the film, such as the > cockfight near the beginning and the modern gadgetry scattered throughout, > but the majority of Terayama?s version concerns the loss of language by the > protagonist, and his effort to regain it by labeling everything in his home > with the word that names it. > ----------------- > > Steve > > > On May 8, 2020, at 5:54 AM, kinejapan at mailman.yale.edu wrote: > > Dear Roger, > > Thanks, this is also a good piece of information! > > Terayama died in 1983 and the film was released in 1984, coming to Cannes > in 1985. So it is impossible that Terayama was present in that hypothetical > screening in Cannes. We would have here a funny and surreal story say of > both authors? > > Does anyone know, then, the extent to which the editing belongs to > Terayama, did he give indications to Yamaji Sachiko for this? > > Best, > > > > > *Lorenzo J. Torres Hortelano * > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > *Vice-Dean of University Extension and International Relations* > Profesor Titular/Professor > Facultad de Ciencias de la Comunicaci?n > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > Universidad Rey Juan Carlos > Edificio de Gesti?n - Decanato > Camino del Molino s/n, 28943 Fuenlabrada > +34 91 488 73 11 > lorenzojavier.torres.hortelano at urjc.es > gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano > researchgate.net/profile/Lorenzo_Torres > > Lorenzo Torres Academia.edu > > > *De:* KineJapan *En nombre de *Roger > Macy via KineJapan > *Enviado el:* mi?rcoles, 6 de mayo de 2020 13:57 > *Para:* Japanese Cinema Discussion Forum > *CC:* Roger Macy > *Asunto:* Re: [KineJapan] Terayama on Garc?a M?rquez > > > Dear Lorenzo and Steve, > > I contacted Tony Rayns when I saw this question, due to his dealings and > knowledge of Terayama, and he kindly offered this :- > > About *Saraba Hakobune*: I saw Terayama's three-ring-circus of a stage > production in Tokyo (it took place on three widely distanced stages set up > in a cavernous warehouse on Tokyo Bay), which the film derives from, and I > did ask Terayama if he'd formally acquired the rights to adapt Garcia > Marquez -- since the play was still called *100 Years of Solitude*. He > told me that he did clear it with the publisher of the Japanese > translation, which was probably true. > > I never asked Madame Govaers about the film rights, so I never heard the > anecdote which Prof Bordwell's colleague Steve Ridgely reports. It rings > true to me that Govaers would have shown the film to Garcia Marquez and > asked his permission, but it's *not possible* that Terayama was present > because his nephritis killed him in the very early stages of the > post-production. Terayama would probably have wanted to keep Garcia > Marquez's title, and the money-minded Govaers would *definitely* have > wanted to market Terayama's last film as *100 Years of Solitude. *It > also rings true that Garcia Marquez (always famously cagey about film > adaptations of his work) would have judged the film a very free adaptation > and asked for a title change. Incidentally, the film's post-production > wasn't finished until nearly a year after Terayama's death. > > Roger > > > On Tuesday, 5 May 2020, 19:32:05 BST, Steve Ridgely via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > Hi Lorenzo, > > I asked Hiroko Govaers about this when I interviewed her in Paris (summer > of 2002). She said that she and Terayama screened the film that would be > released as Saraba hakobune before Cannes for Garc?a M?rquez (I think in > her apartment) as a way of asking his permission to use the title of his > novel. But he felt that the narrative was too much of a departure, and > asked them to release it under a different name. She presented it to me as > an amicable exchange. > > Steve Ridgely > UW-Madison > > > On May 5, 2020, at 12:05 PM, Lorenzo Javier Torres Hortelano via KineJapan > wrote: > > Dear friends, > > I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez? > *Cien a?os de soledad*. > > It is a very free and unknown adaptation and, apparently, Terayama did not > ask the Colombian for permission, or did he not like the result: do you > know any reliable sources that clarify the subject? > > Thank you in advance and encouragement with the pandemic, > > > > > *Lorenzo J. Torres Hortelano * > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > *Vice-Dean of University Extension and International Relations* > Profesor Titular/Professor > Facultad de Ciencias de la Comunicaci?n > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > Universidad Rey Juan Carlos > Edificio de Gesti?n - Decanato > Camino del Molino s/n, 28943 Fuenlabrada > +34 91 488 73 11 > lorenzojavier.torres.hortelano at urjc.es > gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano > researchgate.net/profile/Lorenzo_Torres > > Lorenzo Torres Academia.edu > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > _______________________________________________ > 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 lorenzojavier.torres.hortelano at urjc.es Fri May 8 08:59:05 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Fri, 8 May 2020 12:59:05 +0000 Subject: [KineJapan] =?utf-8?q?Terayama_on_Garc=C3=ADa_M=C3=A1rquez?= In-Reply-To: References: <318EE835-DE0D-49D7-BA35-583E734D33C1@wisc.edu> <1258097806.23233.1588766211406@mail.yahoo.com> <431A8261-8069-4D27-A83A-3F954D8560DC@wisc.edu> Message-ID: Jejeje, yes, in fact it happens both in the book and in the film? I mean, dead people who come back (more subtlety than zombies) No problem, Steve, thanks for the clarifications! Best, [cid:image001.jpg at 01D62549.0FBF6490] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: KineJapan En nombre de Peter Larson via KineJapan Enviado el: viernes, 8 de mayo de 2020 14:52 Para: Japanese Cinema Discussion Forum CC: Peter Larson ; sergio becerra Asunto: Re: [KineJapan] Terayama on Garc?a M?rquez "Terayama met Garc?a M?rquez after he was already dead" I don't think this is improbable. I would like to believe it happened. On Fri, May 8, 2020 at 8:42 AM Steve Ridgely via KineJapan > wrote: Dear Lorenzo and Roger, My apologies for suggesting that Terayama met Garc?a M?rquez after he was already dead, although you?re right, that is the kind of mythical tale Terayama would probably want written into the histories! I dug through some old notes and found some text I wrote on Saraba for an ATG retrospective many years ago. Here?s the relevant information: --------------- Terayama Sh?ji?s ATG application for funding to shoot a film version of Gabriel Garcia-Marquez?s One-Hundred Years of Solitude was accepted in 1981 and he immediately began preparations to shoot the picture. The location chosen was Okinawa and Terayama?s health was in such bad shape by then that he directed much of the film from a chaise lounge. He died, after a long struggle with nephritis, on May 5, 1983 without having completed the final edits. The editing was completed in 1984 and the film could have been screened in Japan under its planned title, Hyakunen no kodoku (One-Hundred Years of Solitude), but those who had worked on it wanted to make another run at Cannes?Den?en ni shisu had been entered in competition at Cannes but Terayama came home empty handed. It had already been announced as in production under the original title in the ATG?s monthly magazine, Art Theatre. Terayama had not yet contacted Garcia-Marquez, however, to get permission to use the title of his novel. Hiroko Govaers, Terayama?s agent in France, contacted Garcia-Marquez before the film was submitted to the festival and was able to show him the final edit (without subtitles) in her Paris apartment. He did not dislike the film, but felt that it had too little connection to his novel to share its title and asked that it be given another name. The title decided on was Saraba hakobune (Farewell to the Ark). There are elements from the novel in the film, such as the cockfight near the beginning and the modern gadgetry scattered throughout, but the majority of Terayama?s version concerns the loss of language by the protagonist, and his effort to regain it by labeling everything in his home with the word that names it. ----------------- Steve On May 8, 2020, at 5:54 AM, kinejapan at mailman.yale.edu wrote: Dear Roger, Thanks, this is also a good piece of information! Terayama died in 1983 and the film was released in 1984, coming to Cannes in 1985. So it is impossible that Terayama was present in that hypothetical screening in Cannes. We would have here a funny and surreal story say of both authors? Does anyone know, then, the extent to which the editing belongs to Terayama, did he give indications to Yamaji Sachiko for this? Best, Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu De: KineJapan > En nombre de Roger Macy via KineJapan Enviado el: mi?rcoles, 6 de mayo de 2020 13:57 Para: Japanese Cinema Discussion Forum > CC: Roger Macy > Asunto: Re: [KineJapan] Terayama on Garc?a M?rquez Dear Lorenzo and Steve, I contacted Tony Rayns when I saw this question, due to his dealings and knowledge of Terayama, and he kindly offered this :- About Saraba Hakobune: I saw Terayama's three-ring-circus of a stage production in Tokyo (it took place on three widely distanced stages set up in a cavernous warehouse on Tokyo Bay), which the film derives from, and I did ask Terayama if he'd formally acquired the rights to adapt Garcia Marquez -- since the play was still called 100 Years of Solitude. He told me that he did clear it with the publisher of the Japanese translation, which was probably true. I never asked Madame Govaers about the film rights, so I never heard the anecdote which Prof Bordwell's colleague Steve Ridgely reports. It rings true to me that Govaers would have shown the film to Garcia Marquez and asked his permission, but it's not possible that Terayama was present because his nephritis killed him in the very early stages of the post-production. Terayama would probably have wanted to keep Garcia Marquez's title, and the money-minded Govaers would definitely have wanted to market Terayama's last film as 100 Years of Solitude. It also rings true that Garcia Marquez (always famously cagey about film adaptations of his work) would have judged the film a very free adaptation and asked for a title change. Incidentally, the film's post-production wasn't finished until nearly a year after Terayama's death. Roger On Tuesday, 5 May 2020, 19:32:05 BST, Steve Ridgely via KineJapan > wrote: Hi Lorenzo, I asked Hiroko Govaers about this when I interviewed her in Paris (summer of 2002). She said that she and Terayama screened the film that would be released as Saraba hakobune before Cannes for Garc?a M?rquez (I think in her apartment) as a way of asking his permission to use the title of his novel. But he felt that the narrative was too much of a departure, and asked them to release it under a different name. She presented it to me as an amicable exchange. Steve Ridgely UW-Madison On May 5, 2020, at 12:05 PM, Lorenzo Javier Torres Hortelano via KineJapan > wrote: Dear friends, I?m writing an article on the Terayama?s film adaptation on Garc?a M?rquez? Cien a?os de soledad. It is a very free and unknown adaptation and, apparently, Terayama did not ask the Colombian for permission, or did he not like the result: do you know any reliable sources that clarify the subject? Thank you in advance and encouragement with the pandemic, Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Universidad Rey Juan Carlos Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ 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: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From macyroger at yahoo.co.uk Tue May 12 06:29:06 2020 From: macyroger at yahoo.co.uk (Roger Macy) Date: Tue, 12 May 2020 10:29:06 +0000 (UTC) Subject: [KineJapan] =?utf-8?q?pre-war_Kinema_Junp=C5=8D_reviews_online?= References: <215343509.3685258.1589279346355.ref@mail.yahoo.com> Message-ID: <215343509.3685258.1589279346355@mail.yahoo.com> Dear KineJapaners, I know this question has been asked in the past, but perhaps it?s worthyof an update in our remote times. Is there a way of reading pre-war Kinema Junp? reviews online ? A digitalversion of one of the reprints, perhaps ? I?m looking for a description of afilm in 1927. In fact any periodical or newspaper entry would be useful. MySOAS library subscription is, alas, reference (on-site) only. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Tue May 12 09:31:15 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Tue, 12 May 2020 13:31:15 +0000 Subject: [KineJapan] Online films / event Mariko Tetsuya In-Reply-To: <77CB2116-0C5B-45DE-B68A-796BA087AE45@fas.harvard.edu> References: <77CB2116-0C5B-45DE-B68A-796BA087AE45@fas.harvard.edu> Message-ID: Hello Everyone, just a quick notice that the date for the online conversation with Mariko Tetsuya has changed to this Thursday. Drop in if you like, and remember to watch Mariko-san's short film for free before- see the link here: https://www.manacontemporary.com/event/shorts-from-underground-live-with-tetsuya-mariko-and-alexander-zahlten/ All best, Alex From: KineJapan on behalf of "Zahlten, Alexander via KineJapan" Reply-To: Japanese Cinema Discussion Forum Date: Thursday, May 7, 2020 at 10:10 To: Japanese Cinema Discussion Forum Cc: "Zahlten, Alexander" Subject: [KineJapan] Online films / event Mariko Tetsuya Hello Everyone, Just to point out a great opportunity, Mana Contemporary in cooperation with Full Spectrum Pictures has started streaming a different film for free every in week in their Shorts from Underground series. This week?s film is Mariko Tetsuya?s extraordinary Far East Mansion (Kyokut? no Manshon, 2003, 32 minutes); next week from Monday that will switch to his brilliant follow-up Mariko?s 30 Pirates (Mariko Sanj?ki, 2004, 28 minutes). And on Friday, May 15, at 6:00 pm Central they will host a live-streamed discussion between Mariko-san and myself about the films. This is a very rare opportunity to see Mariko-san?s early and quite legendary films - which won him the main prize at the Yubari International Fantastic Film Festival two years in a row. Mariko Tetsuya is best know outside of Japan for winning the Best Emerging Director Award at Locarno for Destruction Babies (2016) and for winning a whole host of the big film prizes for 2019 in Japan with Miyamoto (2019). You can find the film and more about the program here: https://www.fullspectrumfeatures.com/underground-series And here is a link to Mana Contemporary: https://www.manacontemporary.com/ Hopefully you have time to take a look- All best, Alex ???????? Alexander Zahlten Associate Professor Dept. of East Asian Languages and Civilizations Harvard University Director of Graduate Studies, Regional Studies East Asia -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue May 12 09:40:28 2020 From: nornes at umich.edu (Markus Nornes) Date: Tue, 12 May 2020 09:40:28 -0400 Subject: [KineJapan] Online films / event Mariko Tetsuya In-Reply-To: References: <77CB2116-0C5B-45DE-B68A-796BA087AE45@fas.harvard.edu> Message-ID: HI Alex, What time zone is this? It isn't clear.... Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Tue, May 12, 2020 at 9:31 AM Zahlten, Alexander via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hello Everyone, > > > > just a quick notice that the date for the online conversation with Mariko > Tetsuya has changed to this Thursday. Drop in if you like, and remember to > watch Mariko-san's short film for free before- see the link here: > > > https://www.manacontemporary.com/event/shorts-from-underground-live-with-tetsuya-mariko-and-alexander-zahlten/ > > > > All best, > > Alex > > > > > > > > > > *From: *KineJapan on behalf of > "Zahlten, Alexander via KineJapan" > *Reply-To: *Japanese Cinema Discussion Forum > *Date: *Thursday, May 7, 2020 at 10:10 > *To: *Japanese Cinema Discussion Forum > *Cc: *"Zahlten, Alexander" > *Subject: *[KineJapan] Online films / event Mariko Tetsuya > > > > Hello Everyone, > > > > Just to point out a great opportunity, Mana Contemporary in cooperation > with Full Spectrum Pictures has started streaming a different film for free > every in week in their *Shorts from Underground* series. > > > > This week?s film is Mariko Tetsuya?s extraordinary Far East Mansion > (Kyokut? no Manshon, 2003, 32 minutes); next week from Monday that will > switch to his brilliant follow-up *Mariko?s 30 Pirates* (Mariko Sanj?ki, > 2004, 28 minutes). And on Friday, May 15, at 6:00 pm Central they will host > a live-streamed discussion between Mariko-san and myself about the films. > > > > This is a very rare opportunity to see Mariko-san?s early and quite > legendary films - which won him the main prize at the Yubari International > Fantastic Film Festival two years in a row. > > > > Mariko Tetsuya is best know outside of Japan for winning the Best Emerging > Director Award at Locarno for *Destruction Babies* (2016) and for winning > a whole host of the big film prizes for 2019 in Japan with *Miyamoto* > (2019). > > > > You can find the film and more about the program here: > > > > https://www.fullspectrumfeatures.com/underground-series > > > > > And here is a link to Mana Contemporary: > > > > https://www.manacontemporary.com/ > > > > > Hopefully you have time to take a look- > > > > All best, > > Alex > > > > > > ???????? > > Alexander Zahlten > > Associate Professor > > Dept. of East Asian Languages and Civilizations > > Harvard University > > Director of Graduate Studies, Regional Studies East Asia > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Tue May 12 09:54:42 2020 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Tue, 12 May 2020 13:54:42 +0000 Subject: [KineJapan] Online films / event Mariko Tetsuya In-Reply-To: References: <77CB2116-0C5B-45DE-B68A-796BA087AE45@fas.harvard.edu> Message-ID: <66733CF4-B1CD-462D-998C-CAE52664BDA0@fas.harvard.edu> Hi Markus, Apologies, I didn?t notice that! It is 8:00 ? 9:00 pm East Coast time. Hope to see you there! Best, Alex From: KineJapan on behalf of Markus Nornes via KineJapan Reply-To: Japanese Cinema Discussion Forum Date: Tuesday, May 12, 2020 at 09:40 To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: Re: [KineJapan] Online films / event Mariko Tetsuya HI Alex, What time zone is this? It isn't clear.... Markus --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 On Tue, May 12, 2020 at 9:31 AM Zahlten, Alexander via KineJapan > wrote: Hello Everyone, just a quick notice that the date for the online conversation with Mariko Tetsuya has changed to this Thursday. Drop in if you like, and remember to watch Mariko-san's short film for free before- see the link here: https://www.manacontemporary.com/event/shorts-from-underground-live-with-tetsuya-mariko-and-alexander-zahlten/ All best, Alex From: KineJapan > on behalf of "Zahlten, Alexander via KineJapan" > Reply-To: Japanese Cinema Discussion Forum > Date: Thursday, May 7, 2020 at 10:10 To: Japanese Cinema Discussion Forum > Cc: "Zahlten, Alexander" > Subject: [KineJapan] Online films / event Mariko Tetsuya Hello Everyone, Just to point out a great opportunity, Mana Contemporary in cooperation with Full Spectrum Pictures has started streaming a different film for free every in week in their Shorts from Underground series. This week?s film is Mariko Tetsuya?s extraordinary Far East Mansion (Kyokut? no Manshon, 2003, 32 minutes); next week from Monday that will switch to his brilliant follow-up Mariko?s 30 Pirates (Mariko Sanj?ki, 2004, 28 minutes). And on Friday, May 15, at 6:00 pm Central they will host a live-streamed discussion between Mariko-san and myself about the films. This is a very rare opportunity to see Mariko-san?s early and quite legendary films - which won him the main prize at the Yubari International Fantastic Film Festival two years in a row. Mariko Tetsuya is best know outside of Japan for winning the Best Emerging Director Award at Locarno for Destruction Babies (2016) and for winning a whole host of the big film prizes for 2019 in Japan with Miyamoto (2019). You can find the film and more about the program here: https://www.fullspectrumfeatures.com/underground-series And here is a link to Mana Contemporary: https://www.manacontemporary.com/ Hopefully you have time to take a look- All best, Alex ???????? Alexander Zahlten Associate Professor Dept. of East Asian Languages and Civilizations Harvard University Director of Graduate Studies, Regional Studies East Asia _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue May 12 23:46:29 2020 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 12 May 2020 23:46:29 -0400 Subject: [KineJapan] =?utf-8?q?pre-war_Kinema_Junp=C5=8D_reviews_online?= In-Reply-To: <215343509.3685258.1589279346355@mail.yahoo.com> References: <215343509.3685258.1589279346355.ref@mail.yahoo.com> <215343509.3685258.1589279346355@mail.yahoo.com> Message-ID: <5ABD335B-84B9-4E57-8F0B-CBDD4AB9598A@yale.edu> I don?t think there is anything from the prewar KineJun legally available online. I have heard the NDL has digitized the prewar Kinema Junpo, but will not make it available online for the general public. The databases of major newspapers are available online, but only through subscription. Perhaps you could try crowd sourcing, by giving the details of the film and asking if anyone can do a search for that film in newspaper databases, if they can access them via VPN. Aaron > 2020/05/12 ??6:29?Roger Macy via KineJapan ????: > > Dear KineJapaners, > I know this question has been asked in the past, but perhaps it?s worthy of an update in our remote times. > Is there a way of reading pre-war Kinema Junp? reviews online ? A digital version of one of the reprints, perhaps ? I?m looking for a description of a film in 1927. In fact any periodical or newspaper entry would be useful. My SOAS library subscription is, alas, reference (on-site) only. > > Roger > > > _______________________________________________ > 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 May 14 21:47:50 2020 From: nornes at umich.edu (Markus Nornes) Date: Thu, 14 May 2020 21:47:50 -0400 Subject: [KineJapan] BFI best Japanese films by year Message-ID: Selected by quite a few members of the list. https://www.bfi.org.uk/news-opinion/news-bfi/lists/best-japanese-film-every-year Pretty good job for an impossible task. I would have loved to have seen it pushed back to 1899?s Momijigari, just to see what they?d come up with. M -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat May 16 12:39:20 2020 From: nornes at umich.edu (Markus Nornes) Date: Sat, 16 May 2020 12:39:20 -0400 Subject: [KineJapan] Mini-Theater Fundraiser closes Message-ID: The mini-theater fundraiser spearheaded by Hamaguchi, Fukada, et al ended, and was a wild success: ?331,025,487 from 30,000 people. https://motion-gallery.net/projects/minitheateraid A similar effort in the US run by Criterion/Janus and run out of the Art House Convergence only brought in US$832,088 in roughly the same period from 5,100 donors. The difference is pretty amazing. I think it speaks to the important role of mini-theaters in contemporary Japanese film culture. It simultaneously reveals how marginalized art house theaters are in the US. There is another way of looking at this that's quite disheartening from the US POV. The American film industry is loaded with capital. There are _a_lot_ of multimillionaires and more than a handful of people enjoying unfathomable wealth. A few prominent filmmakers are listed as donors on the US page....but, frankly, it's amazing how little they donated. That this outfit only aspired to US$500,000 and couldn't raise $10 million says a lot about how American film and television people see film culture as anonymously corporate?or that they simply don't think about exhibition at all. That a cash-poor film industry with low wages and no strong tradition of residuals for over-the-line talent can raise this much money for indie theaters is impressive. It will be a while before we can assess how Covid-19 impacted the exhibition circuit in Japan. But rural theaters are starting to open back up. The Forum in Yamagata?one of the venues for the documentary festival and a theater with roots in Ogawa Shinsuke's film exhibition movement?just opened up again. They are showing documentary (a new film shot in Yamagata, filmed kabuki), revivals (Shin-Godzilla), new anime, mainstream features (Fukushima 50, Birds of Prey), and foreign art films (Hidden Life). All in one theater. I hope they survive, along with all the other great mini-theaters across Japan. 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 eija.niskanen at gmail.com Sun May 17 11:32:41 2020 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Sun, 17 May 2020 18:32:41 +0300 Subject: [KineJapan] Online summer course on Japanese media/anime or similar Message-ID: 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 Niskanen helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From linda.ehrlich at gmail.com Mon May 18 20:39:06 2020 From: linda.ehrlich at gmail.com (Linda Ehrlich) Date: Mon, 18 May 2020 20:39:06 -0400 Subject: [KineJapan] special sales on the new book about Kore-eda Message-ID: Please forgive this self-promotion, but there are 2 excellent sales coming up. Here's the information: Palgrave Macmillan is running a 40% sale on the Palgrave site which includes my book THE FILMS OF KORE-EDA HIROKAZU: An Elemental Cinema (all-color images) https://www.palgrave.com/gb/book/9783030330507 The sale price should be automatically applied, but if not then customers can use coupon code HUMANITIES20. The promotion *ends* on the 29th May. FOR THE EBOOK: On June 6 (one day only) there will be a great deal on the ebook: *Palgrave **Daily **Deal **offer**/Get the eBook for?9,99/?9,99*/*$9.99!* Offer valid on palgrave.com only on June 6,2020 (the cost of the ebook is usually $64.99). The ebook comes as EPUB or PDF and can be read on all reading devices. Although they?re stationed in the U.K., the Customer Service people will take time differences into account. But it?s only one day, and for the ebook only. I hope you?ll take advantage of this unusual deal. I look forward to hearing your comments. Thank you. Linda C. Ehrlich -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon May 25 00:39:23 2020 From: nornes at umich.edu (Markus Nornes) Date: Mon, 25 May 2020 00:39:23 -0400 Subject: [KineJapan] Uzumasa Limelight Message-ID: I just watched Uzumasa Limelight, which is on Amazon Prime. The behind the scenes business around jidaigeki was fun, and it was clever to build a whole film around the dramatic death of popular jidaigeki. Oh, and Fukumoto Seizo?s face is simply amazing. But I noticed that the post production was done in LA. Does anyone know what that?s all about? 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 kprovenc at gmail.com Mon May 25 11:53:20 2020 From: kprovenc at gmail.com (ken provencher) Date: Mon, 25 May 2020 08:53:20 -0700 Subject: [KineJapan] Uzumasa Limelight In-Reply-To: References: Message-ID: That is a fun movie. Likely the L.A. connection is the production/distribution company Eleven Arts, headed by Ko Mori. They also produced THE HARIMAYA BRIDGE. https://www.elevenarts.net/live-action/live-action-distribution Ken On Sun, May 24, 2020 at 9:39 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > I just watched Uzumasa Limelight, which is on Amazon Prime. The behind the > scenes business around jidaigeki was fun, and it was clever to build a > whole film around the dramatic death of popular jidaigeki. Oh, and Fukumoto > Seizo?s face is simply amazing. > > But I noticed that the post production was done in LA. Does anyone know > what that?s all about? > > 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 lorenzojavier.torres.hortelano at urjc.es Tue May 26 03:09:51 2020 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Tue, 26 May 2020 07:09:51 +0000 Subject: [KineJapan] Kurosawa's films rights Message-ID: Dear all, I know it's a subject that comes back repetitively, so apologize in advance. I'm about to give an on-line lecture on Throne of Blood, I'm going to use several video clips: How is the situation of the rights of Kurosawa's films right now, those of the 50s are in the public domain? Thanks and Kind regards, [cid:image001.jpg at 01D6333D.68247650] 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 nornes at umich.edu Wed May 27 15:10:16 2020 From: nornes at umich.edu (Markus Nornes) Date: Wed, 27 May 2020 15:10:16 -0400 Subject: [KineJapan] =?utf-8?q?Fwd=3A_We_Are_One=3A_A_Global_Film_Festiva?= =?utf-8?b?bOOAgDIx44Gu5Y+C5Yqg5pig55S756Wt44Go5p2x5Lqs5Zu96Zqb5pig?= =?utf-8?b?55S756Wt44Gu44OX44Ot44Kw44Op44Og44GM5rG65a6a77yB77y75p2x?= =?utf-8?b?5Lqs5Zu96Zqb5pig55S756WtIOODoeODvOODq+ODnuOCrOOCuOODsw==?= =?utf-8?b?77y9?= In-Reply-To: <51F34495-59B7-48B2-913D-07B036FED806@icloud.com> References: <51F34495-59B7-48B2-913D-07B036FED806@icloud.com> Message-ID: ?????????????? 2020?5?27?? *We Are One: A Global Film Festival21????????????????????????* ??????????????????10???????????????????????????????????2020?5?29?????? YouTube.com/WeAreOne??????????? ?????21????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????WHO?????????????????????????????????????? *????????????????????????????* ????????We Are One: A Global Film Festival???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ????????????????????????????????????????????????????????????????? ?????????????????????????????????????????2018??TIFF?????????????????????????????????????????????????????????????? ?????TIFF???????????????????????????????????????????????????????????????????????????????????????????????????????? TIFF?????????????????? ???????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????????????????????????????????????????????? ??????????????????????????????????????????????? ??????? *??????????????* *????????????????* ?*??????*????????????????2020?6?3?(?) ?8:00? *?????????* ?*???*????????????????2020?6?1?(?) ?9:00? ?*????????*????????????????2020?5?30?(?)??1:30??31?(?) AM 1:30?? ?*??????????*?2020?????????? ???????????????2020?6?1?(?) ?8:00? *?????* ?*????????*?*??????* ???????????????2020?6?6?(?) ?4:15? ?*??????*?*?????? *???????????????2020?6?5?(?) ?4:30? ???????? *We Are One: A Global Film Festival ????????????* ??????? *????????????????TIFF Studio?* *TIFF Studio????*?*5/28(?)*???? MC???????? ?????? ??????????????????? TIFF ??YouTube?????? ??? ??????????????? *??????????????* ????????? *?????? ?1?46????????????????* ????????? *YouTube????? * ??????????????? *??????? SNS ???????* *Facebook ? Twitter ? Instagram ?LINE ID : @tiff TIFFStudio????? ??YouTube????? * *?33???????? ? TIFFCOM2020????* *??33?????????* ????: 2020?10?31?(?)?11?9?(?) ??: ????????????? ? ?????????: www.tiff-jp.net *?TIFFCOM2020?* ????: 2020?11?4 ?(?)?6?(?) ??: ?????????????? ?TIFFCOM?????: www.jcs.tokyo/ja/ ???????????????? ?33??????????????? ?????????????????????????????????????????? ????????????????????????????????????????????????????????????? ------------------------------ (C) 2020 TIFF ??????????? ?????????????????? ??????????????? ???????????? -------------- next part -------------- An HTML attachment was scrubbed... URL: From jonathanmarkhall at gmail.com Wed May 27 17:06:56 2020 From: jonathanmarkhall at gmail.com (Jonathan M. Hall) Date: Wed, 27 May 2020 16:06:56 -0500 Subject: [KineJapan] (in Japanese) Call for Submissions w/ 20 June 2020 Deadline: Tokyo Documentary Film Festival Message-ID: https://tdff-neoneo.com/pickup/1657-2/ ????????????????2020??????? ???????????????????? ????????????????6?20???? ????????????????????????????? ????????URL????????? ??????????????????? *????* *??????* ?????????????????????????????? *?????????* ?? *??????* ??????????????????????????????? ?2019?1??????????????? ??????????????????????????????????????? ????????????????????????? ???????????????????????????????????????? ?????????????????????????????? ?????????????????????????????????????? *?????* *????????* ??????????????????????????????????????????????? ????????????????????????????????????????????????????? ????????????????? tdff.neoneo at gmail.com ???????? http://tdff-neoneo.com/ ???????????? *???????????????????youtube?Vimeo???????????????* ?DVD????????????????????????????????????? *???????????* ?????????????????????????????????????????????? ???????????????????????2020??2020???????????????????? ? ????????????????????????????????????????? ? ???????????????????????????2020????????????2020?10??????????????????? *????????* ?????????????? *????*neoneo??? -------------- next part -------------- An HTML attachment was scrubbed... URL: From marcus.bohr at network.rca.ac.uk Thu May 28 08:17:38 2020 From: marcus.bohr at network.rca.ac.uk (Marco Bohr) Date: Thu, 28 May 2020 13:17:38 +0100 Subject: [KineJapan] CFP: Capture Japan - Book Under Contract with Bloomsbury Message-ID: This is the final Call for Papers for the edited book ?Capture Japan: Visual Culture and the Global Imagination from 1952 to the Present?. The book analyses, deconstructs and challenges representations of Japan in a variety of different visual media such as cinema, documentary film, photography, visual art and computer games. The book is now under contract with Bloomsbury and due to the recent withdrawal of a contributor, we are now looking for a replacement chapter. We are particularly keen to hear from potential contributions on *anime, manga, animation, graphic novels or comics *which are topics that are currently underrepresented in the book. Additionally, we are also interested how these type of visual media relate to transnational contexts within East Asia and beyond. The book comprises of a series of case studies by an international group of experts in the field which highlight the institutional framework that has allowed certain types of images of Japan to be promoted. The book points to a vast network of global institutions, each concerned with a different type of image of Japan that fits into an ideological, political, cultural or economic agenda. Internationally, these institutions include film production companies or art museums and galleries, whereas in Japan they include local tourist boards, government agencies or computer game manufacturers. Whilst these institutions have differing interests, this book identifies common threads in the type of image of Japan that is being imagined, produced and disseminated by such institutions. The book makes the argument that these images are visual tropes that feed into a type of Japan of the global imagination. The book identifies that the 1952 ?Treaty of Mutual Cooperation and Security between Japan and the United States of America? ? commonly known as Anpo in Japan ? marked the beginning of an era or unprecedented peace and prosperity. Whilst in Japan Anpo created many questions about sovereignty and political agency, particularly during the amendment of 1960, the treaty has underpinned the global economic axis of the post-war era between Japan and the west. The book argues that the institutional support for certain visual tropes of Japan thus feeds into a larger discourse of maintaining the global economic, political and ideological order of the post-war era. Japan, and how it is represented in images, is therefore inextricably linked to its role in maintaining this status quo since 1952. The book will come out at a crucial time since the re-emergence of China as the largest economy in the world is poised to affect the global economic (dis)equilibrium that has dominated much of the last 70 years. The book investigates whether the visual discourse of Japan in the global imagination is about to shift into a new era. The word ?capture? in the title of the book recognizes a level of dominance, even aggression with regards to images and how they feed into a larger discourse. It is also a play on words on the photographic term to ?capture?, as well as the notion of a spectacle that is ?captivating?. Contributions to this book by a diverse and interdisciplinary group of scholars are conscious of the way images feed into, construct or subvert notions about Orientalism (Said) as well as self-exoticising discourses such as Strategic Essentialism (Spivak). Contributors also considered how images sought to disrupt, subvert or at least challenge visual tropes about Japan thus complicating notions about a global imagination. Contributors might draw from the legacies of Japonisme of the 19th century or the rapid shifts the way Japan was perceived, and perceived itself, through images from the Meiji, Taisho or early Showa era, however the historical timespan for case studies is strictly from 1952 to the present. This book is already under contract and we are seeking for one final contribution to the book. Please send a 200 word abstract as well as a 50 word short biography to the editor of the book Dr. Marco Bohr marco.bohr at ntu.ac.uk by the 15th of June 2020 at the very latest. Since we are working on a tight time frame, late submission cannot be accepted. Potential contributors should also note the first deadline of the 6,000 word draft chapter which is the 31st of September 2020. Again, due to the book being under contract this deadline cannot be extended. Revisions of the chapter will occur in October 2020 with quick turnarounds expected. If potential contributors are unsure whether their topic suits the book, they are welcome to liaise with Dr. Marco Bohr at marco.bohr at ntu.ac.uk https://www.ntu.ac.uk/staff-profiles/art-design/marco-bohr -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun May 31 13:46:38 2020 From: nornes at umich.edu (Markus Nornes) Date: Sun, 31 May 2020 13:46:38 -0400 Subject: [KineJapan] Japanese films are We Are One Message-ID: You probably heard that Tribeca organized major festivals around the world for a week of streaming films, panels and interviews. Here are the ones related to Japanese film. There was also a Fukada Koji short that played yesterday, but it was taken offline. So far, other films seem to be kept online so you can watch when your schedule permits. But who knows how long they'll stay up. m ================================================== *June 1* *The Yalta Conference Online* 39 min. TIFF?FUKADA KOJI Just before the end of World War II, the Yalta Conference was held by the ?Big Three? Allied leaders: Franklin Delano Roosevelt of the United States, Winston Churchill of Britain, and Joseph Stalin of the USSR. Japanese theater company Seinendan reimagines their conversations about postwar rule and power as a darkly humorous satire. ?2???????????????????????????????????????????????????????????????????????30????????????????????????????? http://www.weareoneglobalfestival.com/events/zoom-yalta-talks-2020 *Inabe* 35 min.?TIFF?FUKADA KOJI In Koji Fukada?s (*Harmonium*) 2013 short, pig farmer Tomohiro?s (Matsuda Hiroaki) sister Naoko (Kurata Ami) suddenly returns to their pastoral home city with her new baby after a 17-year absence. She?s evasive about why she left, but as they reminisce, they resolve to dig up ?something? they buried long ago. ??????????????????????????17?????????????????????????????????????????2????????????????????????? *June 3* *Genius Party: Happy Machine* 16 min., TIFF After an innocent baby?s nursery crumbles away before his eyes, he enters into a surreal world in this head trip from Masaaki Yuasaka, part of an omnibus film created by STUDIO4?C and 7 filmmakers. STUDIO4??7??????????????????????????????????????????????????? http://www.weareoneglobalfestival.com/events/genius-party-happy-machine-2020 *June 4* *Ice Cream and the Sound of Raindrops* 74 min., ? TIFF Daigo Matsui?s mesmerizing shape-shifter compresses a month in the life of a theater troupe into a serpentine 74-minute single take, whose fluidity evokes the dissolved boundaries between the actors? real lives and their roles. In a small town in Japan, a theatrical premiere is planned for the British play "Morning? by Simon Stephens, which centers on two teenagers who share a grim, violent secret. The director (Matsui himself) casts six local teenagers and pushes them through emotionally demanding rehearsals: they throw themselves into every aspect of the production, but weak ticket sales and a general lack of public interest lead to the abrupt cancellation of opening night. Instead of wallowing in disappointment, though, the cast decides to rehearse the play anyways. Anchored by a star-making lead performance from Kokoro Morita, this unconventional coming-of-age tale probes the subversive possibilities of performance in a world that claims to have no place for it. 2017????????????????MORNING????????????????????????????????????????????????????????????? ??1??????????? http://www.weareoneglobalfestival.com/events/ice-cream-and-the-sound-of-raindrops-2020 *June 5* *Tremble all You Want* 117 min. ? TIFF Yoshika (Mayu Matsuoka) is a self-possessed 24-year-old office worker, but her past is always on her mind. For the past 10 years, she's harbored a secret crush on her middle school classmate Ichimiya (Takumi Kitamura)?or ?Ichi? (One)?and her unrequited yearning has made it difficult for her to move on, or even consider dating other people. One day, her colleague (Daichi Watanabe)?whom she privately calls "Ni" (Two)?asks her out, but out of loyalty to Ichi, she has trouble pursuing this new romance. When Yoshika realizes that she needs to see Ichi again, she organizes a class reunion, but things don't quite go as she?d planned. Akika Ohku?s fresh and funny adaptation of Risa Wataya?s award-winning novel thrums along on Matsuoka?s livewire energy. As she opens up about her love triangle to her friends, she?s also admitting the extent of her fantasies to herself?but just how she?ll choose to regain control is open to interpretation. http://www.weareoneglobalfestival.com/events/tremble-all-you-want-2020 *On Transmission: Ang Lee in Conversation with Kore-eda Hirokazu* 63 min., ?Berlin Nine-time Academy Award??winning Ang Lee and Kore-eda Hirokazu ( *Shoplifters*) discuss the state of film art today. The conversation is fascinating and unexpected: it presents not only one of many possible narratives of the festival but also a vibrant picture of cinema, taken at a crucial time of transition. These remarkable filmmakers have left a mark on the Berlinale and in all our lives. http://www.weareoneglobalfestival.com/events/on-transmission-ang-lee-in-conversation-with-kore-eda-hirokazu-2020 --- *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: