From daisyyandu at uwalumni.com  Sun Jan  3 04:09:03 2021
From: daisyyandu at uwalumni.com (Daisy Yan Du)
Date: Sun, 3 Jan 2021 17:09:03 +0800
Subject: [KineJapan] The Inaugural Conference of the Association for Chinese
 Animation Studies, Zoom Webinar, March 1-May 12, 2021
Message-ID: <CADxLjQEdUgU=ciVnqjRO_CocP0tzP-Vk+fHGjbJocZE7ZH4TOg@mail.gmail.com>

Dear Colleagues,

Happy New Year!

I apologize for disturbing those who are not interested. The Inaugural
Conference of the Association for Chinese Animation Studies will be held
online via Zoom Webinar at 9am from March 1 to May 12, 2021 (Hong Kong
time).

The conference has quite a few presentations and panels that are related to
Japan. We will also screen the animated films made by Mochinaga Tadahito
during his stay in China in the late 1940s.

For more information, please click:

http://acas.ust.hk/2020/11/15/conference-program-the-inaugural-conference-of-the-association-for-chinese-animation-studies-zoom-webinar-8am-march-1-may-12-2021/?fbclid=IwAR20JHS6oEfDP1mCC0Zk_qLPRY-2hNsH4yn-g4IGc-8uuSyBjvxb6LGbr6Y


Please register online if you are interested in attending the conference.
Feel free to forward the link to anyone who might be interested.

Look forward to seeing some of you online soon.

Sincerely yours,

Daisy

Daisy Yan Du
Associate Professor
Division of Humanities
Hong Kong University of Science and Technology
Clear Water Bay, Kowloon
Hong Kong

Animated Encounters: Transnational Movements of Chinese Animation,
1940s-1970s
<https://www.amazon.com/Animated-Encounters-Transnational-Movements-1940s-1970s/dp/0824877640/ref=sr_1_1?crid=1A8VOQ1DQVJ52&dchild=1&keywords=animated+encounters+transnational+movements+of+chinese+animation&qid=1609661860&sprefix=animated+encounters%2Caps%2C353&sr=8-1>



ReplyReply allForward
<https://drive.google.com/u/0/settings/storage?hl=en&utm_medium=web&utm_source=gmail&utm_campaign=manage_storage>
<https://www.google.com/gmail/about/policy/>
<https://www.google.com/>
Compose:
The Inaugural Conference of the Association for Chinese Animation Studies,
Zoom Webinar, March 1-May 12, 2021
[image: Minimize][image: Pop-out][image: Close]
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From eija.niskanen at gmail.com  Sun Jan  3 04:22:26 2021
From: eija.niskanen at gmail.com (Eija Niskanen)
Date: Sun, 3 Jan 2021 11:22:26 +0200
Subject: [KineJapan] The Inaugural Conference of the Association for
 Chinese Animation Studies, Zoom Webinar, March 1-May 12, 2021
In-Reply-To: <CADxLjQEdUgU=ciVnqjRO_CocP0tzP-Vk+fHGjbJocZE7ZH4TOg@mail.gmail.com>
References: <CADxLjQEdUgU=ciVnqjRO_CocP0tzP-Vk+fHGjbJocZE7ZH4TOg@mail.gmail.com>
Message-ID: <FAAADBAF-F036-47D9-9678-23DEE6B160F4@gmail.com>

Hi!
The conference sounds fascinating. Where on that page you sent link to, is the registration form?
Best,
Eija Niskanen

L?hetetty iPadista

> Daisy Yan Du via KineJapan <kinejapan at mailman.yale.edu> kirjoitti 3.1.2021 kello 11.09:
> 
> ?
> Dear Colleagues, 
> 
> Happy New Year! 
> 
> I apologize for disturbing those who are not interested. The Inaugural Conference of the Association for Chinese Animation Studies will be held online via Zoom Webinar at 9am from March 1 to May 12, 2021 (Hong Kong time). 
> 
> The conference has quite a few presentations and panels that are related to Japan. We will also screen the animated films made by Mochinaga Tadahito during his stay in China in the late 1940s. 
> 
> For more information, please click: 
> 
> http://acas.ust.hk/2020/11/15/conference-program-the-inaugural-conference-of-the-association-for-chinese-animation-studies-zoom-webinar-8am-march-1-may-12-2021/?fbclid=IwAR20JHS6oEfDP1mCC0Zk_qLPRY-2hNsH4yn-g4IGc-8uuSyBjvxb6LGbr6Y     
> 
> Please register online if you are interested in attending the conference. Feel free to forward the link to anyone who might be interested. 
> 
> Look forward to seeing some of you online soon. 
> 
> Sincerely yours, 
> 
> Daisy
> 
> Daisy Yan Du
> Associate Professor
> Division of Humanities
> Hong Kong University of Science and Technology
> Clear Water Bay, Kowloon
> Hong Kong  
> 
> Animated Encounters: Transnational Movements of Chinese Animation, 1940s-1970s
> 
> 
> 
> 	
> Reply
> Reply all
> Forward
> Compose:
> The Inaugural Conference of the Association for Chinese Animation Studies, Zoom Webinar, March 1-May 12, 2021
> 
> 
> 
> 
> 
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
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From daisyyandu at uwalumni.com  Sun Jan  3 06:59:46 2021
From: daisyyandu at uwalumni.com (Daisy Yan Du)
Date: Sun, 3 Jan 2021 19:59:46 +0800
Subject: [KineJapan] The Inaugural Conference of the Association for
 Chinese Animation Studies, Zoom Webinar, March 1-May 12, 2021
In-Reply-To: <FAAADBAF-F036-47D9-9678-23DEE6B160F4@gmail.com>
References: <CADxLjQEdUgU=ciVnqjRO_CocP0tzP-Vk+fHGjbJocZE7ZH4TOg@mail.gmail.com>
 <FAAADBAF-F036-47D9-9678-23DEE6B160F4@gmail.com>
Message-ID: <CADxLjQGtn7iHR5cjVaEPHxA4WNrDa-U1JMCraQb=3Fde1Xdc2Q@mail.gmail.com>

Dear Eija,

There are several lines in red above Panel 1 (see below). Please click it
and you will be directed to the registration page. Thank you very much for
your interest in this conference!

Best

Daisy

*Webin**ar Registration **(In accordance with the Copyright Ordinance of
Hong Kong, please do not photograph and/or video record the film
screenings. Violation of copyright laws will result in legal action.)  *
<http://iasprogram.ust.hk/2021acas/register>

On Sun, Jan 3, 2021 at 5:22 PM Eija Niskanen via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Hi!
> The conference sounds fascinating. Where on that page you sent link to, is
> the registration form?
> Best,
> Eija Niskanen
>
> L?hetetty iPadista
>
> Daisy Yan Du via KineJapan <kinejapan at mailman.yale.edu> kirjoitti
> 3.1.2021 kello 11.09:
>
> ?
> Dear Colleagues,
>
> Happy New Year!
>
> I apologize for disturbing those who are not interested. The Inaugural
> Conference of the Association for Chinese Animation Studies will be held
> online via Zoom Webinar at 9am from March 1 to May 12, 2021 (Hong Kong
> time).
>
> The conference has quite a few presentations and panels that are related
> to Japan. We will also screen the animated films made by Mochinaga Tadahito
> during his stay in China in the late 1940s.
>
> For more information, please click:
>
>
> http://acas.ust.hk/2020/11/15/conference-program-the-inaugural-conference-of-the-association-for-chinese-animation-studies-zoom-webinar-8am-march-1-may-12-2021/?fbclid=IwAR20JHS6oEfDP1mCC0Zk_qLPRY-2hNsH4yn-g4IGc-8uuSyBjvxb6LGbr6Y
>
>
> Please register online if you are interested in attending the conference.
> Feel free to forward the link to anyone who might be interested.
>
> Look forward to seeing some of you online soon.
>
> Sincerely yours,
>
> Daisy
>
> Daisy Yan Du
> Associate Professor
> Division of Humanities
> Hong Kong University of Science and Technology
> Clear Water Bay, Kowloon
> Hong Kong
>
> Animated Encounters: Transnational Movements of Chinese Animation,
> 1940s-1970s
> <https://www.amazon.com/Animated-Encounters-Transnational-Movements-1940s-1970s/dp/0824877640/ref=sr_1_1?crid=1A8VOQ1DQVJ52&dchild=1&keywords=animated+encounters+transnational+movements+of+chinese+animation&qid=1609661860&sprefix=animated+encounters%2Caps%2C353&sr=8-1>
>
>
>
> ReplyReply allForward
>
> <https://drive.google.com/u/0/settings/storage?hl=en&utm_medium=web&utm_source=gmail&utm_campaign=manage_storage>
> <https://www.google.com/gmail/about/policy/>
> <https://www.google.com/>
> Compose:
> The Inaugural Conference of the Association for Chinese Animation Studies,
> Zoom Webinar, March 1-May 12, 2021
> [image: Minimize][image: Pop-out][image: Close]
>
>
>
>
>
> _______________________________________________
> 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
>
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From nornes at umich.edu  Sun Jan  3 10:30:00 2021
From: nornes at umich.edu (Markus Nornes)
Date: Sun, 3 Jan 2021 10:30:00 -0500
Subject: [KineJapan] BFI Top J Winter Films
Message-ID: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>

Now here?s a delightfully unexpected list!

https://www.bfi.org.uk/lists/10-great-japanese-winter

So many other films rush to mind, starting with....Yukiguni (either the ?57
Toyota film or the prewar bunka eiga, take your pick)!


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*
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From mekerpan2 at gmail.com  Sun Jan  3 10:36:06 2021
From: mekerpan2 at gmail.com (Michael Kerpan)
Date: Sun, 3 Jan 2021 10:36:06 -0500
Subject: [KineJapan] BFI Top J Winter Films
In-Reply-To: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
Message-ID: <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>

Markus --

Your link didn't work -- but hopefully this will.

https://www.bfi.org.uk/lists/10-great-japanese-winter-films

Michael Kerpan
Boston, MA

On Sun, Jan 3, 2021 at 10:30 AM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> Now here?s a delightfully unexpected list!
>
> https://www.bfi.org.uk/lists/10-great-japanese-winter
>
> So many other films rush to mind, starting with....Yukiguni (either the
> ?57 Toyota film or the prewar bunka eiga, take your pick)!
>
>
> 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*
>
> _______________________________________________
> 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  Sun Jan  3 10:36:51 2021
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sun, 3 Jan 2021 15:36:51 +0000 (UTC)
Subject: [KineJapan] BFI Top J Winter Films
In-Reply-To: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
Message-ID: <1003960384.10070351.1609688211250@mail.yahoo.com>

 The link now seems to behttps://www.bfi.org.uk/lists/10-great-japanese-winter-filmsRoger

    On Sunday, 3 January 2021, 15:30:21 GMT, Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Now here?s a delightfully unexpected list!
https://www.bfi.org.uk/lists/10-great-japanese-winter
So many other films rush to mind, starting with....Yukiguni (either the ?57 Toyota film or the prewar bunka eiga, take your pick)!

M?
-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From macyroger at yahoo.co.uk  Mon Jan  4 12:01:16 2021
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Mon, 4 Jan 2021 17:01:16 +0000 (UTC)
Subject: [KineJapan] BFI Top J Winter Films
In-Reply-To: <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
 <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>
Message-ID: <263131877.544653.1609779676501@mail.yahoo.com>

 
Sorry that you got two link corrections together, yesterday.

It is an unexpected list ? I hadn?t even heard of the last director,KURODA Yoshiyuki. But it?s also an over-promising list.? Most, but not all, have been shown in thehistory of the National Film Theatre but I think only the Kurosawa has beenshown this millennium. Several are also not available to view legitimately inthe UK,including a couple on Criterion Channel which is not available in the UK.

But I like your suggestion,Markus, of pondering over such a list, sitting here with winter lockdownseeming to extend indefinitely. We could keep this simmering on the kamado formonths.? ?Winter? films could be dividedinto those that are set entirely in winter and those which have memorablewinter scenes. Feeling pessimistic, this side of the pond, I?m offering onewhere spring never came.

After reading last year thetranslated novel The Little House, by NAKAJIMA Kyoko in which the narrator goes to see Otto no teis?(A Husband?s Chastity), 1937 (setting the novel of YOSHIYA Nobuko ? she of Scent of Pheasant?s Eye and best-sellingauthor of the ?flower stories?), I noticed that a DVD could be bought. The DVDwas packaged as ?Kurosawa Akira #65?, tenuously as he was 3rd A.D., and as ??? S?sh?-hen, i.e., the consolidated version of104 minutes. JMDb listed the two parts released in April .37, as ?When SpringComes? and ?Autumn Comes Again?.

Alas, when I watched it, it ended in bleak mid-winter (attachedframe-grabs). What?s more, no one had reached any kind of nirvana or chastity,only just starting to smart from a lack of it. With help from Johan Nordstr?m (he on PCL) and Michiko Suzuki(she on Yoshiya?s book), I established that the first two films only coveredthe first half of the novel and the rest was never made. The character in thepicture, the young widow Kayo, has been excluded from her legitimate child, butdoes she even ?know? that she?s pregnant ? the window to her redemption in thesecond half ? (I think I can dispense with spoiler-warnings).

There?s a strong clue as to why it was never concluded. A short pause inserializing was normal, and the story needed setting in the Philippinesor re-set elsewhere (Manchuria?).The actress in thepicture, Chiba Sachiko, however made no films for eighteen months for anyone. Iknow that Chiba married NaruseMikio in 1937 and that there was a child by this short marriage. So, wasNaruse?s filmmaking winter in the 1940s because he took some of the blame forthis unconcluded winter ?

Anyway, here?s for spring in real life.
Roger

    On Sunday, 3 January 2021, 15:36:22 GMT, Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Markus --

Your link didn't work?-- but hopefully this will.
https://www.bfi.org.uk/lists/10-great-japanese-winter-films

Michael KerpanBoston, MA
On Sun, Jan 3, 2021 at 10:30 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

Now here?s a delightfully unexpected list!
https://www.bfi.org.uk/lists/10-great-japanese-winter
So many other films rush to mind, starting with....Yukiguni (either the ?57 Toyota film or the prewar bunka eiga, take your pick)!

M?
-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From tkarsavina at yahoo.com  Mon Jan  4 23:42:58 2021
From: tkarsavina at yahoo.com (Maria Jose Gonzalez)
Date: Tue, 5 Jan 2021 04:42:58 +0000 (UTC)
Subject: [KineJapan] BFI Top J Winter Films
In-Reply-To: <263131877.544653.1609779676501@mail.yahoo.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
 <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>
 <263131877.544653.1609779676501@mail.yahoo.com>
Message-ID: <979375842.5519138.1609821781078@mail.yahoo.com>

 Dear Roger,I suppose you mean that the character in the attached frames is Irie Takako.;-)Did you also get the wonderful booklet that accompanies all the Kurosawa DVD Collection series by Asahi?I am attaching some photos just in case, as it offers some more clues as to why there was no continuation.? 
Also attached, an image of KineJun from 1937.It is a pity that at least over 60 minutes are missing from this consolidated version, we don't get to see some of the actors mentioned in the credits.However, we are very lucky to have this fantastic Kurosawa series, some of the titles are true gems.Best wishes,
Mar?a Jos? Gonz?lezKwansei Gakuin University


    On Tuesday, 5 January 2021, 2:02:13 am GMT+9, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  
Sorry that you got two link corrections together, yesterday.

It is an unexpected list ? I hadn?t even heard of the last director,KURODA Yoshiyuki. But it?s also an over-promising list.? Most, but not all, have been shown in thehistory of the National Film Theatre but I think only the Kurosawa has beenshown this millennium. Several are also not available to view legitimately inthe UK,including a couple on Criterion Channel which is not available in the UK.

But I like your suggestion,Markus, of pondering over such a list, sitting here with winter lockdownseeming to extend indefinitely. We could keep this simmering on the kamado formonths.? ?Winter? films could be dividedinto those that are set entirely in winter and those which have memorablewinter scenes. Feeling pessimistic, this side of the pond, I?m offering onewhere spring never came.

After reading last year thetranslated novel The Little House, by NAKAJIMA Kyoko in which the narrator goes to see Otto no teis?(A Husband?s Chastity), 1937 (setting the novel of YOSHIYA Nobuko ? she of Scent of Pheasant?s Eye and best-sellingauthor of the ?flower stories?), I noticed that a DVD could be bought. The DVDwas packaged as ?Kurosawa Akira #65?, tenuously as he was 3rd A.D., and as ??? S?sh?-hen, i.e., the consolidated version of104 minutes. JMDb listed the two parts released in April .37, as ?When SpringComes? and ?Autumn Comes Again?.

Alas, when I watched it, it ended in bleak mid-winter (attachedframe-grabs). What?s more, no one had reached any kind of nirvana or chastity,only just starting to smart from a lack of it. With help from Johan Nordstr?m (he on PCL) and Michiko Suzuki(she on Yoshiya?s book), I established that the first two films only coveredthe first half of the novel and the rest was never made. The character in thepicture, the young widow Kayo, has been excluded from her legitimate child, butdoes she even ?know? that she?s pregnant ? the window to her redemption in thesecond half ? (I think I can dispense with spoiler-warnings).

There?s a strong clue as to why it was never concluded. A short pause inserializing was normal, and the story needed setting in the Philippinesor re-set elsewhere (Manchuria?).The actress in thepicture, Chiba Sachiko, however made no films for eighteen months for anyone. Iknow that Chiba married NaruseMikio in 1937 and that there was a child by this short marriage. So, wasNaruse?s filmmaking winter in the 1940s because he took some of the blame forthis unconcluded winter ?

Anyway, here?s for spring in real life.
Roger

    On Sunday, 3 January 2021, 15:36:22 GMT, Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Markus --

Your link didn't work?-- but hopefully this will.
https://www.bfi.org.uk/lists/10-great-japanese-winter-films

Michael KerpanBoston, MA
On Sun, Jan 3, 2021 at 10:30 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

Now here?s a delightfully unexpected list!
https://www.bfi.org.uk/lists/10-great-japanese-winter
So many other films rush to mind, starting with....Yukiguni (either the ?57 Toyota film or the prewar bunka eiga, take your pick)!

M?
-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

_______________________________________________
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
  
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From macyroger at yahoo.co.uk  Tue Jan  5 09:55:30 2021
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Tue, 5 Jan 2021 14:55:30 +0000 (UTC)
Subject: [KineJapan] =?utf-8?q?Winter_Films_-_Otto_no_teis=C5=8D?=
In-Reply-To: <979375842.5519138.1609821781078@mail.yahoo.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
 <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>
 <263131877.544653.1609779676501@mail.yahoo.com>
 <979375842.5519138.1609821781078@mail.yahoo.com>
Message-ID: <537540817.1628430.1609858530458@mail.yahoo.com>

 
Thank you for your generous response, Maria ? and thank youfor the correction !

Of course, Chiba Sachiko played Kuniko, close friend of Kayoand on whom Kuniko?s husband and Kayo cheated upon. As I understand it, the hithertochildless Kuniko, in the unfilmed second half, becomes the arranger of herfriend?s new marriage.
Please forgive my dyslexia which even extends to faces somewhat. It maybe some while (as Oates once said) in working through your material. ?But is my confusion purely that of an ignorantwesterner ? Aren?t the filmmakers playing up a similarity ? Persona avant la lettre ?? See two more attached pics.Roger


    On Tuesday, 5 January 2021, 13:24:04 GMT, Maria Jose Gonzalez via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  Dear Roger,I suppose you mean that the character in the attached frames is Irie Takako.;-)Did you also get the wonderful booklet that accompanies all the Kurosawa DVD Collection series by Asahi?I am attaching some photos just in case, as it offers some more clues as to why there was no continuation.? 
Also attached, an image of KineJun from 1937.It is a pity that at least over 60 minutes are missing from this consolidated version, we don't get to see some of the actors mentioned in the credits.However, we are very lucky to have this fantastic Kurosawa series, some of the titles are true gems.Best wishes,
Mar?a Jos? Gonz?lezKwansei Gakuin University


    On Tuesday, 5 January 2021, 2:02:13 am GMT+9, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  
Sorry that you got two link corrections together, yesterday.

It is an unexpected list ? I hadn?t even heard of the last director,KURODA Yoshiyuki. But it?s also an over-promising list.? Most, but not all, have been shown in thehistory of the National Film Theatre but I think only the Kurosawa has beenshown this millennium. Several are also not available to view legitimately inthe UK,including a couple on Criterion Channel which is not available in the UK.

But I like your suggestion,Markus, of pondering over such a list, sitting here with winter lockdownseeming to extend indefinitely. We could keep this simmering on the kamado formonths.? ?Winter? films could be dividedinto those that are set entirely in winter and those which have memorablewinter scenes. Feeling pessimistic, this side of the pond, I?m offering onewhere spring never came.

After reading last year thetranslated novel The Little House, by NAKAJIMA Kyoko in which the narrator goes to see Otto no teis?(A Husband?s Chastity), 1937 (setting the novel of YOSHIYA Nobuko ? she of Scent of Pheasant?s Eye and best-sellingauthor of the ?flower stories?), I noticed that a DVD could be bought. The DVDwas packaged as ?Kurosawa Akira #65?, tenuously as he was 3rd A.D., and as ??? S?sh?-hen, i.e., the consolidated version of104 minutes. JMDb listed the two parts released in April .37, as ?When SpringComes? and ?Autumn Comes Again?.

Alas, when I watched it, it ended in bleak mid-winter (attachedframe-grabs). What?s more, no one had reached any kind of nirvana or chastity,only just starting to smart from a lack of it. With help from Johan Nordstr?m (he on PCL) and Michiko Suzuki(she on Yoshiya?s book), I established that the first two films only coveredthe first half of the novel and the rest was never made. The character in thepicture, the young widow Kayo, has been excluded from her legitimate child, butdoes she even ?know? that she?s pregnant ? the window to her redemption in thesecond half ? (I think I can dispense with spoiler-warnings).

There?s a strong clue as to why it was never concluded. A short pause inserializing was normal, and the story needed setting in the Philippinesor re-set elsewhere (Manchuria?).The actress in thepicture, Chiba Sachiko, however made no films for eighteen months for anyone. Iknow that Chiba married NaruseMikio in 1937 and that there was a child by this short marriage. So, wasNaruse?s filmmaking winter in the 1940s because he took some of the blame forthis unconcluded winter ?

Anyway, here?s for spring in real life.
Roger

    On Sunday, 3 January 2021, 15:36:22 GMT, Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Markus --

Your link didn't work?-- but hopefully this will.
https://www.bfi.org.uk/lists/10-great-japanese-winter-films

Michael KerpanBoston, MA
On Sun, Jan 3, 2021 at 10:30 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

Now here?s a delightfully unexpected list!
https://www.bfi.org.uk/lists/10-great-japanese-winter
So many other films rush to mind, starting with....Yukiguni (either the ?57 Toyota film or the prewar bunka eiga, take your pick)!

M?
-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

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KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  _______________________________________________
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KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
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https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From tkarsavina at yahoo.com  Wed Jan  6 05:04:27 2021
From: tkarsavina at yahoo.com (Maria Jose Gonzalez)
Date: Wed, 6 Jan 2021 10:04:27 +0000 (UTC)
Subject: [KineJapan] =?utf-8?q?Winter_Films_-_Otto_no_teis=C5=8D?=
In-Reply-To: <537540817.1628430.1609858530458@mail.yahoo.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
 <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>
 <263131877.544653.1609779676501@mail.yahoo.com>
 <979375842.5519138.1609821781078@mail.yahoo.com>
 <537540817.1628430.1609858530458@mail.yahoo.com>
Message-ID: <659072359.1743769.1609927468014@mail.yahoo.com>

 Dear Roger,

1937!What a fascinating Irie year!You poise an interesting question.The long suffering Irie would usually have as "rivals" on the screen actresses like, for example, Edogawa Ranko or Tsutsumi Masako, who incidentally appears as Teruko in this film. There are exceptions, such as Yukiko and Natsuyo (1941) with Yamada Isuzu, although this story lacks the romantic conflict of Otto no teis?.Irie Takako was of course not only the most famous of the two but also the one involved in the cinema business in various ways, family included.However, as you mention, there are certain similarities. Interestingly, even more so for contemporary Japanese spectators that cannot really grasp why the husband gets embroiled in this mess considering that his wife and her friend are so alike and both terribly appealing, not to mention that the husband can be a rather colourless character that sometimes seems to work in an almost Mizoguchi-esque way as plot device, albeit a popular and handsome one.Unfortunately, I have not read the book and cannot comment on this aspect but I wonder if Kayo and Kuniko represent two sides of the same coin and the husband's chastity is in fact a greedy struggle of desire to have both women and their subtle differences condensed in a single one, like spring and autumn together.
The "conflict" extends to music and song in the records released for this film:- Kuniko's Song (sung by Chiba Sakiko herself):? https://youtu.be/4iybsn6if2g
- Kayo's Song (sung by... Edogawa Ranko!): ? https://youtu.be/V7SulCySo40(Words for Kayos' Song, here: https://youtu.be/WVhQwxiyA0c)As mentioned in one of the photos I attached yesterday, writer Yoshiya Nobuko was terribly upset with the film not being more faithful to her story but the lyrics for these two songs are hers.Attached, a few more pix from ???? Shufu no Tomo (1937).
Mar?a- Jos? Gonz?lez Mu?ozKwansei Gakuin University












    On Tuesday, 5 January 2021, 11:55:42 pm GMT+9, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  
Thank you for your generous response, Maria ? and thank youfor the correction !

Of course, Chiba Sachiko played Kuniko, close friend of Kayoand on whom Kuniko?s husband and Kayo cheated upon. As I understand it, the hithertochildless Kuniko, in the unfilmed second half, becomes the arranger of herfriend?s new marriage.
Please forgive my dyslexia which even extends to faces somewhat. It maybe some while (as Oates once said) in working through your material. ?But is my confusion purely that of an ignorantwesterner ? Aren?t the filmmakers playing up a similarity ? Persona avant la lettre ?? See two more attached pics.Roger


    On Tuesday, 5 January 2021, 13:24:04 GMT, Maria Jose Gonzalez via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  Dear Roger,I suppose you mean that the character in the attached frames is Irie Takako.;-)Did you also get the wonderful booklet that accompanies all the Kurosawa DVD Collection series by Asahi?I am attaching some photos just in case, as it offers some more clues as to why there was no continuation.? 
Also attached, an image of KineJun from 1937.It is a pity that at least over 60 minutes are missing from this consolidated version, we don't get to see some of the actors mentioned in the credits.However, we are very lucky to have this fantastic Kurosawa series, some of the titles are true gems.Best wishes,
Mar?a Jos? Gonz?lezKwansei Gakuin University


    On Tuesday, 5 January 2021, 2:02:13 am GMT+9, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  
Sorry that you got two link corrections together, yesterday.

It is an unexpected list ? I hadn?t even heard of the last director,KURODA Yoshiyuki. But it?s also an over-promising list.? Most, but not all, have been shown in thehistory of the National Film Theatre but I think only the Kurosawa has beenshown this millennium. Several are also not available to view legitimately inthe UK,including a couple on Criterion Channel which is not available in the UK.

But I like your suggestion,Markus, of pondering over such a list, sitting here with winter lockdownseeming to extend indefinitely. We could keep this simmering on the kamado formonths.? ?Winter? films could be dividedinto those that are set entirely in winter and those which have memorablewinter scenes. Feeling pessimistic, this side of the pond, I?m offering onewhere spring never came.

After reading last year thetranslated novel The Little House, by NAKAJIMA Kyoko in which the narrator goes to see Otto no teis?(A Husband?s Chastity), 1937 (setting the novel of YOSHIYA Nobuko ? she of Scent of Pheasant?s Eye and best-sellingauthor of the ?flower stories?), I noticed that a DVD could be bought. The DVDwas packaged as ?Kurosawa Akira #65?, tenuously as he was 3rd A.D., and as ??? S?sh?-hen, i.e., the consolidated version of104 minutes. JMDb listed the two parts released in April .37, as ?When SpringComes? and ?Autumn Comes Again?.

Alas, when I watched it, it ended in bleak mid-winter (attachedframe-grabs). What?s more, no one had reached any kind of nirvana or chastity,only just starting to smart from a lack of it. With help from Johan Nordstr?m (he on PCL) and Michiko Suzuki(she on Yoshiya?s book), I established that the first two films only coveredthe first half of the novel and the rest was never made. The character in thepicture, the young widow Kayo, has been excluded from her legitimate child, butdoes she even ?know? that she?s pregnant ? the window to her redemption in thesecond half ? (I think I can dispense with spoiler-warnings).

There?s a strong clue as to why it was never concluded. A short pause inserializing was normal, and the story needed setting in the Philippinesor re-set elsewhere (Manchuria?).The actress in thepicture, Chiba Sachiko, however made no films for eighteen months for anyone. Iknow that Chiba married NaruseMikio in 1937 and that there was a child by this short marriage. So, wasNaruse?s filmmaking winter in the 1940s because he took some of the blame forthis unconcluded winter ?

Anyway, here?s for spring in real life.
Roger

    On Sunday, 3 January 2021, 15:36:22 GMT, Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Markus --

Your link didn't work?-- but hopefully this will.
https://www.bfi.org.uk/lists/10-great-japanese-winter-films

Michael KerpanBoston, MA
On Sun, Jan 3, 2021 at 10:30 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

Now here?s a delightfully unexpected list!
https://www.bfi.org.uk/lists/10-great-japanese-winter
So many other films rush to mind, starting with....Yukiguni (either the ?57 Toyota film or the prewar bunka eiga, take your pick)!

M?
-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

_______________________________________________
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
  _______________________________________________
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From macyroger at yahoo.co.uk  Wed Jan  6 12:06:17 2021
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Wed, 6 Jan 2021 17:06:17 +0000 (UTC)
Subject: [KineJapan] =?utf-8?q?Winter_Films_-_Otto_no_teis=C5=8D?=
In-Reply-To: <659072359.1743769.1609927468014@mail.yahoo.com>
References: <CANoSnpAexTTv--=5sN67iyetRJCpzsdq+P+NMNvKw1h3Oq0WgQ@mail.gmail.com>
 <CALt6FyqPWqqfALy-9oEkYu3ao78uGJs9Egi7oEA=Kv=DCEyhYg@mail.gmail.com>
 <263131877.544653.1609779676501@mail.yahoo.com>
 <979375842.5519138.1609821781078@mail.yahoo.com>
 <537540817.1628430.1609858530458@mail.yahoo.com>
 <659072359.1743769.1609927468014@mail.yahoo.com>
Message-ID: <2025339214.12235503.1609952777399@mail.yahoo.com>

 
Thank you, Mar?a-Jos?, it gets richer and richer. Pic.3, ofcourse, includes TAKAMINE Hideko ? who, in four years, will be pulling theaforementioned A.D. whilst making Uma in the snowy wastes of Hokkaido.

Anything I know about Yoshiya?s novel comes from Michiko Suzuki?s articlein Signs: Journal of Women in Culture and Society https://www.journals.uchicago.edu/doi/abs/10.1086/667198. When she kindly fielded my enquiry back in November, she said that ?I don?t recall the novel as presenting thetwo female characters as being similar in looks?. Perhaps I asked thewrong question but it looks to me that it is the filmmakers (I don?t think wehave yet given a mention to director YAMAMOTO Kajir?)who played up the similarities. She also answered that she was not aware ofanyone working on a translation.

Roger


    On Wednesday, 6 January 2021, 14:36:45 GMT, Maria Jose Gonzalez via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  Dear Roger,

1937!What a fascinating Irie year!You poise an interesting question.The long suffering Irie would usually have as "rivals" on the screen actresses like, for example, Edogawa Ranko or Tsutsumi Masako, who incidentally appears as Teruko in this film. There are exceptions, such as Yukiko and Natsuyo (1941) with Yamada Isuzu, although this story lacks the romantic conflict of Otto no teis?.Irie Takako was of course not only the most famous of the two but also the one involved in the cinema business in various ways, family included.However, as you mention, there are certain similarities. Interestingly, even more so for contemporary Japanese spectators that cannot really grasp why the husband gets embroiled in this mess considering that his wife and her friend are so alike and both terribly appealing, not to mention that the husband can be a rather colourless character that sometimes seems to work in an almost Mizoguchi-esque way as plot device, albeit a popular and handsome one.Unfortunately, I have not read the book and cannot comment on this aspect but I wonder if Kayo and Kuniko represent two sides of the same coin and the husband's chastity is in fact a greedy struggle of desire to have both women and their subtle differences condensed in a single one, like spring and autumn together.
The "conflict" extends to music and song in the records released for this film:- Kuniko's Song (sung by Chiba Sakiko herself):? https://youtu.be/4iybsn6if2g
- Kayo's Song (sung by... Edogawa Ranko!): ? https://youtu.be/V7SulCySo40(Words for Kayos' Song, here: https://youtu.be/WVhQwxiyA0c)As mentioned in one of the photos I attached yesterday, writer Yoshiya Nobuko was terribly upset with the film not being more faithful to her story but the lyrics for these two songs are hers.Attached, a few more pix from ???? Shufu no Tomo (1937).
Mar?a- Jos? Gonz?lez Mu?ozKwansei Gakuin University












    On Tuesday, 5 January 2021, 11:55:42 pm GMT+9, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  
Thank you for your generous response, Maria ? and thank youfor the correction !

Of course, Chiba Sachiko played Kuniko, close friend of Kayoand on whom Kuniko?s husband and Kayo cheated upon. As I understand it, the hithertochildless Kuniko, in the unfilmed second half, becomes the arranger of herfriend?s new marriage.
Please forgive my dyslexia which even extends to faces somewhat. It maybe some while (as Oates once said) in working through your material. ?But is my confusion purely that of an ignorantwesterner ? Aren?t the filmmakers playing up a similarity ? Persona avant la lettre ?? See two more attached pics.Roger


    On Tuesday, 5 January 2021, 13:24:04 GMT, Maria Jose Gonzalez via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  Dear Roger,I suppose you mean that the character in the attached frames is Irie Takako.;-)Did you also get the wonderful booklet that accompanies all the Kurosawa DVD Collection series by Asahi?I am attaching some photos just in case, as it offers some more clues as to why there was no continuation.? 
Also attached, an image of KineJun from 1937.It is a pity that at least over 60 minutes are missing from this consolidated version, we don't get to see some of the actors mentioned in the credits.However, we are very lucky to have this fantastic Kurosawa series, some of the titles are true gems.Best wishes,
Mar?a Jos? Gonz?lezKwansei Gakuin University


    On Tuesday, 5 January 2021, 2:02:13 am GMT+9, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
  
Sorry that you got two link corrections together, yesterday.

It is an unexpected list ? I hadn?t even heard of the last director,KURODA Yoshiyuki. But it?s also an over-promising list.? Most, but not all, have been shown in thehistory of the National Film Theatre but I think only the Kurosawa has beenshown this millennium. Several are also not available to view legitimately inthe UK,including a couple on Criterion Channel which is not available in the UK.

But I like your suggestion,Markus, of pondering over such a list, sitting here with winter lockdownseeming to extend indefinitely. We could keep this simmering on the kamado formonths.? ?Winter? films could be dividedinto those that are set entirely in winter and those which have memorablewinter scenes. Feeling pessimistic, this side of the pond, I?m offering onewhere spring never came.

After reading last year thetranslated novel The Little House, by NAKAJIMA Kyoko in which the narrator goes to see Otto no teis?(A Husband?s Chastity), 1937 (setting the novel of YOSHIYA Nobuko ? she of Scent of Pheasant?s Eye and best-sellingauthor of the ?flower stories?), I noticed that a DVD could be bought. The DVDwas packaged as ?Kurosawa Akira #65?, tenuously as he was 3rd A.D., and as ??? S?sh?-hen, i.e., the consolidated version of104 minutes. JMDb listed the two parts released in April .37, as ?When SpringComes? and ?Autumn Comes Again?.

Alas, when I watched it, it ended in bleak mid-winter (attachedframe-grabs). What?s more, no one had reached any kind of nirvana or chastity,only just starting to smart from a lack of it. With help from Johan Nordstr?m (he on PCL) and Michiko Suzuki(she on Yoshiya?s book), I established that the first two films only coveredthe first half of the novel and the rest was never made. The character in thepicture, the young widow Kayo, has been excluded from her legitimate child, butdoes she even ?know? that she?s pregnant ? the window to her redemption in thesecond half ? (I think I can dispense with spoiler-warnings).

There?s a strong clue as to why it was never concluded. A short pause inserializing was normal, and the story needed setting in the Philippinesor re-set elsewhere (Manchuria?).The actress in thepicture, Chiba Sachiko, however made no films for eighteen months for anyone. Iknow that Chiba married NaruseMikio in 1937 and that there was a child by this short marriage. So, wasNaruse?s filmmaking winter in the 1940s because he took some of the blame forthis unconcluded winter ?

Anyway, here?s for spring in real life.
Roger

    On Sunday, 3 January 2021, 15:36:22 GMT, Michael Kerpan via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Markus --

Your link didn't work?-- but hopefully this will.
https://www.bfi.org.uk/lists/10-great-japanese-winter-films

Michael KerpanBoston, MA
On Sun, Jan 3, 2021 at 10:30 AM Markus Nornes via KineJapan <kinejapan at mailman.yale.edu> wrote:

Now here?s a delightfully unexpected list!
https://www.bfi.org.uk/lists/10-great-japanese-winter
So many other films rush to mind, starting with....Yukiguni (either the ?57 Toyota film or the prewar bunka eiga, take your pick)!

M?
-- 
---?
Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design
Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285
_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan

_______________________________________________
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
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From matteo.boscarol at gmail.com  Sat Jan  9 19:32:54 2021
From: matteo.boscarol at gmail.com (Asian Docs)
Date: Sun, 10 Jan 2021 09:32:54 +0900
Subject: [KineJapan] on Haneda Sumiko
Message-ID: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>

Dear all,

Has anything been written about Haneda Sumiko and her role in documentary
and Japanese cinema, or anything at all about her movies, in academic
publications, papers, books, etc. ?

I?m looking especially for anything written in English, Spanish or French,
but I?m interested in Japanese writings as well.

Thank you in advance

Regards

Matteo Boscarol
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From aaron.gerow at yale.edu  Sat Jan  9 20:15:52 2021
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Sat, 9 Jan 2021 20:15:52 -0500
Subject: [KineJapan] on Haneda Sumiko
In-Reply-To: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>
References: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>
Message-ID: <30921CB1-48A2-4853-834E-AE5C57056376@yale.edu>

Haneda-san herself has written a couple of books about her filmmaking. Yale also has this exhibition catalog on her as part of a series of works on Iwanami filmmakers:

http://hdl.handle.net/10079/bibid/9957554 <http://hdl.handle.net/10079/bibid/9957554>

We also have this, which I think is a pamphlet that Tsuchimoto Noriaki wrote on her:

http://hdl.handle.net/10079/bibid/14918721 <http://hdl.handle.net/10079/bibid/14918721>

Eric Cazdyn discusses her in Flash of Capital.

Also, the YIDFF catalogs of course have a number of pieces on her films, but I can point out an interview Monma Takashi and I did with her producer, Kudo Mitsuru, in Documentary Box:

https://www.yidff.jp/docbox/10/box10-2-e.html <https://www.yidff.jp/docbox/10/box10-2-e.html>

Aaron Gerow

> 2021/01/09 ??7:32?Asian Docs via KineJapan <kinejapan at mailman.yale.edu>????:
> 
> Dear all, 
> 
> Has anything been written about Haneda Sumiko and her role in documentary and Japanese cinema, or anything at all about her movies, in academic publications, papers, books, etc. ?
> 
> I?m looking especially for anything written in English, Spanish or French, but I?m interested in Japanese writings as well. 
> 
> Thank you in advance
> 
> Regards
> 
> Matteo Boscarol 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From matteo.boscarol at gmail.com  Sat Jan  9 20:25:25 2021
From: matteo.boscarol at gmail.com (Asian Docs)
Date: Sun, 10 Jan 2021 10:25:25 +0900
Subject: [KineJapan] on Haneda Sumiko
In-Reply-To: <30921CB1-48A2-4853-834E-AE5C57056376@yale.edu>
References: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>
 <30921CB1-48A2-4853-834E-AE5C57056376@yale.edu>
Message-ID: <CAO3jzpzjS2OWZo5zAzaDHVNcx-gf6KhiFHt_0o7mXhjF8EtQdQ@mail.gmail.com>

Thank you Aaron, I didn?t know about the Tsuchimoto?s piece

mb

On Sun, 10 Jan 2021, 10:16 Gerow Aaron via KineJapan, <
kinejapan at mailman.yale.edu> wrote:

> Haneda-san herself has written a couple of books about her filmmaking.
> Yale also has this exhibition catalog on her as part of a series of works
> on Iwanami filmmakers:
>
> http://hdl.handle.net/10079/bibid/9957554
>
> We also have this, which I think is a pamphlet that Tsuchimoto Noriaki
> wrote on her:
>
> http://hdl.handle.net/10079/bibid/14918721
>
> Eric Cazdyn discusses her in Flash of Capital.
>
> Also, the YIDFF catalogs of course have a number of pieces on her films,
> but I can point out an interview Monma Takashi and I did with her producer,
> Kudo Mitsuru, in Documentary Box:
>
> https://www.yidff.jp/docbox/10/box10-2-e.html
>
> Aaron Gerow
>
> 2021/01/09 ??7:32?Asian Docs via KineJapan <kinejapan at mailman.yale.edu
> >????:
>
> Dear all,
>
> Has anything been written about Haneda Sumiko and her role in documentary
> and Japanese cinema, or anything at all about her movies, in academic
> publications, papers, books, etc. ?
>
> I?m looking especially for anything written in English, Spanish or French,
> but I?m interested in Japanese writings as well.
>
> Thank you in advance
>
> Regards
>
> Matteo Boscarol
> _______________________________________________
> 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
>
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From hfuji at nagoya-u.jp  Sun Jan 10 23:31:34 2021
From: hfuji at nagoya-u.jp (Hideaki Fujiki)
Date: Mon, 11 Jan 2021 13:31:34 +0900
Subject: [KineJapan] Symposium_Mediatized Bodies/Torn Representations: The
 Politics of the East Asian Cold War Culture
Message-ID: <996B3938-2090-4267-926B-DF6CB9B67090@nagoya-u.jp>

Dear KineJapan list members,

You are welcome to join us at the symposium below.
All aspects including presentations and discussions are conducted in both Japanese and English via simultaneous interpretation.

Best wishes,
Hideaki



***********************************
??????????? Graduate School of Humanities, Nagoya University
?????????? ???????? TCS International Symposium

?????????????????????????????????
Mediatized Bodies/Torn Representations: The Politics of the East Asian Cold War Culture 


???2021?1?23????09:00-15:40?24????8:30-15:35/
January 23rd Sat. 9:00am-3:40pm, 24th Sun 8:30am-3:35(JST)
??????????
Online
???????-???? ????-?????
Simultaneous interpretation?English-Japanese? Admission free, preregistration required
????????? To pre-register: https://zoom.us/meeting/register/tJEtc-ipqDgtHNZ54PFozFa-NDGTOB6Kkpgf <https://zoom.us/meeting/register/tJEtc-ipqDgtHNZ54PFozFa-NDGTOB6Kkpgf>
Website: https://www.hum.nagoya-u.ac.jp/tcs/topics/ <https://www.hum.nagoya-u.ac.jp/tcs/topics/>


Jan. 23 Sat.
?????OPENING REMARKS
???Greetings???????????????????????????????/ Yuko Iida (Director of the Center for Transregional Culture and Society, Nagoya University)
???? Introduction????????????/Yukiyo Hoshino (Nagoya University)
?? Moderator?Nathan Hopson?(Nagoya University)

AM 9?00?12:15
SESSION ????????????????????/Discontinuity and Continuity in Postcolonial Greater China

????????????Tsuneo Matsuura (Osaka City University)
?????????????
Yue opera post-1949: the emergence of new kinds of media

??????????Takafumi Moridaira (Rikkyo University)
???????????1949?????????????
The year 1949 and the stars of Shanghai radio

????????????Masao Nishimura (Kwansei Gakuin University)
?????????????????
?Chinese? musicians who stayed in Japan after World War II

???????????Mamie Misawa (Nihon University)
??????????????????????????
Two kinds of continuities in ?postwar? Taiwanese films

???????? Discussant????????????Xinmin Zhang (Osaka City University)
?? Chair ??????????Ni Yan (Japan Institute of the Moving Image)?

PM 13:30?15:40
?????? NEW GENERATION PANEL
??????/???????????????????/Living the Body/Transcending the Body: The Representation of ?Persons with Disabilities"

???????????????Zihan Wang?Northeastern University?
?Miraculous Recovery? from 1949 to 1976 in China: Bodies, Chinese Medicine and Revolution?1949???1976?????????????????????????????????

??????????Takuma Matsumoto (Rikkyo University)
??????????????????????????????????????????????????????
The "Shape" of "Triangle" and the "Shape" of a Family with "a Disabled Member": Kenzabur? ?e's "Where Are You Going, Father?"

???(?????) Yong-joon Jo(Nagoya University)
???????????????????????????????????
A study on Kari no Jidai by Tsushima Yuko- The Mythical Thought for Rehabilitation of Animal body and Sense 

??????????Xinyi Wang (Nagoya University)
??????????????????????
Body and Affect: People with Disablilities in Contemporary Japanese Cinema

???????? Discussant?????????????Chikako Nagayama (Nagoya University)
??????? Introduction and Chair ???????????????Min Chen, Marika Sugiyama (Nagoya University)


Jan. 24 Sun.
AM 8:30?11?00
SESSION ??????????????(1)??????????
Politics and Cultural Representations during the Cold War Period (1): A Transnational Perspective

?????????????????Hiroshi Kitamura (College of William & Mary)
?????????????????????????????????
A Blue-Eyed Geisha and Mao Zedong: Hollywood?s Entanglement with East Asia during the Cold War

???????????????????????????????Tao Su (Renmin University of China)
Navigating the vortex of history: Yueh Feng?s film career from Shanghai to Hong Kong

??????? (????)  Hyangjin Lee (Rikkyo University)
????????????????????????????????
Breaking Boundary of the Cold War and the Post-National:North Korea?s International Co-production Ventures

???????? Discussant??????????Ran Ma (Nagoya University)
?? Chair????????????Hideaki Fujiki (Nagoya University)?

PM?12:00-15:30
SESSION ??????????????(2)?????
Politics and Cultural Representations during the Cold War Period (2): Postwar Japan 

???????????Sang Mi Park (Yokohama National University)
??????????????
Cultural policies and popular performing arts in postwar Japan

???????????Hideya Kawanishi (Nagoya University)
???????????????????????
The Cold War and the Singing Voice of Japan: Analyzing popular communist songs

??????????????Akihiro Yamamoto (Kobe City University of Foreign Language)
???????????????????????????????????????1966???????
The politics of representing Korean residents in Japan in Cold War-era ?Yakuza? movies: Analyzing A Man?s Face Shows His Personal History (1966)

???????? Discussant???????????Kenko Kawasaki (Rikkyo University)
?? Chair??????????Yanli Han (Tokyo University)?

?????Roundtable Discussion
?? Chair ????????????Shota Ogawa (Nagoya University)


??: ??????????????????????????
??????????(B) 20H01222??????????????????????????????????????
??????????(A) 18H03568????????????????????????????????????????????????????
Organized by: The Center for Transregional Culture and Society, the Graduate School of Humanities, Nagoya University














********************************************
Hideaki Fujiki <https://eizogaku.wordpress.com/%E3%81%93%E3%81%AE%E3%82%B5%E3%82%A4%E3%83%88%E3%81%AB%E3%81%A4%E3%81%84%E3%81%A6/%E8%97%A4%E6%9C%A8%E7%A7%80%E6%9C%97%EF%BC%88fujiki-hideaki%EF%BC%89%E6%95%99%E6%8E%88/>, PhD
Professor, Cinema Studies
Center for Transregional Culture and Society,
Graduate School of Humanities, Nagoya University
Furo-cho, Chikusa-ku, Nagoya, Aichi
JAPAN 464-8601
hfuji at nagoya-u.jp
Nagoya-Warwick PhD Global Screen Studies <https://www.hum.nagoya-u.ac.jp/gss/>




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From eija.niskanen at gmail.com  Mon Jan 11 08:33:31 2021
From: eija.niskanen at gmail.com (Eija Niskanen)
Date: Mon, 11 Jan 2021 15:33:31 +0200
Subject: [KineJapan] Japan Foundation support for film events during pandemic
Message-ID: <CA+FavwMbz6z2QbXbQ52yyt+C_kWTYQDbynpvc35eNv5dtmkHWQ@mail.gmail.com>

Hi guys!
Are there any on the list who have received Japan Foundation support for
film events? I am asking because we have received a preliminary yes for our
film event. Due to the budget year in Japan (April-March) the event should
take place in March. And it has always previously (we have received JF
support several times). Now, we cannot be sure what the Covid restrictions
in Helsinki are in mid-March (currently no movie theaters are open, this
ruling is until end of Jan). Have any of you been in a similar situation,
and has JF shown any flexibility in this situation?
Best,
Eija Niskanen
helsinkicineaasia.fi
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From aaron.gerow at yale.edu  Tue Jan 12 09:40:02 2021
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Tue, 12 Jan 2021 09:40:02 -0500
Subject: [KineJapan] Makino Mamoru book
Message-ID: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>

A fascinating new book is hitting the bookstores. As many of you know, Makino Mamoru has been very important for film studies in Japan, not only creating the Makino Collection (now at Columbia) but also supervising many journal reprints and publishing his own studies of censorship. This even though he is not an academic (his profession was documentary filmmaker). Markus Nornesand I published a book dedicated to him quite a long time ago, but a few years ago, the pop culture scholar Otsuka Eiji "discovered" Makino-san through one of his students, and began a project on Makino. This one centered on the cassette tapes of Makino's interviews with a number of important figures in the film world of the 1930s and 40s. Not the famous stars and directors, but the women and men behind the camera or who were studying film from the side. I once used one of these interviews with Kamei Fumio for YIDFF's Documentary Box, but there was a real treasure trove of interviews with many others. I was involved with this project for a bit, but Otsuka divided up the interviews, with each  person transcribing them and presenting on them. The result is this book, which is edited by Otsuka, Morita Noriko, and Kondo Kazuto. It features interviews with Atsugi Taka, Miki Shigeru, Eto Fumio, Hatano Kanji, Kishi Fumiko, Omura Einosuke, Noto Setsuo, and Ito Takero.

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

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

http://www.ohtabooks.com/publish/2021/01/18164541.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 nornes at umich.edu  Wed Jan 13 10:24:38 2021
From: nornes at umich.edu (Markus Nornes)
Date: Wed, 13 Jan 2021 08:24:38 -0700
Subject: [KineJapan] Makino Mamoru book
In-Reply-To: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
References: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
Message-ID: <CANoSnpC2We7hVzvBC9n3rFMAL65O4ysk0GC+s_z-7Et8_qMwpA@mail.gmail.com>

I'm really looking forward to this. Makino was so helpful for me when I
wrote my dissertation, sharing all sorts of precious things from his deep
closets. However, he held those tapes close. He told me about them, and
many were with filmmakers I was researching. More than once, I asked if
he'd play them for me. Each time, he'd nod and flash his charming smile in
the way he does......saying no without actually saying no.

I guess this book means that he didn't give these tapes to Columbia. I'm
not surprised. But it's great these folks built a book around them.

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, Jan 12, 2021 at 7:40 AM Gerow Aaron via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> A fascinating new book is hitting the bookstores. As many of you know,
> Makino Mamoru has been very important for film studies in Japan, not only
> creating the Makino Collection (now at Columbia) but also supervising many
> journal reprints and publishing his own studies of censorship. This even
> though he is not an academic (his profession was documentary filmmaker).
> Markus Nornesand I published a book dedicated to him quite a long time ago,
> but a few years ago, the pop culture scholar Otsuka Eiji "discovered"
> Makino-san through one of his students, and began a project on Makino. This
> one centered on the cassette tapes of Makino's interviews with a number of
> important figures in the film world of the 1930s and 40s. Not the famous
> stars and directors, but the women and men behind the camera or who were
> studying film from the side. I once used one of these interviews with Kamei
> Fumio for YIDFF's Documentary Box, but there was a real treasure trove of
> interviews with many others. I was involved with this project for a bit,
> but Otsuka divided up the interviews, with each person transcribing them
> and presenting on them. The result is this book, which is edited by Otsuka,
> Morita Noriko, and Kondo Kazuto. It features interviews with Atsugi Taka,
> Miki Shigeru, Eto Fumio, Hatano Kanji, Kishi Fumiko, Omura Einosuke, Noto
> Setsuo, and Ito Takero.
>
> ??? ?????? ?????????????
>
> ??????????????????
> http://www.ohtabooks.com/publish/2021/01/18164541.html
>
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Chair, East Asian Languages and Literatures
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From aaron.gerow at yale.edu  Wed Jan 13 10:31:18 2021
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Wed, 13 Jan 2021 10:31:18 -0500
Subject: [KineJapan] Makino Mamoru book
In-Reply-To: <CANoSnpC2We7hVzvBC9n3rFMAL65O4ysk0GC+s_z-7Et8_qMwpA@mail.gmail.com>
References: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
 <CANoSnpC2We7hVzvBC9n3rFMAL65O4ysk0GC+s_z-7Et8_qMwpA@mail.gmail.com>
Message-ID: <6DE5E4AA-8783-4F34-AACB-673F58319A5A@yale.edu>

One thing to stress is that the book is just the ?greatest hits? of the tape collection. I was in charge of two interviews that didn?t make the cut for various reasons. It will be important to confirm with Makino-san or Otsuka-san what is happening to the entire tape collection.

Aaron

> 2021/01/13 ??10:24?Markus Nornes via KineJapan <kinejapan at mailman.yale.edu>????:
> 
> I'm really looking forward to this. Makino was so helpful for me when I wrote my dissertation, sharing all sorts of precious things from his deep closets. However, he held those tapes close. He told me about them, and many were with filmmakers I was researching. More than once, I asked if he'd play them for me. Each time, he'd nod and flash his charming smile in the way he does......saying no without actually saying no. 
> 
> I guess this book means that he didn't give these tapes to Columbia. I'm not surprised. But it's great these folks built a book around them.
> 
> 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 earljac at gmail.com  Wed Jan 13 19:11:46 2021
From: earljac at gmail.com (Earl Jackson)
Date: Thu, 14 Jan 2021 08:11:46 +0800
Subject: [KineJapan] Makino Mamoru book
In-Reply-To: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
References: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
Message-ID: <CABhbz8Nfm6bsU+2ccRQBThtj3D3J=O7XkpRL24zs_YExR2zG5Q@mail.gmail.com>

This Makino book will be invaluable in so many ways, and this really brings
home to me how complex, intricate, and multifaceted Japanese cultural
histories are. I recently previewed an essay at Academia Sinica in Taipei
I'm writing on Otsuka Eiji's manga featuring Yanagida Kunio. I had no idea
that Otsuka was handling these interview tapes, and certainly had no idea
he had access to the Miki Shigeru tape. The intersection here is Miki's
quizzical collaboration with Yanagida.This is just a small example of how
incalculable the discoveries in this book will be.
earl
Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Tue, Jan 12, 2021 at 10:40 PM Gerow Aaron via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> A fascinating new book is hitting the bookstores. As many of you know,
> Makino Mamoru has been very important for film studies in Japan, not only
> creating the Makino Collection (now at Columbia) but also supervising many
> journal reprints and publishing his own studies of censorship. This even
> though he is not an academic (his profession was documentary filmmaker).
> Markus Nornesand I published a book dedicated to him quite a long time ago,
> but a few years ago, the pop culture scholar Otsuka Eiji "discovered"
> Makino-san through one of his students, and began a project on Makino. This
> one centered on the cassette tapes of Makino's interviews with a number of
> important figures in the film world of the 1930s and 40s. Not the famous
> stars and directors, but the women and men behind the camera or who were
> studying film from the side. I once used one of these interviews with Kamei
> Fumio for YIDFF's Documentary Box, but there was a real treasure trove of
> interviews with many others. I was involved with this project for a bit,
> but Otsuka divided up the interviews, with each person transcribing them
> and presenting on them. The result is this book, which is edited by Otsuka,
> Morita Noriko, and Kondo Kazuto. It features interviews with Atsugi Taka,
> Miki Shigeru, Eto Fumio, Hatano Kanji, Kishi Fumiko, Omura Einosuke, Noto
> Setsuo, and Ito Takero.
>
> ??? ?????? ?????????????
>
> ??????????????????
> http://www.ohtabooks.com/publish/2021/01/18164541.html
>
>
> Aaron Gerow
> Professor
> Film and Media Studies Program/East Asian Languages and Literatures
> Chair, East Asian Languages and Literatures
> Yale University
> 143 Elm Street, Room 210
> PO Box 208324
> New Haven, CT 06520-8324
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu
> website: www.aarongerow.com
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From annekmcknight at gmail.com  Wed Jan 13 22:17:39 2021
From: annekmcknight at gmail.com (Anne McKnight)
Date: Wed, 13 Jan 2021 19:17:39 -0800
Subject: [KineJapan] on Haneda Sumiko
In-Reply-To: <CAO3jzpzjS2OWZo5zAzaDHVNcx-gf6KhiFHt_0o7mXhjF8EtQdQ@mail.gmail.com>
References: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>
 <30921CB1-48A2-4853-834E-AE5C57056376@yale.edu>
 <CAO3jzpzjS2OWZo5zAzaDHVNcx-gf6KhiFHt_0o7mXhjF8EtQdQ@mail.gmail.com>
Message-ID: <280C4015-3FC3-42EF-9481-A89B98CD3376@gmail.com>

There is also another interview on line that Markus conducted. You can find it here <https://deepblue.lib.umich.edu/handle/2027.42/90913>. It is a pretty good read.
Her book ??????was lightly re-written and appears in paperback form as ??????????in 2014. Interestingly enough, a part of it is, again, included in volume 4 of the Sat? Tadao multi-volume collection on documentaries. 

Not really related, but I have always thought her ??????might make a lovely?and strange?pairing with Kurosawa Kiyoshi?s Charisma. 
There was a retrospective of her work @ the National Film Archive a couple years ago, so there is probably a pamphlet and some prose online that you might be interested in checking. 

Anne


> On Jan 9, 2021, at 17:25, Asian Docs via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> Thank you Aaron, I didn?t know about the Tsuchimoto?s piece
> 
> mb
> 
> On Sun, 10 Jan 2021, 10:16 Gerow Aaron via KineJapan, <kinejapan at mailman.yale.edu <mailto:kinejapan at mailman.yale.edu>> wrote:
> Haneda-san herself has written a couple of books about her filmmaking. Yale also has this exhibition catalog on her as part of a series of works on Iwanami filmmakers:
> 
> http://hdl.handle.net/10079/bibid/9957554 <http://hdl.handle.net/10079/bibid/9957554>
> 
> We also have this, which I think is a pamphlet that Tsuchimoto Noriaki wrote on her:
> 
> http://hdl.handle.net/10079/bibid/14918721 <http://hdl.handle.net/10079/bibid/14918721>
> 
> Eric Cazdyn discusses her in Flash of Capital.
> 
> Also, the YIDFF catalogs of course have a number of pieces on her films, but I can point out an interview Monma Takashi and I did with her producer, Kudo Mitsuru, in Documentary Box:
> 
> https://www.yidff.jp/docbox/10/box10-2-e.html <https://www.yidff.jp/docbox/10/box10-2-e.html>
> 
> Aaron Gerow
> 
>> 2021/01/09 ??7:32?Asian Docs via KineJapan <kinejapan at mailman.yale.edu <mailto:kinejapan at mailman.yale.edu>>????:
>> 
>> Dear all, 
>> 
>> Has anything been written about Haneda Sumiko and her role in documentary and Japanese cinema, or anything at all about her movies, in academic publications, papers, books, etc. ?
>> 
>> I?m looking especially for anything written in English, Spanish or French, but I?m interested in Japanese writings as well. 
>> 
>> Thank you in advance
>> 
>> Regards
>> 
>> Matteo Boscarol 
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
>> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>
> 
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan

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From nornes at umich.edu  Wed Jan 13 23:11:34 2021
From: nornes at umich.edu (Markus Nornes)
Date: Wed, 13 Jan 2021 21:11:34 -0700
Subject: [KineJapan] on Haneda Sumiko
In-Reply-To: <280C4015-3FC3-42EF-9481-A89B98CD3376@gmail.com>
References: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>
 <30921CB1-48A2-4853-834E-AE5C57056376@yale.edu>
 <CAO3jzpzjS2OWZo5zAzaDHVNcx-gf6KhiFHt_0o7mXhjF8EtQdQ@mail.gmail.com>
 <280C4015-3FC3-42EF-9481-A89B98CD3376@gmail.com>
Message-ID: <CANoSnpBV4CTY7OaNmQEjfvaASFUiP0H+vt8OArjjrE2kuqd9gw@mail.gmail.com>

And here is a very good interview with Haneda's partner and producer, Kudo
Mitsuru:

https://www.yidff.jp/docbox/10/box10-2-e.html

I don't have a PDF of the Haneda interview in English, but I have an old
computer file with text that appears somewhat corrupted. Still, I'll paste
it below. I'm sure you could get the original from interlibrary loan.
?Documentarists
of Japan Series: Haneda Sumiko,? Documentary Box (September 1992): 9-13.

Markus

Interview with Haneda Sumiko



Haneda Sumiko is Japan's most outstanding woman filmmaker. Haneda discusses
her entry into Iwanami Productions, which coincides with a radically new
kind of documentary method that came out of Iwanami. Though little is known
about these films outside of Japan, their utterly candid, spontaneous style
films predates direct cinema and cin?ma verit? by nearly a decade. Haneda
also talks about her career as an independent filmmaker following her
retirement from Iwanami, including her newly completed film, *Kabukiyakusha
Kataoka Nizaemon (Kabuki Actor Nizaemon Kataoka), *which is about one of
Japan's premiere Kabuki actors. She describes this as a "private
film"--private because it was never intended to be shown to audience! She
simply admired Nizaemon so much that she wanted to make this visual record
to give it to him. This, combined with its eight hours running time, makes
it quite unique in the history of cinema. The following has been excerpted
from a conversation in a Tokyo coffee shop, summer 1992.



By Ab? Mark Nornes

I joined Iwanami Productions after it was formed in 1950. For the first
three years or so I worked as a book editor. At that time, concentrating
solely on film production was not economically viable for the company, so
they branched out into publishing as well. So as a result, I only actually
got involved in actual filmmaking in 1953 or thereabouts. At first I wrote
scenarios and scripts and the like, then worked as an assistant director,
and finally became a director. I was involved in the making of about 80
films for Iwanami Productions. There are somewhere I only did the scenario,
others where I edited, others where I did all the work? There's not much I
didn't do. I worked at Iwanami Productions until I was 55 years old, then
became an independent.

Out of the films I worked on at Iwanami, I think the most interesting are
those made during those first formative years of the company: *Kyoshitsu no
kodomotachi (Children in the Classroom, *1954), which I worked on as an
assistant director to Hani, and *Mura no fujin gakkyu (Village Women's
Classroom,* 1957*), *my first work as a director. As anyone who has seen *Mura
no fujin gakkyu *can tell, the Japan of that time was extremely poor. All
the rural farming villages were rather like the one shown in the film. But
about ten years after that, Japan's economy started to grow at a rapid
rate, and the condition of the villages changed dramatically. Following
this economic growth, most films produced by companies tended to become PR
showcases for those companies. For me, that wasn't very interesting work.
I'm thankful that most of my work was involved with productions about
traditional Japanese culture and arts, as opposed to a PR film for a
company or some other thing that like.

There are probably some people who will take offense at what I'm about to
say, and for that I apologize, but documentary films made in Japan before
Iwanami started producing simply weren't all that interesting. The
technique and methodology of the people making these films wasn't much
different from drama? For example, if you say "Pour tea" here, the camera
is set up, the director says "All right, pour the tea", and it's filmed
this way. If you say "Make a phone call", then you make a phone call. If
you think about it, this method of filming really isn't any different from
a dramatic performance. Even though the subject being filmed is not a
drama, the methodology being used isn't much different from that used for a
drama. So, if I may say so, there were many boring films being made.

When Iwanami Productions was started, the industry itself needed a newness,
a freshness. The founder of Iwanami Books, Iwanami Shigeo, wanted to
contribute not only to the publishing world but to the film world as well.
That continuing on in the tradition of working and living closely with his
documentary subjects, a tradition established by Ogawa Productions' and
their asso?ciation with Sanrizuka and Yamagata's Magino Village. Although
based on just Aga ni ikiru, it is difficult to make a judgment on Sato, he
is

desire was the beginning of Iwanami Productions. There were many young
staff members, but the one who really stood out was Hani Susumu. Both he
and Kobayashi Isamu, who was a senior executive for both Iwanami Books and
Iwanami Productions, had been recruited from Kyodo News Services. The
people working at Iwanami Productions were so new that there wasn't even a
single person with film experience! Although the directors and execs were
people who were career filmmakers, all of the new staff members knew
nothing about movies. Hani and I were the same. At first, Hani and I worked
as editors of a book series called *Shashin Bunko Photo Libra* . As the
amount of work involving film gradually increased, Hani soon moved over to
the film division. I was still editing books when Hani recruited me to be
the assistant director on *Kyoshitsu no kodomotachi.*

Hani started work on *Kyoshitsu no kodomotachi *right around the time
Arriflex cameras began to be used, and he used an Arriflex with a
telescopic lens attached to it. He did this because if the camera is close,
the subject being filmed tends to get nervous and excited, but if filmed
from a distance, the camera is not as threatening and the subject can be
filmed in a more natural state. We used this method for *Kyoshitsu no
kodomotachi, *filming the children with a camera we brought into the
classroom with us. We were able to film the children as they were, acting
naturally. That kind of naturalness, that kind of lack of artificiality had
not been seen in Japanese documentaries before. Of course, there was a
naturalness in news films, but it was only people running around screaming
about some major event? It's only natural for people to ignore a camera at
a time like that, but never before had anyone captured people living out
their ordinary lives naturally, without any staging, on camera. At the
time, everyone was like that. British documentaries, indeed, any
documentary, were made that way. Since we had studied British
documentaries, that was the only methodology we had. This is why Hani chose
a totally different method to work by. The reason he was able to do it was
because since the company was young, there was still a sense of adventure
and experimentation, and also because Hani occupied a special place in the
company, they basically gave him carte blanche. It was the unspoken rule in
the Japanese film world of the time that deviating from standard form would
not be allowed. In other words, there was a set opinion, a set rule, about
what a "film" was and how it should be made. If a person didn't follow that
rule, he was called "incompetent", "unskilled", "worthless", "useless", or
something similar. Since most directors were afraid of such comments and
reviews, and would be boycotted by their staff from doing so, they were
never able to experiment. But because of Hani's position he was able to get
away with it. Still, when *Kyoshitsu no kodomotachi *was being filmed,
everyone was saying things like, "If it's filmed like that there's no way
to cut it.? In the end, though, it turned out to be a great film.
*Kyoshitsunokodomotachi *caused quite a sensation, and even received a good
review in *Kinema Junpo. *It became the stepping stone for Hani?s career.

Although I'd seen movies, I never thought they were very interesting, so
the idea of making movies hadn't occurred to me. I mean, I hadn't been a
fan of the movies when I was a little girl or anything, so I hadn't felt
any attraction towards movies; I wasn't really pulled toward films in any
way. But when I was working with Hani, I thought, "Hey, this is
interesting.? I also thought that I didn't want to make movies like those
that had been made in the past--a "filmed image", that is, something
staged. I wanted to use what I had learned through working with Hani in *Mura
no fujin gakkyu. *That's why I went to a village where there was nothing,
talked with the women who would be the organizers of the women's classroom
for the village, and really made such a classroom. We started out working
as organizers. Then we made such a group with the mothers of the village,
and stayed alongside them, filming them as they/we studied. That's why even
though the finished product is short, we stayed in that farming village for
two months. It was because of such contact and interaction that we were
able to capture that particular image. Since then, I've made it my policy
that whenever I make a film, I try to build up a sincere attitude of mutual
trust with the people I'm going to film. Of course, real documentarists
always try to do so, and probably take such an attitude for granted. But,
then and now, there are plenty of people who don't work that way.

Both *Kyoshitsu nokodomotachi *and *Mura no fujin gakkyu *were films
planned by the Ministry of Education. As a result, the finished films were
put into audio-visual libraries around the country. In those days, the
American occupation forces, stressing the need for AV education, had made
AV libraries in every prefecture in the country. All the films made under
the Ministry of Education were placed in those libraries and screened at
schools and the like, most likely as part of "social education". For
example, there were movements similar to that of the "women's classroom"
across the country. Then, the people in these movements would see *Mura no
fujin gakkyu, *learn from it, and say, "Let's start a women's classroom in
our own village or whatever". In one sense, that was one result of the
democratic educational ideas introduced into post-war Japan by the
Americans. (Of course, Japanese education has changed a lot since then.)
While there are indeed many streams in the Japanese women's movement, the
"women's classroom" is not what you would call feminism, but rather a
movement that builds up and is built up slowly, changing and being changed
by its primary members, the rural farming women. It's not a women's labor
movement, it's not feminism, it's just one way that has changed Japanese
women (and shows how much they have changed).

Before the war, Japanese law stipulated that any feature film had to be
screened with an educational film. As a result, there were quite a few
educational films being produced. In that field, there were two or three
women direc?tors. When I started working in the film industry, I guess
there were still only three or so. We never worked together, though. The
director of the then-famous *Shinkuu no sekai *(*The World of Vacuum,*
 1953), Nakamura Rinko, was our senior. I believe she made many scientific
films. Also, there was Tokieda Toshie (still active today). Tokieda and I
were Iwanami Productions' two women directors.

A lot of unique directors have come out of Iwanami Productions. At first,
Kuroki Kazuo was also at Iwanami. He always worked on a grand scale. Even
if it was an industrial PR film, most people would be small and quiet about
it, but he always big and exaggerated, like this: BAM! (spreads out arms
wide and laughs). There were times when he went over budget and crashed,
but at any rate, he always worked on a big scale. That's why, even if they
were sometimes a little strange, he always made works that were appealing.
He was always using new images, or at least those that weren't so old that
they were clich?d. There isn't anyone else who shot images like him. On one
level, Kuroki's works are modernist.

Around then, there was a group called "Ao no Kai" (The Blue Group), made up
of Kuroki, Higashi Yoichi, Tsuchimoto Noriaki, Ogawa Shinsuke, and others,
bold directors who had broken out of Iwanami. Theirs was a group of
rebellious spirit, whose mantra was "Let's do our own thing, let's make out
own work". I was always more reserved, so I was never asked to join the Ao
no Kai.

However, even Iwanami hasn't made many documentaries; documentaries, that
is, in the true sense of the word. They've made plenty of PR films, though.
When making a documentary, the filmmaker's independence--his or her ability
to do what he or she wants--is important, but a filmmaker can't just say "I
want to make this", and then go off and make it. The company says to the
film company, "We want you to make this", then Iwanami says "OK, we'll give
this to Mr. So-and-so to do.? That's how films are made. In the end, I
started to make the films I wanted to make only after I became a
freelancer. Out of the films I made at Iwanami, the one I can say I wanted
to make was a short (43 min.) production called *Usuzumi no Sakura *(*The
Cherry Tree with Grey Blossoms, *1977). This was completely my work, one
that didn't cost much. I'm very fortunate that my husband (Kudo Mitsuru) is
a film producer. Of course, the com?pany is so small that his desk is just
about all there is to it, but he still helps me produce my work.

Also, his connections with developers and studios and the like help me in
my work as well. Among the works I've made since I became a free?lancer,
there is *Hayachine no fu* (*Ode to Mt. Hayachine, *1982). This film,
filmed in the mountains of Japan's Iwate Prefecture, shows the lifestyle of
the people who live there, as well as the traditional *kagura *(sacred
Shinto dance) that is still performed there. This film runs about *185
*minutes.
Then, there's *AKIKO--aru dansaa no shozo *(*AKIKO-A Portrait of a Dancer, *
1985), a documentary about a modern dancer. *Chihosei rojin no sekai *(*How
to Care for the Senile, *1986) and *Anshin shite oiru tame ni *(*Getting
Old With a Sense of Security, *1990) are two works which focus of the
problems of Japan's elderly population. When I was working on *Hayachine
no fu, *the people of the village gave their full cooperation, and even
helped us raise money for the production. Of course, we put out most of the
money ourselves, but they helped us as well. The same with AKIKO-Akiko
Kanda herself helped cover the filming expenses to a certain extent. *Chihosei
rojin no sekai *was an independent production done under Iwanami
Productions, who hired me as director. While working on *Anshin shite oiru
tame ni, I *ran out of money, but fortunately there was someone to help me
who loaned me the money I needed. Of course, I'm going to pay that person
back as soon as the film gets out. Even though I never have any money,
whenever I decide to start a project, I always holler and scream and raise
a fuss, and someone will come out and help me? That's the feeling I've
always had, and still have.

In Japan, industries have plenty of money, but no one puts much out for
documentaries. This means that all of the people doing documentaries are
working under the same conditions. In the first place, there's no money
allocated for cultural activities or anything like that. The Japanese
Agency for Cultural Affairs percentage of the national budget amounts to a
mere *0.06%. I *hear in France, it's 0.6%--which means that Japan's
allocation is I /1p that of Frances. That means that as a nation, we don't
put much out for film. Recently, the "Japan Arts Fund" has been created.
But the money from that fund is being spread out all over the place--for
operas, for this, for that, and so on? They give financial assistance to
filmmakers as well, but usually around 25 million yen (approx.
US$200,000), when
productions can go over 100 million yen (US$800,000). And that's only for
those works which have passed their paperwork gauntlet, you realize.
Getting approval for funds to be released for a film is all well and good,
but the money isn't given out before a film is made; it's given out only
after a film is completed and has been released. But if there's anything
that can be said to cause problems from the beginning when attempting to
make a film, it's lack of funds. While working on my current project, I
received financial assistance from the Japan Arts Fund. To make that
film *(Kabukiyakusha
Kataoka Nizaemon), *we worked hard at collecting funds for four years while
we filmed. Finally, last year, we applied, and received 25 million yen.
There are some documentaries you could make and get by with only 50-70
million yen, but with production costs and all, you really need closer to
100 million yen or you just won't make it. It would probably help quite a
bit if you could receive that 25 million yen right at the start, but it
doesn't work that way. Kind of funny, isn't it?

It would have been nice if during the Occupation, the Americans had made
some kind of system to keep promoting cultural activities. Japanese aren't
too good at making a system like that. We still haven't made one. Back
then, we probably didn't think we'd become as rich as we are now. But, for
whatever reasons, we have become rich. It would be nice if the wealthier
corporations would use their wealth to support cultural activities, but
their attitude is "If we put out this money, what will the benefit be for
us and our company?" That's the value system that's at the base of their
decisions whether to give out money or not. It's pointless even to try and
say something like, "If your company uses that money to support these
[cultural activities], it will improve your compa?ny's image". Of course,
there are companies and foundations which are established and assist
cultural works. Even so, those foundations want to know-in detail -where
their money's going, how it's being used, what you're going to do with it,
and if you don't play by their rules, you don't get any money.

I'd like to mention that while at first glance it seems like a good idea
for there to be national support of cultural activities, there is also the
fear that in some cases the nations simple involvement might place
restrictions on artists' freedom. You could say that just because there is
no money from the national budget involved that Japanese documentarists
have freedom of action. That's because they work where there's nothing.

I really feel that there aren't many Japanese documentarists who can say
that they've been able to make the documentaries they really wanted to
make. That's because, except for the feature film industry, corporations
are able to order films to fit their specifications. That's why in Japan,
documentarists like Tsuchimoto and Ogawa are very rare. Even so, they and
people like them aren't able to make a living just off of movies. Because
they have trouble supporting themselves, their wives work, their assistants
campaign for funds? Among documentarists, there isn't one person who can
feed himself from documentaries alone. We're all very poor. That's why in
this wealthy modern Japan, there isn't anyone out there saying "I want to
become a documentary filmmaker.? The only thing they see is that they won't
be able to make it "big". This is a job that you have to love doing, or you
won't be able to do it.

I?ve just finished *Kabukiyakusha Kataoka N'izaemon *(*Kabuki Actor
Nizaemon Kataoka*)*. *Even though Nizaemon is now 88 years old, and has
great difficulty seeing, he is still performing. I filmed Nizaemon for four
years. The work ended up being over eight hours long. There are lots of
works about kabuki. I imagined making a film of about, oh, two hours or so,
but I wasn't able to show his true ability, his magic, in that short time.
That's why it turned into an eight-hour film: I wanted to leave a record, I
wanted to make an image that would show the world that "Here, here is a
truly magnificent person!"

After this, I think I like to do a work on some Japanese picture scrolls,
ones that are about 300 years old. I've done a little filming of some
picture scrolls this year, but I'm still working? As far as Japanese
picture scrolls go, even 300 years old is pretty new. The majority of the
picture scrolls that are regarded as National Treasures are about 700 years
or so old. Even though the ones I'm filming haven't been designated
National Treasures yet, they are still important cultural relics. Picture
scrolls are something rare and unusual not only in Japanese art, but in
world art as well? I like to think they're like ancient movies.



*Selected Filmography*

Haneda Sumiko was born in 1925, and joined Iwanami Productions in 1950. She
made her debut as a director in 1957 with *Mura no fujin gakkyu (Village
Women's Classroom). *She later became a freelance director.



In 1977, her independently produced Usuzumi *no sakura (The Cherry Tree
with Grey *Blossoms), which was a year-round record of the thousand-year
old cherry tress on the upper banks of the Negishi River in Gifu
Prefecture, drew critical acclaim. Some of her major works include *Hayachine
no *fu *(Ode to Mt. Hayachine), AKIKO-aru dansaa no shozo (AKIKO?A Portrait
of a Dancer-), *and *Chihosei rojin no sekai (How to Care for the Senile).*
---

*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, Jan 13, 2021 at 8:17 PM Anne McKnight via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> There is also another interview on line that Markus conducted. You can
> find it here <https://deepblue.lib.umich.edu/handle/2027.42/90913>. It is
> a pretty good read.
> Her book ??????was lightly re-written and appears in paperback form as ??????????in
> 2014. Interestingly enough, a part of it is, again, included in volume 4 of
> the Sat? Tadao multi-volume collection on documentaries.
>
> Not really related, but I have always thought her ??????might make a
> lovely?and strange?pairing with Kurosawa Kiyoshi?s *Charisma*.
> There was a retrospective of her work @ the National Film Archive a couple
> years ago, so there is probably a pamphlet and some prose online that you
> might be interested in checking.
>
> Anne
>
>
> On Jan 9, 2021, at 17:25, Asian Docs via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
> Thank you Aaron, I didn?t know about the Tsuchimoto?s piece
>
> mb
>
> On Sun, 10 Jan 2021, 10:16 Gerow Aaron via KineJapan, <
> kinejapan at mailman.yale.edu> wrote:
>
>> Haneda-san herself has written a couple of books about her filmmaking.
>> Yale also has this exhibition catalog on her as part of a series of works
>> on Iwanami filmmakers:
>>
>> http://hdl.handle.net/10079/bibid/9957554
>>
>> We also have this, which I think is a pamphlet that Tsuchimoto Noriaki
>> wrote on her:
>>
>> http://hdl.handle.net/10079/bibid/14918721
>>
>> Eric Cazdyn discusses her in Flash of Capital.
>>
>> Also, the YIDFF catalogs of course have a number of pieces on her films,
>> but I can point out an interview Monma Takashi and I did with her producer,
>> Kudo Mitsuru, in Documentary Box:
>>
>> https://www.yidff.jp/docbox/10/box10-2-e.html
>>
>> Aaron Gerow
>>
>> 2021/01/09 ??7:32?Asian Docs via KineJapan <kinejapan at mailman.yale.edu
>> >????:
>>
>> Dear all,
>>
>> Has anything been written about Haneda Sumiko and her role in documentary
>> and Japanese cinema, or anything at all about her movies, in academic
>> publications, papers, books, etc. ?
>>
>> I?m looking especially for anything written in English, Spanish or
>> French, but I?m interested in Japanese writings as well.
>>
>> Thank you in advance
>>
>> Regards
>>
>> Matteo Boscarol
>> _______________________________________________
>> 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
>
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From raine.michael.j at gmail.com  Wed Jan 13 23:27:03 2021
From: raine.michael.j at gmail.com (Michael Raine)
Date: Wed, 13 Jan 2021 22:27:03 -0600
Subject: [KineJapan] Makino Mamoru book
In-Reply-To: <CABhbz8Nfm6bsU+2ccRQBThtj3D3J=O7XkpRL24zs_YExR2zG5Q@mail.gmail.com>
References: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
 <CABhbz8Nfm6bsU+2ccRQBThtj3D3J=O7XkpRL24zs_YExR2zG5Q@mail.gmail.com>
Message-ID: <CAH_CNbfH6YEFbP-ZFFzDitn01zPcm-+At_YMRLLeW4czZUjz8Q@mail.gmail.com>

If anyone's interested in this fascinating connection between Miki and
Yanagita, there are two essays that deal with it in a special issue of Arts
co-edited by Marcos Centeno-Martin and I on the "Japanese documentary mode".

The essays are a translation of Fujii Jinshi's "Yanagita Kunio to bunka
eiga: Sh?wa jy?nendai niokeru nichij?seikatsu no hakken to kokumin no s?z?"
(2003)
https://www.mdpi.com/2076-0752/9/2/54/htm
and an essay by Daisuke Miyao titled "What?s the Use of Culture?
Cinematographers and the Culture Film in Japan in the Early 1940s"
https://www.mdpi.com/2076-0752/8/2/42

I think the other essays in the issue are also well worth reading. The
whole issue is open access and can be downloaded from this page:
https://www.mdpi.com/journal/arts/special_issues/developments_japanese_documentary_mode

It's due to come out in book form shortly: I'll announce it on the list and
would be grateful if people would order it for their libraries!

Best,

Michael

Michael Raine, Associate Professor in English and Writing Studies
Western University, Canada
co-editor, Journal of Japanese and Korean Cinema

<https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan>



*The Culture of the Sound Image in Prewar Japan*, Michael Raine and Johan
Nordstr?m (eds),

is now available (Amsterdam University Press, 2020).



Available to order via
https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan;
and in the US via http://shop.btpubservices.com/Title/9789089647733.




On Wed, Jan 13, 2021 at 6:12 PM Earl Jackson via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> This Makino book will be invaluable in so many ways, and this really
> brings home to me how complex, intricate, and multifaceted Japanese
> cultural histories are. I recently previewed an essay at Academia Sinica in
> Taipei I'm writing on Otsuka Eiji's manga featuring Yanagida Kunio. I had
> no idea that Otsuka was handling these interview tapes, and certainly had
> no idea he had access to the Miki Shigeru tape. The intersection here is
> Miki's quizzical collaboration with Yanagida.This is just a small example
> of how incalculable the discoveries in this book will be.
> earl
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
>
>
> On Tue, Jan 12, 2021 at 10:40 PM Gerow Aaron via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> A fascinating new book is hitting the bookstores. As many of you know,
>> Makino Mamoru has been very important for film studies in Japan, not only
>> creating the Makino Collection (now at Columbia) but also supervising many
>> journal reprints and publishing his own studies of censorship. This even
>> though he is not an academic (his profession was documentary filmmaker).
>> Markus Nornesand I published a book dedicated to him quite a long time ago,
>> but a few years ago, the pop culture scholar Otsuka Eiji "discovered"
>> Makino-san through one of his students, and began a project on Makino. This
>> one centered on the cassette tapes of Makino's interviews with a number of
>> important figures in the film world of the 1930s and 40s. Not the famous
>> stars and directors, but the women and men behind the camera or who were
>> studying film from the side. I once used one of these interviews with Kamei
>> Fumio for YIDFF's Documentary Box, but there was a real treasure trove of
>> interviews with many others. I was involved with this project for a bit,
>> but Otsuka divided up the interviews, with each person transcribing them
>> and presenting on them. The result is this book, which is edited by Otsuka,
>> Morita Noriko, and Kondo Kazuto. It features interviews with Atsugi Taka,
>> Miki Shigeru, Eto Fumio, Hatano Kanji, Kishi Fumiko, Omura Einosuke, Noto
>> Setsuo, and Ito Takero.
>>
>> ??? ?????? ?????????????
>>
>> ??????????????????
>> http://www.ohtabooks.com/publish/2021/01/18164541.html
>>
>>
>> Aaron Gerow
>> Professor
>> Film and Media Studies Program/East Asian Languages and Literatures
>> Chair, East Asian Languages and Literatures
>> Yale University
>> 143 Elm Street, Room 210
>> PO Box 208324
>> New Haven, CT 06520-8324
>> USA
>> Phone: 1-203-432-7082
>> Fax: 1-203-432-6729
>> e-mail: aaron.gerow at yale.edu
>> website: www.aarongerow.com
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>>
>> _______________________________________________
>> 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
>
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From earljac at gmail.com  Thu Jan 14 00:28:23 2021
From: earljac at gmail.com (Earl Jackson)
Date: Thu, 14 Jan 2021 13:28:23 +0800
Subject: [KineJapan] Makino Mamoru book
In-Reply-To: <CAH_CNbfH6YEFbP-ZFFzDitn01zPcm-+At_YMRLLeW4czZUjz8Q@mail.gmail.com>
References: <13AC8C05-4D41-4D3D-8B31-794CF28C1415@yale.edu>
 <CABhbz8Nfm6bsU+2ccRQBThtj3D3J=O7XkpRL24zs_YExR2zG5Q@mail.gmail.com>
 <CAH_CNbfH6YEFbP-ZFFzDitn01zPcm-+At_YMRLLeW4czZUjz8Q@mail.gmail.com>
Message-ID: <CABhbz8P=D5+Mh1Ubc=pwnd_NT+tgB6gKBLr1yfifeEbbs3U11g@mail.gmail.com>

Thank you, Michael!

On Thu, Jan 14, 2021, 12:27 Michael Raine via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> If anyone's interested in this fascinating connection between Miki and
> Yanagita, there are two essays that deal with it in a special issue of Arts
> co-edited by Marcos Centeno-Martin and I on the "Japanese documentary mode".
>
> The essays are a translation of Fujii Jinshi's "Yanagita Kunio to bunka
> eiga: Sh?wa jy?nendai niokeru nichij?seikatsu no hakken to kokumin no s?z?"
> (2003)
> https://www.mdpi.com/2076-0752/9/2/54/htm
> and an essay by Daisuke Miyao titled "What?s the Use of Culture?
> Cinematographers and the Culture Film in Japan in the Early 1940s"
> https://www.mdpi.com/2076-0752/8/2/42
>
> I think the other essays in the issue are also well worth reading. The
> whole issue is open access and can be downloaded from this page:
>
> https://www.mdpi.com/journal/arts/special_issues/developments_japanese_documentary_mode
>
> It's due to come out in book form shortly: I'll announce it on the list
> and would be grateful if people would order it for their libraries!
>
> Best,
>
> Michael
>
> Michael Raine, Associate Professor in English and Writing Studies
> Western University, Canada
> co-editor, Journal of Japanese and Korean Cinema
>
>
> <https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan>
>
>
>
> *The Culture of the Sound Image in Prewar Japan*, Michael Raine and Johan
> Nordstr?m (eds),
>
> is now available (Amsterdam University Press, 2020).
>
>
>
> Available to order via
> https://www.aup.nl/en/book/9789089647733/the-culture-of-the-sound-image-in-prewar-japan;
> and in the US via http://shop.btpubservices.com/Title/9789089647733.
>
>
>
>
> On Wed, Jan 13, 2021 at 6:12 PM Earl Jackson via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> This Makino book will be invaluable in so many ways, and this really
>> brings home to me how complex, intricate, and multifaceted Japanese
>> cultural histories are. I recently previewed an essay at Academia Sinica in
>> Taipei I'm writing on Otsuka Eiji's manga featuring Yanagida Kunio. I had
>> no idea that Otsuka was handling these interview tapes, and certainly had
>> no idea he had access to the Miki Shigeru tape. The intersection here is
>> Miki's quizzical collaboration with Yanagida.This is just a small example
>> of how incalculable the discoveries in this book will be.
>> earl
>> Earl Jackson
>> Chair Professor
>> Foreign Languages and Literatures
>> Asia University
>> Professor Emeritus
>> National Chiao Tung University
>> Associate Professor Emeritus
>> University of California, Santa Cruz
>>
>>
>> On Tue, Jan 12, 2021 at 10:40 PM Gerow Aaron via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>> A fascinating new book is hitting the bookstores. As many of you know,
>>> Makino Mamoru has been very important for film studies in Japan, not only
>>> creating the Makino Collection (now at Columbia) but also supervising many
>>> journal reprints and publishing his own studies of censorship. This even
>>> though he is not an academic (his profession was documentary filmmaker).
>>> Markus Nornesand I published a book dedicated to him quite a long time ago,
>>> but a few years ago, the pop culture scholar Otsuka Eiji "discovered"
>>> Makino-san through one of his students, and began a project on Makino. This
>>> one centered on the cassette tapes of Makino's interviews with a number of
>>> important figures in the film world of the 1930s and 40s. Not the famous
>>> stars and directors, but the women and men behind the camera or who were
>>> studying film from the side. I once used one of these interviews with Kamei
>>> Fumio for YIDFF's Documentary Box, but there was a real treasure trove of
>>> interviews with many others. I was involved with this project for a bit,
>>> but Otsuka divided up the interviews, with each person transcribing them
>>> and presenting on them. The result is this book, which is edited by Otsuka,
>>> Morita Noriko, and Kondo Kazuto. It features interviews with Atsugi Taka,
>>> Miki Shigeru, Eto Fumio, Hatano Kanji, Kishi Fumiko, Omura Einosuke, Noto
>>> Setsuo, and Ito Takero.
>>>
>>> ??? ?????? ?????????????
>>>
>>> ??????????????????
>>> http://www.ohtabooks.com/publish/2021/01/18164541.html
>>>
>>>
>>> Aaron Gerow
>>> Professor
>>> Film and Media Studies Program/East Asian Languages and Literatures
>>> Chair, East Asian Languages and Literatures
>>> Yale University
>>> 143 Elm Street, Room 210
>>> PO Box 208324
>>> New Haven, CT 06520-8324
>>> USA
>>> Phone: 1-203-432-7082
>>> Fax: 1-203-432-6729
>>> e-mail: aaron.gerow at yale.edu
>>> website: www.aarongerow.com
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>>
>>> _______________________________________________
>>> 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
>
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From matteo.boscarol at gmail.com  Thu Jan 14 08:24:28 2021
From: matteo.boscarol at gmail.com (Asian Docs)
Date: Thu, 14 Jan 2021 22:24:28 +0900
Subject: [KineJapan] on Haneda Sumiko
In-Reply-To: <CANoSnpBV4CTY7OaNmQEjfvaASFUiP0H+vt8OArjjrE2kuqd9gw@mail.gmail.com>
References: <CAO3jzpybYKuow3AWOth+NM7OvB2uFQSKftZwyg9krJZRNEO66g@mail.gmail.com>
 <30921CB1-48A2-4853-834E-AE5C57056376@yale.edu>
 <CAO3jzpzjS2OWZo5zAzaDHVNcx-gf6KhiFHt_0o7mXhjF8EtQdQ@mail.gmail.com>
 <280C4015-3FC3-42EF-9481-A89B98CD3376@gmail.com>
 <CANoSnpBV4CTY7OaNmQEjfvaASFUiP0H+vt8OArjjrE2kuqd9gw@mail.gmail.com>
Message-ID: <CAO3jzpxKkFzJqsJSjSzM3tT=3iPmkiwAigYxCWWyLZff7UU5AA@mail.gmail.com>

thanks everyone!

On Thu, 14 Jan 2021, 13:11 Markus Nornes via KineJapan, <
kinejapan at mailman.yale.edu> wrote:

> And here is a very good interview with Haneda's partner and producer, Kudo
> Mitsuru:
>
> https://www.yidff.jp/docbox/10/box10-2-e.html
>
> I don't have a PDF of the Haneda interview in English, but I have an old
> computer file with text that appears somewhat corrupted. Still, I'll paste
> it below. I'm sure you could get the original from interlibrary loan. ?Documentarists
> of Japan Series: Haneda Sumiko,? Documentary Box (September 1992): 9-13.
>
> Markus
>
> Interview with Haneda Sumiko
>
>
>
> Haneda Sumiko is Japan's most outstanding woman filmmaker. Haneda
> discusses her entry into Iwanami Productions, which coincides with a
> radically new kind of documentary method that came out of Iwanami. Though
> little is known about these films outside of Japan, their utterly candid,
> spontaneous style films predates direct cinema and cin?ma verit? by nearly
> a decade. Haneda also talks about her career as an independent filmmaker
> following her retirement from Iwanami, including her newly completed film, *Kabukiyakusha
> Kataoka Nizaemon (Kabuki Actor Nizaemon Kataoka), *which is about one of
> Japan's premiere Kabuki actors. She describes this as a "private
> film"--private because it was never intended to be shown to audience! She
> simply admired Nizaemon so much that she wanted to make this visual record
> to give it to him. This, combined with its eight hours running time, makes
> it quite unique in the history of cinema. The following has been excerpted
> from a conversation in a Tokyo coffee shop, summer 1992.
>
>
>
> By Ab? Mark Nornes
>
> I joined Iwanami Productions after it was formed in 1950. For the first
> three years or so I worked as a book editor. At that time, concentrating
> solely on film production was not economically viable for the company, so
> they branched out into publishing as well. So as a result, I only actually
> got involved in actual filmmaking in 1953 or thereabouts. At first I
> wrote scenarios and scripts and the like, then worked as an assistant
> director, and finally became a director. I was involved in the making of
> about 80 films for Iwanami Productions. There are somewhere I only did the
> scenario, others where I edited, others where I did all the work? There's
> not much I didn't do. I worked at Iwanami Productions until I was 55 years
> old, then became an independent.
>
> Out of the films I worked on at Iwanami, I think the most interesting are
> those made during those first formative years of the company: *Kyoshitsu
> no kodomotachi (Children in the Classroom, *1954), which I worked on as
> an assistant director to Hani, and *Mura no fujin gakkyu (Village Women's
> Classroom,* 1957*), *my first work as a director. As anyone who has seen *Mura
> no fujin gakkyu *can tell, the Japan of that time was extremely poor. All
> the rural farming villages were rather like the one shown in the film. But
> about ten years after that, Japan's economy started to grow at a rapid
> rate, and the condition of the villages changed dramatically. Following
> this economic growth, most films produced by companies tended to become PR
> showcases for those companies. For me, that wasn't very interesting work.
> I'm thankful that most of my work was involved with productions about
> traditional Japanese culture and arts, as opposed to a PR film for a
> company or some other thing that like.
>
> There are probably some people who will take offense at what I'm about to
> say, and for that I apologize, but documentary films made in Japan before
> Iwanami started producing simply weren't all that interesting. The
> technique and methodology of the people making these films wasn't much
> different from drama? For example, if you say "Pour tea" here, the camera
> is set up, the director says "All right, pour the tea", and it's filmed
> this way. If you say "Make a phone call", then you make a phone call. If
> you think about it, this method of filming really isn't any different from
> a dramatic performance. Even though the subject being filmed is not a
> drama, the methodology being used isn't much different from that used for a
> drama. So, if I may say so, there were many boring films being made.
>
> When Iwanami Productions was started, the industry itself needed a
> newness, a freshness. The founder of Iwanami Books, Iwanami Shigeo,
> wanted to contribute not only to the publishing world but to the film world
> as well. That continuing on in the tradition of working and living
> closely with his documentary subjects, a tradition established by Ogawa
> Productions' and their asso?ciation with Sanrizuka and Yamagata's Magino
> Village. Although based on just Aga ni ikiru, it is difficult to make a
> judgment on Sato, he is
>
> desire was the beginning of Iwanami Productions. There were many young
> staff members, but the one who really stood out was Hani Susumu. Both he
> and Kobayashi Isamu, who was a senior executive for both Iwanami Books and
> Iwanami Productions, had been recruited from Kyodo News Services. The
> people working at Iwanami Productions were so new that there wasn't even a
> single person with film experience! Although the directors and execs were
> people who were career filmmakers, all of the new staff members knew
> nothing about movies. Hani and I were the same. At first, Hani and I worked
> as editors of a book series called *Shashin Bunko Photo Libra* . As the
> amount of work involving film gradually increased, Hani soon moved over to
> the film division. I was still editing books when Hani recruited me to be
> the assistant director on *Kyoshitsu no kodomotachi.*
>
> Hani started work on *Kyoshitsu no kodomotachi *right around the time
> Arriflex cameras began to be used, and he used an Arriflex with a
> telescopic lens attached to it. He did this because if the camera is close,
> the subject being filmed tends to get nervous and excited, but if filmed
> from a distance, the camera is not as threatening and the subject can be
> filmed in a more natural state. We used this method for *Kyoshitsu no
> kodomotachi, *filming the children with a camera we brought into the
> classroom with us. We were able to film the children as they were, acting
> naturally. That kind of naturalness, that kind of lack of artificiality had
> not been seen in Japanese documentaries before. Of course, there was a
> naturalness in news films, but it was only people running around screaming
> about some major event? It's only natural for people to ignore a camera at
> a time like that, but never before had anyone captured people living out
> their ordinary lives naturally, without any staging, on camera. At the
> time, everyone was like that. British documentaries, indeed, any
> documentary, were made that way. Since we had studied British
> documentaries, that was the only methodology we had. This is why Hani chose
> a totally different method to work by. The reason he was able to do it was
> because since the company was young, there was still a sense of adventure
> and experimentation, and also because Hani occupied a special place in the
> company, they basically gave him carte blanche. It was the unspoken rule in
> the Japanese film world of the time that deviating from standard form would
> not be allowed. In other words, there was a set opinion, a set rule, about
> what a "film" was and how it should be made. If a person didn't follow that
> rule, he was called "incompetent", "unskilled", "worthless", "useless", or
> something similar. Since most directors were afraid of such comments and
> reviews, and would be boycotted by their staff from doing so, they were
> never able to experiment. But because of Hani's position he was able to get
> away with it. Still, when *Kyoshitsu no kodomotachi *was being filmed,
> everyone was saying things like, "If it's filmed like that there's no way
> to cut it.? In the end, though, it turned out to be a great film.
> *Kyoshitsunokodomotachi *caused quite a sensation, and even received a
> good review in *Kinema Junpo. *It became the stepping stone for Hani?s
> career.
>
> Although I'd seen movies, I never thought they were very interesting, so
> the idea of making movies hadn't occurred to me. I mean, I hadn't been a
> fan of the movies when I was a little girl or anything, so I hadn't felt
> any attraction towards movies; I wasn't really pulled toward films in any
> way. But when I was working with Hani, I thought, "Hey, this is
> interesting.? I also thought that I didn't want to make movies like those
> that had been made in the past--a "filmed image", that is, something
> staged. I wanted to use what I had learned through working with Hani in *Mura
> no fujin gakkyu. *That's why I went to a village where there was nothing,
> talked with the women who would be the organizers of the women's classroom
> for the village, and really made such a classroom. We started out working
> as organizers. Then we made such a group with the mothers of the village,
> and stayed alongside them, filming them as they/we studied. That's why even
> though the finished product is short, we stayed in that farming village for
> two months. It was because of such contact and interaction that we were
> able to capture that particular image. Since then, I've made it my policy
> that whenever I make a film, I try to build up a sincere attitude of mutual
> trust with the people I'm going to film. Of course, real documentarists
> always try to do so, and probably take such an attitude for granted. But,
> then and now, there are plenty of people who don't work that way.
>
> Both *Kyoshitsu nokodomotachi *and *Mura no fujin gakkyu *were films
> planned by the Ministry of Education. As a result, the finished films were
> put into audio-visual libraries around the country. In those days, the
> American occupation forces, stressing the need for AV education, had made
> AV libraries in every prefecture in the country. All the films made under
> the Ministry of Education were placed in those libraries and screened at
> schools and the like, most likely as part of "social education". For
> example, there were movements similar to that of the "women's classroom"
> across the country. Then, the people in these movements would see *Mura
> no fujin gakkyu, *learn from it, and say, "Let's start a women's
> classroom in our own village or whatever". In one sense, that was one
> result of the democratic educational ideas introduced into post-war Japan
> by the Americans. (Of course, Japanese education has changed a lot since
> then.) While there are indeed many streams in the Japanese women's
> movement, the "women's classroom" is not what you would call feminism, but
> rather a movement that builds up and is built up slowly, changing and being
> changed by its primary members, the rural farming women. It's not a women's
> labor movement, it's not feminism, it's just one way that has changed
> Japanese women (and shows how much they have changed).
>
> Before the war, Japanese law stipulated that any feature film had to be
> screened with an educational film. As a result, there were quite a few
> educational films being produced. In that field, there were two or three
> women direc?tors. When I started working in the film industry, I guess
> there were still only three or so. We never worked together, though. The
> director of the then-famous *Shinkuu no sekai *(*The World of Vacuum,*
>  1953), Nakamura Rinko, was our senior. I believe she made many
> scientific films. Also, there was Tokieda Toshie (still active today).
> Tokieda and I were Iwanami Productions' two women directors.
>
> A lot of unique directors have come out of Iwanami Productions. At first,
> Kuroki Kazuo was also at Iwanami. He always worked on a grand scale. Even
> if it was an industrial PR film, most people would be small and quiet about
> it, but he always big and exaggerated, like this: BAM! (spreads out arms
> wide and laughs). There were times when he went over budget and crashed,
> but at any rate, he always worked on a big scale. That's why, even if they
> were sometimes a little strange, he always made works that were appealing.
> He was always using new images, or at least those that weren't so old that
> they were clich?d. There isn't anyone else who shot images like him. On one
> level, Kuroki's works are modernist.
>
> Around then, there was a group called "Ao no Kai" (The Blue Group), made
> up of Kuroki, Higashi Yoichi, Tsuchimoto Noriaki, Ogawa Shinsuke, and
> others, bold directors who had broken out of Iwanami. Theirs was a group of
> rebellious spirit, whose mantra was "Let's do our own thing, let's make out
> own work". I was always more reserved, so I was never asked to join the Ao
> no Kai.
>
> However, even Iwanami hasn't made many documentaries; documentaries, that
> is, in the true sense of the word. They've made plenty of PR films, though.
> When making a documentary, the filmmaker's independence--his or her ability
> to do what he or she wants--is important, but a filmmaker can't just say "I
> want to make this", and then go off and make it. The company says to the
> film company, "We want you to make this", then Iwanami says "OK, we'll give
> this to Mr. So-and-so to do.? That's how films are made. In the end, I
> started to make the films I wanted to make only after I became a
> freelancer. Out of the films I made at Iwanami, the one I can say I wanted
> to make was a short (43 min.) production called *Usuzumi no Sakura *(*The
> Cherry Tree with Grey Blossoms, *1977). This was completely my work, one
> that didn't cost much. I'm very fortunate that my husband (Kudo Mitsuru) is
> a film producer. Of course, the com?pany is so small that his desk is just
> about all there is to it, but he still helps me produce my work.
>
> Also, his connections with developers and studios and the like help me in
> my work as well. Among the works I've made since I became a free?lancer,
> there is *Hayachine no fu* (*Ode to Mt. Hayachine, *1982). This film,
> filmed in the mountains of Japan's Iwate Prefecture, shows the lifestyle of
> the people who live there, as well as the traditional *kagura *(sacred
> Shinto dance) that is still performed there. This film runs about *185 *minutes.
> Then, there's *AKIKO--aru dansaa no shozo *(*AKIKO-A Portrait of a
> Dancer, *1985), a documentary about a modern dancer. *Chihosei rojin no
> sekai *(*How to Care for the Senile, *1986) and *Anshin shite oiru tame
> ni *(*Getting Old With a Sense of Security, *1990) are two works which
> focus of the problems of Japan's elderly population. When I was working on *Hayachine
> no fu, *the people of the village gave their full cooperation, and even
> helped us raise money for the production. Of course, we put out most of the
> money ourselves, but they helped us as well. The same with AKIKO-Akiko
> Kanda herself helped cover the filming expenses to a certain extent. *Chihosei
> rojin no sekai *was an independent production done under Iwanami
> Productions, who hired me as director. While working on *Anshin shite
> oiru tame ni, I *ran out of money, but fortunately there was someone to
> help me who loaned me the money I needed. Of course, I'm going to pay that
> person back as soon as the film gets out. Even though I never have any
> money, whenever I decide to start a project, I always holler and scream and
> raise a fuss, and someone will come out and help me? That's the feeling
> I've always had, and still have.
>
> In Japan, industries have plenty of money, but no one puts much out for
> documentaries. This means that all of the people doing documentaries are
> working under the same conditions. In the first place, there's no money
> allocated for cultural activities or anything like that. The Japanese
> Agency for Cultural Affairs percentage of the national budget amounts to a
> mere *0.06%. I *hear in France, it's 0.6%--which means that Japan's
> allocation is I /1p that of Frances. That means that as a nation, we
> don't put much out for film. Recently, the "Japan Arts Fund" has been
> created. But the money from that fund is being spread out all over the
> place--for operas, for this, for that, and so on? They give financial
> assistance to filmmakers as well, but usually around 25 million yen
> (approx. US$200,000), when productions can go over 100 million yen
> (US$800,000). And that's only for those works which have passed their
> paperwork gauntlet, you realize. Getting approval for funds to be released
> for a film is all well and good, but the money isn't given out before a
> film is made; it's given out only after a film is completed and has been
> released. But if there's anything that can be said to cause problems from
> the beginning when attempting to make a film, it's lack of funds. While
> working on my current project, I received financial assistance from the
> Japan Arts Fund. To make that film *(Kabukiyakusha Kataoka Nizaemon), *we
> worked hard at collecting funds for four years while we filmed. Finally,
> last year, we applied, and received 25 million yen. There are some
> documentaries you could make and get by with only 50-70 million yen, but
> with production costs and all, you really need closer to 100 million yen or
> you just won't make it. It would probably help quite a bit if you could
> receive that 25 million yen right at the start, but it doesn't work that
> way. Kind of funny, isn't it?
>
> It would have been nice if during the Occupation, the Americans had made
> some kind of system to keep promoting cultural activities. Japanese aren't
> too good at making a system like that. We still haven't made one. Back
> then, we probably didn't think we'd become as rich as we are now. But, for
> whatever reasons, we have become rich. It would be nice if the wealthier
> corporations would use their wealth to support cultural activities, but
> their attitude is "If we put out this money, what will the benefit be for
> us and our company?" That's the value system that's at the base of their
> decisions whether to give out money or not. It's pointless even to try and
> say something like, "If your company uses that money to support these
> [cultural activities], it will improve your compa?ny's image". Of course,
> there are companies and foundations which are established and assist
> cultural works. Even so, those foundations want to know-in detail -where
> their money's going, how it's being used, what you're going to do with it,
> and if you don't play by their rules, you don't get any money.
>
> I'd like to mention that while at first glance it seems like a good idea
> for there to be national support of cultural activities, there is also the
> fear that in some cases the nations simple involvement might place
> restrictions on artists' freedom. You could say that just because there is
> no money from the national budget involved that Japanese documentarists
> have freedom of action. That's because they work where there's nothing.
>
> I really feel that there aren't many Japanese documentarists who can say
> that they've been able to make the documentaries they really wanted to
> make. That's because, except for the feature film industry, corporations
> are able to order films to fit their specifications. That's why in Japan,
> documentarists like Tsuchimoto and Ogawa are very rare. Even so, they and
> people like them aren't able to make a living just off of movies. Because
> they have trouble supporting themselves, their wives work, their assistants
> campaign for funds? Among documentarists, there isn't one person who can
> feed himself from documentaries alone. We're all very poor. That's why in
> this wealthy modern Japan, there isn't anyone out there saying "I want to
> become a documentary filmmaker.? The only thing they see is that they won't
> be able to make it "big". This is a job that you have to love doing, or you
> won't be able to do it.
>
> I?ve just finished *Kabukiyakusha Kataoka N'izaemon *(*Kabuki Actor
> Nizaemon Kataoka*)*. *Even though Nizaemon is now 88 years old, and has
> great difficulty seeing, he is still performing. I filmed Nizaemon for four
> years. The work ended up being over eight hours long. There are lots of
> works about kabuki. I imagined making a film of about, oh, two hours or so,
> but I wasn't able to show his true ability, his magic, in that short time.
> That's why it turned into an eight-hour film: I wanted to leave a record, I
> wanted to make an image that would show the world that "Here, here is a
> truly magnificent person!"
>
> After this, I think I like to do a work on some Japanese picture scrolls,
> ones that are about 300 years old. I've done a little filming of some
> picture scrolls this year, but I'm still working? As far as Japanese
> picture scrolls go, even 300 years old is pretty new. The majority of the
> picture scrolls that are regarded as National Treasures are about 700 years
> or so old. Even though the ones I'm filming haven't been designated
> National Treasures yet, they are still important cultural relics. Picture
> scrolls are something rare and unusual not only in Japanese art, but in
> world art as well? I like to think they're like ancient movies.
>
>
>
> *Selected Filmography*
>
> Haneda Sumiko was born in 1925, and joined Iwanami Productions in 1950.
> She made her debut as a director in 1957 with *Mura no fujin gakkyu
> (Village Women's Classroom). *She later became a freelance director.
>
>
>
> In 1977, her independently produced Usuzumi *no sakura (The Cherry Tree
> with Grey *Blossoms), which was a year-round record of the thousand-year
> old cherry tress on the upper banks of the Negishi River in Gifu
> Prefecture, drew critical acclaim. Some of her major works include *Hayachine
> no *fu *(Ode to Mt. Hayachine), AKIKO-aru dansaa no shozo (AKIKO?A
> Portrait of a Dancer-), *and *Chihosei rojin no sekai (How to Care for
> the Senile).*
> ---
>
> *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, Jan 13, 2021 at 8:17 PM Anne McKnight via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> There is also another interview on line that Markus conducted. You can
>> find it here <https://deepblue.lib.umich.edu/handle/2027.42/90913>. It
>> is a pretty good read.
>> Her book ??????was lightly re-written and appears in paperback form as ??????????in
>> 2014. Interestingly enough, a part of it is, again, included in volume 4 of
>> the Sat? Tadao multi-volume collection on documentaries.
>>
>> Not really related, but I have always thought her ??????might make a
>> lovely?and strange?pairing with Kurosawa Kiyoshi?s *Charisma*.
>> There was a retrospective of her work @ the National Film Archive a
>> couple years ago, so there is probably a pamphlet and some prose online
>> that you might be interested in checking.
>>
>> Anne
>>
>>
>> On Jan 9, 2021, at 17:25, Asian Docs via KineJapan <
>> kinejapan at mailman.yale.edu> wrote:
>>
>> Thank you Aaron, I didn?t know about the Tsuchimoto?s piece
>>
>> mb
>>
>> On Sun, 10 Jan 2021, 10:16 Gerow Aaron via KineJapan, <
>> kinejapan at mailman.yale.edu> wrote:
>>
>>> Haneda-san herself has written a couple of books about her filmmaking.
>>> Yale also has this exhibition catalog on her as part of a series of works
>>> on Iwanami filmmakers:
>>>
>>> http://hdl.handle.net/10079/bibid/9957554
>>>
>>> We also have this, which I think is a pamphlet that Tsuchimoto Noriaki
>>> wrote on her:
>>>
>>> http://hdl.handle.net/10079/bibid/14918721
>>>
>>> Eric Cazdyn discusses her in Flash of Capital.
>>>
>>> Also, the YIDFF catalogs of course have a number of pieces on her films,
>>> but I can point out an interview Monma Takashi and I did with her producer,
>>> Kudo Mitsuru, in Documentary Box:
>>>
>>> https://www.yidff.jp/docbox/10/box10-2-e.html
>>>
>>> Aaron Gerow
>>>
>>> 2021/01/09 ??7:32?Asian Docs via KineJapan <kinejapan at mailman.yale.edu
>>> >????:
>>>
>>> Dear all,
>>>
>>> Has anything been written about Haneda Sumiko and her role in
>>> documentary and Japanese cinema, or anything at all about her movies, in
>>> academic publications, papers, books, etc. ?
>>>
>>> I?m looking especially for anything written in English, Spanish or
>>> French, but I?m interested in Japanese writings as well.
>>>
>>> Thank you in advance
>>>
>>> Regards
>>>
>>> Matteo Boscarol
>>> _______________________________________________
>>> 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
>>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From odoriko21 at gmail.com  Thu Jan 14 16:41:22 2021
From: odoriko21 at gmail.com (LCE)
Date: Thu, 14 Jan 2021 16:41:22 -0500
Subject: [KineJapan] TAKEKURABE
Message-ID: <CAEfQd0TuPTM5G34qF80a5=ruc-tkWL7OSBVfrLBjmb4b3LQmRQ@mail.gmail.com>

I'm looking for a DVD of Gosho's TAKEKURABE (1955). Does anyone know of a
university library that would lend one out (with or without subtitles)?
Thanks.
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From aaron.gerow at yale.edu  Thu Jan 21 18:47:35 2021
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Thu, 21 Jan 2021 18:47:35 -0500
Subject: [KineJapan] Mainichi Film Awards 2020
Message-ID: <26C1732B-8A8F-4AE6-829A-83E5BE9871B3@yale.edu>

In one of the first major awards announcements, Omori Tatsushi's Mother won the best picture award at the Mainichi Film Awards. Take Masaharu's Underdog won the most awards at four, including best actor. Kawase Naomi won best director for True Mothers. 

https://www.cinematoday.jp/news/N0121195 <https://www.cinematoday.jp/news/N0121195>

The Mainichi are one of the few awards with different awards for staff or for animation and documentary. The Ofuji Noburo Award went to Iwaisawa Kenji?s On-gaku, the documentary awards to Hara Kazuo?s Reiwa Uprising, and the Tanaka Kinuyo Award to Kaji Meiko. Obayashi Kyoko was given a special award. 

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 matteo.boscarol at gmail.com  Wed Jan 27 21:15:05 2021
From: matteo.boscarol at gmail.com (Asian Docs)
Date: Thu, 28 Jan 2021 11:15:05 +0900
Subject: [KineJapan] =?utf-8?q?Hara_Masato=E2=80=99s_movies_to_be_screene?=
 =?utf-8?q?d_online?=
Message-ID: <CAO3jzpyvdtSsO2oAY0ySYNaEDwMrcu9s9JaiDEbShiFYmPMfcg@mail.gmail.com>

Dear all,

I meant to send this email last week, but it stayed in my drafts, anyway I
think the online screening is still available.

At the end of January, some of Hara Masato?s works will be screened online
(apparently worldwide) in collaboration with Lumen Gallery.
??????? ?The First Emperor? will have English subtitles.

more information here:
https://haramasato.zaiko.io/_item/334794

Regards

Matteo Boscarol
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From aaron.gerow at yale.edu  Fri Jan 29 15:40:51 2021
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Fri, 29 Jan 2021 15:40:51 -0500
Subject: [KineJapan] Stephen Prince
Message-ID: <CF3ADABF-9E42-4295-8F19-9DD5BFFCE374@yale.edu>

I don?t believe anyone has posted about this on KineJapan, but the film scholar Stephen Prince passed away last month. He was one of the top film scholars in North America, even serving as president of SCMS, and pursued a broad range of research, from auteur studies to American film history, from introductory textbooks to conceptualizations of digital cinema. Many of us remember him for his important studies of Kurosawa Akira and Kobayashi Masaki, which appeared both in book form and on many DVDs of their films.

Carl Plantinga and Malcolm Turvey wrote this tribute upon his passing:

https://cdn.ymaws.com/www.cmstudies.org/resource/resmgr/docs/Prince_Memorial_3.0_MT.docx.pdf

I only met Stephen a few times, but we communicated a number of times as we traded photos of grave visits and exchanged research information. His voice will be greatly missed. 

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



















From dr.ds.martin at gmail.com  Fri Jan 29 23:54:42 2021
From: dr.ds.martin at gmail.com (Daniel Martin)
Date: Sat, 30 Jan 2021 13:54:42 +0900
Subject: [KineJapan] Stephen Prince
In-Reply-To: <CF3ADABF-9E42-4295-8F19-9DD5BFFCE374@yale.edu>
References: <CF3ADABF-9E42-4295-8F19-9DD5BFFCE374@yale.edu>
Message-ID: <CAL7edm+p7G5ss9M4SHkUza_ZxXz4zy8n6EhdwNq8unSzOm2z+g@mail.gmail.com>

Dear Aaron,

I appreciate you sharing this news, I hadn't heard. Steven was a great
scholar, and I always admired his work, and its accessibility. I only met
him once, at an SCMS conference many years ago, but he was warm and
friendly, and left a very positive impression. I offer my deepest
sympathies to all who knew him better.

Best,

Daniel


On Sat, 30 Jan 2021 at 05:40, Gerow Aaron via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> I don?t believe anyone has posted about this on KineJapan, but the film
> scholar Stephen Prince passed away last month. He was one of the top film
> scholars in North America, even serving as president of SCMS, and pursued a
> broad range of research, from auteur studies to American film history, from
> introductory textbooks to conceptualizations of digital cinema. Many of us
> remember him for his important studies of Kurosawa Akira and Kobayashi
> Masaki, which appeared both in book form and on many DVDs of their films.
>
> Carl Plantinga and Malcolm Turvey wrote this tribute upon his passing:
>
>
> https://cdn.ymaws.com/www.cmstudies.org/resource/resmgr/docs/Prince_Memorial_3.0_MT.docx.pdf
>
> I only met Stephen a few times, but we communicated a number of times as
> we traded photos of grave visits and exchanged research information. His
> voice will be greatly missed.
>
> 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
>


-- 
Dr. Daniel Martin

Associate Professor of Film Studies
School of Humanities and Social Sciences
Korea Advanced Institute of Science and Technology
Daejeon, South Korea
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From macyroger at yahoo.co.uk  Sat Jan 30 10:56:30 2021
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sat, 30 Jan 2021 15:56:30 +0000 (UTC)
Subject: [KineJapan] Tanaka Kinuyo in Europe.
References: <1139771084.674235.1612022190438.ref@mail.yahoo.com>
Message-ID: <1139771084.674235.1612022190438@mail.yahoo.com>

Locarno have seemingly ditched Tanaka Kinuyo for their retrospective in 2021 https://www.locarnofestival.ch/LFF/about/film-sections/retrospettiva.html .
The traveling retrospective on Tanaka was going to start there in August 2020. Any update on plans elsewhere would be welcome.
Roger



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From nornes at umich.edu  Sat Jan 30 19:28:24 2021
From: nornes at umich.edu (Markus Nornes)
Date: Sat, 30 Jan 2021 17:28:24 -0700
Subject: [KineJapan] 2020 J-BO
Message-ID: <CANoSnpBUx2W-aAhNu9Q03ZzbmRBVY0LLLS1JqDqG0T-6=Wy2uA@mail.gmail.com>

Mark published his annual coverage of the Japanese box office in *Variety. *

Markus

Japan Box Office Falls by (Only) 45% in 2020, Data Shows
https://variety.com/2021/film/asia/japan-box-office-falls-45-percent-2020-1234894310/

Particularly hard hit were foreign films, which earned a combined $326
million in the entire year ? a fall of 71%. By comparison, Japanese films
held up strongly, earning $1.04 billion, down just 23% on 2019.

The big reason behind the relatively robust number for local content was
the megahit animation ?Demon Slayer The Movie: Mugen Train
<https://variety.com/t/demon-slayer-the-movie-mugen-train/>,? which topped
the year?s box office with $350 million. This one film accounted for 25% of
the full year box office, and 33% of the business done by Japanese-made
movies.

---

*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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