From annekmcknight at gmail.com Mon Mar 1 18:03:17 2021 From: annekmcknight at gmail.com (Anne McKnight) Date: Mon, 1 Mar 2021 15:03:17 -0800 Subject: [KineJapan] Screening of new Kawase movie, and taidan Message-ID: Hi all~ There is a free screening of Kawase Naomi?s new film, True Mothers, at Japan House online (they are doing a fair number of free screenings, and it might be worth getting on their mailing list?). Here is a link and description, from the website?film is ongoing till March 10 (PST). Link: https://www.japanhousela.com/events/film-screening-true-mothers/ There is also a talk event with Kawase and Claudia Puig, chair of the LA Film Critics Assoc, from 5-6pm (PST) tomorrow, Tues Mar 2. https://www.japanhousela.com/events/mothers-and-film-making-evening-with-naomi-kawase-and-claudia-puig/ Anne JAPAN HOUSE Los Angeles is honored to offer a special screening of Naomi Kawase?s film True Mothers, which has been selected to represent Japan for 2021 Oscar consideration in the International Film category. This is only the third time in 67 submissions that Japan has chosen a film directed by a woman to represent the country. The critically acclaimed film first premiered at the 2020 Toronto International Film Festival. Synopsis True Mothers, adapted from the novel by Mizuki Tsujimura, is a compelling story with unexpected twists about adoption and motherhood. Set in modern-day Tokyo, a couple who is unable to conceive a child after struggling with infertility is presented with an alternative option. Satoko and her husband, Kiyokazu, are at a crossroads in their journey to parenthood; not wanting to seek invasive fertility treatments. A solution comes to them in a tv commercial promoting an adoption organization in Hiroshima. Through the organization, the couple adopts a baby boy, Asato, who ultimately completes their family and fulfills their dream to become parents. The story of Hikari, Asato?s birthmother, is interwoven throughout the film, showing how their lives ultimately intersect, as well as highlighting the contrasts between the characters and their circumstances. Hikari, a young girl of 14 when she becomes pregnant, is sent to the adoption organization where she gives birth to her baby. The twist in the story, which is actually presented earlier in the film, occurs when Asato is a happy six-year-old, and Hikari reappears in their lives demanding him back. -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Mar 5 10:00:58 2021 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 5 Mar 2021 10:00:58 -0500 Subject: [KineJapan] Hamaguchi award at Berlin Message-ID: <62CA5636-7CAF-4E2F-A5EE-DF81D4D9535B@yale.edu> It was just announced that Hamaguchi Ryusuke?s Wheel of Fortune and Fantasy (Guzen no sozo) won the Silver Bear Grand Jury Prize (the runner up prize) at the Berlin Film Festival. https://www.hollywoodreporter.com/news/berlin-film-festival-2021-awards-winners-golden-bear Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From davidpinhobarros at icloud.com Tue Mar 9 11:47:28 2021 From: davidpinhobarros at icloud.com (David Pinho Barros) Date: Tue, 9 Mar 2021 16:47:28 +0000 Subject: [KineJapan] Bilingual issue of "Imaginaires" on the topic of summer holidays in the narrative arts Message-ID: <7E2BED09-7ADD-4273-818E-823A0E5CCEED@icloud.com> Dear all, I am the guest editor of the December 2022 issue of the bilingual academic journal Imaginaires, published by the ?ditions et Presses universitaires de Reims (France), which I am dedicating to the relationship between the narrative arts and the phenomenon of summer holidays, both in its pre-1936 forms (from aristocratic 19th-century health cures to early 20th-century cultural stays and seaside leisure) and in its post-1936 variants (from the massive postwar seasonal working-class exoduses to bourgeois resort vacationing and contemporary eco-conscious summer sojourning in nature). I am welcoming submissions in English and French from a wide variety of fields in the narrative studies, and I am especially looking forward to receiving proposals that will address the topic of summer holidays in Japanese cinema. Abstracts can be sent in until the 31st of July 2021, and selected works will be submitted to a double peer-review process ahead of publication. The full call follows as an attachment and more info can be found here . All help in sharing this call will be very much appreciated! All the best, David Pinho Barros -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Site.png Type: image/png Size: 12463 bytes Desc: not available URL: -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Holiday Poetics ? 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URL: From aaron.gerow at yale.edu Wed Mar 10 23:22:42 2021 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 10 Mar 2021 23:22:42 -0500 Subject: [KineJapan] Kiyose Takase Message-ID: <372C13A7-5402-4747-96C0-1F58C47906DF@yale.edu> A colleague of mine has asked me to relate to the list this post about Kiyoshi Takase: Mitsunobu Matsuyama, a well published authority on magic in Japan and Japanese magicians in the world, has written about Kiyoshi Takase, the early Japanese entertainer and Japanese film actor who appeared in more than ten British movies;seee it (in Japanese) at http://www.tokyomagic.jp/labyrinth/matsuyama/takase-01.htm Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com From nornes at umich.edu Fri Mar 12 14:27:37 2021 From: nornes at umich.edu (Markus Nornes) Date: Fri, 12 Mar 2021 12:27:37 -0700 Subject: [KineJapan] The Works and Days Message-ID: Has anyone seen this??? https://grasshopperfilm.com/film/the-works-and-days/ Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Mar 15 16:10:08 2021 From: nornes at umich.edu (Markus Nornes) Date: Mon, 15 Mar 2021 14:10:08 -0600 Subject: [KineJapan] Nuclear Nation 2.5 Message-ID: Funahashi Atsushi is in the middle of producing a third doc on Futaba. For the 3/11 anniversary, he made an hour long version for NHK. NHK world just released a 10 minute English condensation. https://www3.nhk.or.jp/nhkworld/en/news/videos/20210312212038688/?fbclid=IwAR3FdBERtmbF8qMWAVmqOMsYFzDIkXihjBfAzz6YWqfxSPbUmB4XnO3C830 Watching it makes me imagine how frustrating it must have been to cram his material into NHK formatting. But I bet the pay was decent! Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Mar 15 18:53:00 2021 From: nornes at umich.edu (Markus Nornes) Date: Mon, 15 Mar 2021 16:53:00 -0600 Subject: [KineJapan] Festival World Shakeup! Message-ID: https://2021.tiff-jp.net/news/en/?p=16325 Hisamatsu is out (maybe not such a big loss) Ichiyama is in (this is fantastic) Ichiyama has stepped down from Filmex (while staying on the board) and the dates will be concurrent with TIFF (moving both to something akin to Berlin). Interesting! I think this is a big deal. Markus -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From kmezur at sbcglobal.net Mon Mar 15 19:13:21 2021 From: kmezur at sbcglobal.net (Katherine Mezur) Date: Mon, 15 Mar 2021 23:13:21 +0000 (UTC) Subject: [KineJapan] Festival World Shakeup! In-Reply-To: References: Message-ID: <799651511.893248.1615850001331@mail.yahoo.com> Wow, Thank you Markus for forwarding this! And this part sounds good, but we shall see if gender equity allows 50/50 Leadership? "On March 8, 2021, International Women?s Day, we signed the 5050?2020 pledge" cheers Katherine Katherine Mezur, PhD Visiting Professor Freie Universit?t Berlin Lecturer Department of Comparative Literature University of California, Berkeley ?? Co-editor with Emily Wilcox of? Corporeal Politics: Dancing East Asia ?(University of Michigan Press, 2020)?? ?? On Monday, March 15, 2021, 03:53:20 PM PDT, Markus Nornes via KineJapan wrote: https://2021.tiff-jp.net/news/en/?p=16325 Hisamatsu is out (maybe not such a big loss) Ichiyama is in (this is fantastic) Ichiyama has stepped down from Filmex (while staying on the board) and the dates will be concurrent with TIFF (moving both to something akin to Berlin). Interesting! I think this is a big deal. Markus -- ---? Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan From swb8 at gol.com Mon Mar 15 20:11:59 2021 From: swb8 at gol.com (shayne bowden) Date: Tue, 16 Mar 2021 09:11:59 +0900 Subject: [KineJapan] New Documentaries by Kim Mi-re and Daijima Haruhiko Message-ID: <781EB224-1FC1-44A3-BBA7-C5FB287C3D9F@gol.com> William Andrews has written an excellent review of two recent documentaries on the Haneda protests and the East Asia Anti-Japan Armed Front (????????Searching for the Wolf by Kim Mi-re and ??????????? Whiplash of the Dead by Daijima Haruhiko). Maybe someone has posted on this topic already but if not, the link is below and Andrews blog is highly recommended. https://throwoutyourbooks.wordpress.com/2021/03/12/documentaries-japan-sixties-seventies-haneda-airport-east-asia-anti-japan-armed-front/ Shayne Bowden BA, MA (USYD) -------------------------------------------- director of deterra www.deterra8.com -------------------------------------------- PhD Candidate School of Languages and Cultures Faculty of Arts and Social Sciences The University of Sydney -------------------------------------------- shayne bowden blog shaynebowden8.blogspot.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija.niskanen at gmail.com Tue Mar 16 00:39:22 2021 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Tue, 16 Mar 2021 06:39:22 +0200 Subject: [KineJapan] Festival World Shakeup! In-Reply-To: References: Message-ID: I am just wondering where Yatabe went. Finnish Film Foundation had good contacts with him. Hibiya area as main venue is a great choice. I always hated Roppongi, and remember with nostalgia when the fedstival used to take place in Shibuya. Eija Niskanen Programming director Helsinki Cine Aasia online 4/16.-18. www.helsinkicineaasia.fi +35850 3553189 > Markus Nornes via KineJapan kirjoitti 16.3.2021 kello 0.53: > > ? > https://2021.tiff-jp.net/news/en/?p=16325 > > Hisamatsu is out (maybe not such a big loss) > > Ichiyama is in (this is fantastic) > > Ichiyama has stepped down from Filmex (while staying on the board) and the dates will be concurrent with TIFF (moving both to something akin to Berlin). > > Interesting! I think this is a big deal. > > Markus > -- > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From jtj53213 at gmail.com Tue Mar 16 02:10:18 2021 From: jtj53213 at gmail.com (John Junkerman) Date: Tue, 16 Mar 2021 15:10:18 +0900 Subject: [KineJapan] Festival World Shakeup! In-Reply-To: References: Message-ID: Yatabe san was quite unhappy with the developments, and did not leave of his own volition. He's been our main contact for the Directors Guild screenings, and sent us a note, saying he's taking some time to assess his options. On Tue, Mar 16, 2021 at 1:39 PM Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > I am just wondering where Yatabe went. Finnish Film Foundation had good > contacts with him. > Hibiya area as main venue is a great choice. I always hated Roppongi, and > remember with nostalgia when the fedstival used to take place in Shibuya. > > Eija Niskanen > Programming director > Helsinki Cine Aasia online 4/16.-18. > www.helsinkicineaasia.fi > +35850 3553189 > > Markus Nornes via KineJapan kirjoitti > 16.3.2021 kello 0.53: > > ? > https://2021.tiff-jp.net/news/en/?p=16325 > > Hisamatsu is out (maybe not such a big loss) > > Ichiyama is in (this is fantastic) > > Ichiyama has stepped down from Filmex (while staying on the board) and the > dates will be concurrent with TIFF (moving both to something akin to > Berlin). > > Interesting! I think this is a big deal. > > Markus > -- > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- John Junkerman jtj53213 at gmail.com 2-18-6 Ehara-cho, Nakano Tokyo 165-0023 -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Tue Mar 16 06:51:14 2021 From: macyroger at yahoo.co.uk (Roger Macy) Date: Tue, 16 Mar 2021 10:51:14 +0000 (UTC) Subject: [KineJapan] Festival World Shakeup! In-Reply-To: References: Message-ID: <1572245351.1727736.1615891874689@mail.yahoo.com> Meanwhile, Yamagataare calling for entries for their festival, ?October 7th to 14th?.My experience has been that, if you book to stay for the entire posted period,there are very few films to see in the last couple of days, with about 75% ofthe festival happening in the middle weekend. ?That means that one body can only see about15% of the films. Exceptionally this year, I can?t see a public holidayextending that weekend. The media-viewing room had quite restricted places andhours, particularly in the last few days when it needed to be extended. ?I do hope they rethink the schedulingsomewhat. If some of us from overseas manage to battle through the quarantinerestrictions to get there, I do hope we can watch 7 days of films. Roger On Tuesday, 16 March 2021, 06:10:35 GMT, John Junkerman via KineJapan wrote: Yatabe san was quite unhappy with the developments, and did not leave of his own volition. He's been our main contact for the Directors Guild screenings, and sent us a note, saying he's taking some time to assess his options. On Tue, Mar 16, 2021 at 1:39 PM Eija Niskanen via KineJapan wrote: I am just wondering where Yatabe went. Finnish Film Foundation had good contacts with him.Hibiya area as main venue is a great choice. I always hated Roppongi, and remember with nostalgia when the fedstival used to take place in Shibuya. Eija NiskanenProgramming directorHelsinki Cine Aasia online 4/16.-18.www.helsinkicineaasia.fi+35850 3553189 Markus Nornes via KineJapan kirjoitti 16.3.2021 kello 0.53: ?https://2021.tiff-jp.net/news/en/?p=16325 Hisamatsu is out (maybe not such a big loss) Ichiyama is in (this is fantastic) Ichiyama has stepped down from Filmex (while staying on the board) and the dates will be concurrent with TIFF (moving both to something akin to Berlin). Interesting! I think this is a big deal. Markus-- ---? 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 -- John Junkermanjtj53213 at gmail.com2-18-6 Ehara-cho, NakanoTokyo 165-0023_______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From susanneschermann at yahoo.co.jp Tue Mar 16 23:40:42 2021 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Wed, 17 Mar 2021 12:40:42 +0900 (JST) Subject: [KineJapan] Otsuka Yasuo, 1931-2021 In-Reply-To: <1572245351.1727736.1615891874689@mail.yahoo.com> References: <1572245351.1727736.1615891874689@mail.yahoo.com> Message-ID: <930621667.824883.1615952442421.JavaMail.yahoo@mail.yahoo.co.jp> The great anime director ?tsuka Yasuo has died on March 15th. Forerunner of anime in many respects, with The Tale of the White Serpent, The Little Norse Prince, or Lupin Third. Collaborated with Miyazaki Hayao and Takahata Isao. Just as a first information, as he deserves a much more elaborated praise. Susanne -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija.niskanen at gmail.com Wed Mar 17 02:02:57 2021 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Wed, 17 Mar 2021 08:02:57 +0200 Subject: [KineJapan] Otsuka Yasuo, 1931-2021 In-Reply-To: <930621667.824883.1615952442421.JavaMail.yahoo@mail.yahoo.co.jp> References: <930621667.824883.1615952442421.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: <04229DF3-498C-42B0-9218-13120ACC53EC@gmail.com> I had the honor to meet him a few years back, when I was gathering information on the first Moomin animation, for which Otsuka animated the first 6 months at A-Production in 1969-70. Such an influential person. Eija Niskanen Programming director Helsinki Cine Aasia online 4/16.-18. www.helsinkicineaasia.fi +35850 3553189 > Schermann Susanne via KineJapan kirjoitti 17.3.2021 kello 5.40: > > ? > The great anime director ?tsuka Yasuo has died on March 15th. > Forerunner of anime in many respects, with The Tale of the White Serpent, The Little Norse Prince, or Lupin Third. Collaborated with Miyazaki Hayao and Takahata Isao. > Just as a first information, as he deserves a much more elaborated praise. > > Susanne > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Mar 26 09:02:18 2021 From: nornes at umich.edu (Markus Nornes) Date: Fri, 26 Mar 2021 07:02:18 -0600 Subject: [KineJapan] Rashomon question Message-ID: There seems to have been a problem with this message from Lorenzo, so I?m forwarding it here. Markus From: Lorenzo Javier Torres Hortelano Date: Fri, 26 Mar 2021 12:29:44 +0000 Subject: Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on *Rash?mon*. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: From lorenzojavier.torres.hortelano at urjc.es Fri Mar 26 09:14:25 2021 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Fri, 26 Mar 2021 13:14:25 +0000 Subject: [KineJapan] Rashomon question In-Reply-To: References: Message-ID: Thanks, Markus! [cid:image001.jpg at 01D7224A.528BB1D0] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu IP proyecto Europa Creativa http://theylive.eu/ De: KineJapan En nombre de Markus Nornes via KineJapan Enviado el: viernes, 26 de marzo de 2021 14:02 Para: Japanese Cinema Discussion Forum CC: Markus Nornes Asunto: [KineJapan] Rashomon question There seems to have been a problem with this message from Lorenzo, so I?m forwarding it here. Markus From: Lorenzo Javier Torres Hortelano Date: Fri, 26 Mar 2021 12:29:44 +0000 Subject: Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From dm6 at soas.ac.uk Fri Mar 26 09:15:41 2021 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Fri, 26 Mar 2021 13:15:41 +0000 Subject: [KineJapan] Rashomon question In-Reply-To: References: Message-ID: Sorry, I hadn?t seen this from Lorenzo. Samurai, of course, were initially the servants of the emperor, but you are correct that we tend to assume that the husband is a warrior/samurai (bushi) rather than some sort of minor bureaucratic official, however, early on I believe they could be both. Since Rashomon is set in the 12th century, just when the samurai were beginning to amass political power, I guess it?s a rather blurred line. Now I feel that I need to listen once again to the Japanese in the film to double check! Lola On Friday, 26 March 2021, Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > There seems to have been a problem with this message from Lorenzo, so > I?m forwarding it here. > > Markus > > > > From: Lorenzo Javier Torres Hortelano > Date: Fri, 26 Mar 2021 12:29:44 +0000 > Subject: Doubt on RASH?MON > > Dear colleagues, > > I?m contributing to Japan Foundation Spain, with a colleague, on a course > on *Rash?mon*. I just wanted to bring one apparent secondary doubt: the > man who is killed, is a public servant or a samurai? Is it both, taking in > mind the etymology of the word ?samurai?, ?saburau? or ?server?? > > In most of the synopsis you can find he is a samurai, but in Akutagawa?s > homonymous tale he is a ?public servant?. > -- > --- > > *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 > * > > -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: From lorenzojavier.torres.hortelano at urjc.es Fri Mar 26 09:20:31 2021 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Fri, 26 Mar 2021 13:20:31 +0000 Subject: [KineJapan] Rashomon question In-Reply-To: References: Message-ID: Thanks, Lola, that?s a very good point, I mean, thinking that it is both. In fact, it makes sense with the period, end of Heian?, as an era that is fading, but also the fading of the serving function, in front of the arising of the warrior level? Please, tell me of you see (listen) to it again. Best, [cid:image001.jpg at 01D7224B.2CD33610] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu IP proyecto Europa Creativa http://theylive.eu/ De: KineJapan En nombre de Dolores Martinez via KineJapan Enviado el: viernes, 26 de marzo de 2021 14:16 Para: Japanese Cinema Discussion Forum CC: Dolores Martinez Asunto: Re: [KineJapan] Rashomon question Sorry, I hadn?t seen this from Lorenzo. Samurai, of course, were initially the servants of the emperor, but you are correct that we tend to assume that the husband is a warrior/samurai (bushi) rather than some sort of minor bureaucratic official, however, early on I believe they could be both. Since Rashomon is set in the 12th century, just when the samurai were beginning to amass political power, I guess it?s a rather blurred line. Now I feel that I need to listen once again to the Japanese in the film to double check! Lola On Friday, 26 March 2021, Markus Nornes via KineJapan > wrote: There seems to have been a problem with this message from Lorenzo, so I?m forwarding it here. Markus From: Lorenzo Javier Torres Hortelano Date: Fri, 26 Mar 2021 12:29:44 +0000 Subject: Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From bobsummers at burlingtontelecom.net Fri Mar 26 14:20:09 2021 From: bobsummers at burlingtontelecom.net (bobsummers) Date: Fri, 26 Mar 2021 14:20:09 -0400 Subject: [KineJapan] Rashomon question In-Reply-To: References: Message-ID: <3632AAB5-97D1-48D8-841F-0825F8DFEE96@burlingtontelecom.net> > On Mar 26, 2021, at 9:02 AM, Markus Nornes via KineJapan wrote: > > There seems to have been a problem with this message from Lorenzo, so I?m forwarding it here. > > Markus > > > > From: Lorenzo Javier Torres Hortelano > Date: Fri, 26 Mar 2021 12:29:44 +0000 > Subject: Doubt on RASH?MON > Dear colleagues, > > I?m contributing to Japan Foundation Spain, with a colleague, on a course on Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? > > In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. > > -- > --- > > Markus Nornes > Professor of Asian Cinema > Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design > > Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From tkarsavina at yahoo.com Sat Mar 27 03:48:25 2021 From: tkarsavina at yahoo.com (Maria Jose Gonzalez) Date: Sat, 27 Mar 2021 07:48:25 +0000 (UTC) Subject: [KineJapan] Rashomon question In-Reply-To: References: Message-ID: <1722235273.725735.1616831305175@mail.yahoo.com> Interesting question. See my observations on this character, written rather casually but with some visuals, in the attached pdf file. Mar?a Jos? Gonz?lez Mu?ozKwansei UniversityNishinomiya, Japan On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan wrote: There seems to have been ? a problem with this message from Lorenzo, so I?m forwarding it here.? Markus From:?Lorenzo Javier Torres Hortelano? Date:?Fri, 26 Mar 2021 12:29:44 +0000 Subject:?Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on?Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- ---? Markus NornesProfessor of Asian CinemaDepartment of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design Department of Film, Television and Media6348 North Quad105 S. State StreetAnn Arbor, MI 48109-1285 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Rashomon-Kanazawa no Takehiro.pdf Type: application/pdf Size: 693413 bytes Desc: not available URL: From tkarsavina at yahoo.com Sat Mar 27 12:45:07 2021 From: tkarsavina at yahoo.com (Maria Jose Gonzalez) Date: Sat, 27 Mar 2021 16:45:07 +0000 (UTC) Subject: [KineJapan] Rashomon question In-Reply-To: <1722235273.725735.1616831305175@mail.yahoo.com> References: <1722235273.725735.1616831305175@mail.yahoo.com> Message-ID: <1879079101.695130.1616863507466@mail.yahoo.com> Shortly after I sent my previous message, I started thinking about Kyoto?s Aoi Matsuri, ?which serves as a parade of Heian Fashion, ?and realised that Rashomon?s Kanazawa must be a ???? (kebiishi), a ?? position that combined the duties of a judge and a policeman.After a search for Akutagawa in my library, one book confirmed that Kanazawa? s job in Akutagawa?s story is indeed that of ????(See attachment) Mar?a Jos? On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via KineJapan wrote: Interesting question. See my observations on this character, written rather casually but with some visuals, in the attached pdf file. Mar?a Jos? Gonz?lez Mu?ozKwansei UniversityNishinomiya, Japan On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan wrote: There seems to have been ? a problem with this message from Lorenzo, so I?m forwarding it here.? Markus From:?Lorenzo Javier Torres Hortelano? Date:?Fri, 26 Mar 2021 12:29:44 +0000 Subject:?Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on?Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- ---? 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 -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: C23CD03E-B123-4D8A-848E-5ACEF92AC685.jpeg Type: image/jpeg Size: 561264 bytes Desc: not available URL: From nornes at umich.edu Sun Mar 28 14:11:14 2021 From: nornes at umich.edu (Markus Nornes) Date: Sun, 28 Mar 2021 12:11:14 -0600 Subject: [KineJapan] 13 at A2FF Message-ID: *The 59th Ann Arbor Film Festival just announced this year's awards and a Japanese filmmaker took the top prize. * Isobe Shinya won the Ken Burns for Best of the Festival award. He's a grad of Zokeidai and the school at Image Forum. The film is 13 and filled me with awe. It starts out with a dot that drops into the upper left corner of the screen and for 13 seconds it streams to the lower right corner. It's the sun setting in time lapse. Then another dot and another and another and they start appearing in groups, moving across the same track. He shot the same view of the sunset in stop motion for 5 years. In the course of the film he uses a lighter neutral density filter and you see features and clouds along with the sun, and if your mind isn't already melting that does it. Wonderful, cosmic film. [image: image.jpeg] In addition to this, a German originally from Okayama won The No Violence Award. It's a short that's been taking awards at the big animation festivals and is nominated for best animated short at the Oscars. It's *Just a Guy *by Shoko Hara, an animated doc about serial killer Richard Ramirez's groupies. It's wild and disturbing and I watched it with my 90 year old parents. I had warned them that they were about to see some weird films, but that didn't prepare them for this madness. Really brilliant animation. It's actually online now: https://youtu.be/rMtkdFJTmFk Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image.jpeg Type: image/jpeg Size: 19409 bytes Desc: not available URL: From lorenzojavier.torres.hortelano at urjc.es Sun Mar 28 14:24:12 2021 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Sun, 28 Mar 2021 18:24:12 +0000 Subject: [KineJapan] Rashomon question In-Reply-To: <1879079101.695130.1616863507466@mail.yahoo.com> References: <1722235273.725735.1616831305175@mail.yahoo.com> <1879079101.695130.1616863507466@mail.yahoo.com> Message-ID: Dear M? Jos?, this and the first email are very interesting, thanks. We have good material to reflect on! In fact, you touch something I had already noticed, and that I reminded to my colleague: that Kanazawa is not a coward in the fight, no matter how much Tajomaru's violence makes him very cautious, and several times, wields his sword to take down the bandit. By your name maybe you can speak Spanish, in case you?re interested, here you have the first class session (of two; on 7 April will be the second): https://www.youtube.com/watch?v=gMkFvJbDRU4&t=2771s Its has been banned in some countries as I use video fragments (Youtube?!), in case it is your case, please, tell me and I can give you a link to my Onedrive -or to anyone who is interested and can understand Spanish. Best, [cid:image001.jpg at 01D7240F.2A5853A0] Lorenzo J. Torres Hortelano Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n Departamento de Ciencias de la Comunicaci?n y Sociolog?a Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu IP proyecto Europa Creativa http://theylive.eu/ De: KineJapan En nombre de Maria Jose Gonzalez via KineJapan Enviado el: s?bado, 27 de marzo de 2021 17:45 Para: Japanese Cinema Discussion Forum CC: Maria Jose Gonzalez Asunto: Re: [KineJapan] Rashomon question Shortly after I sent my previous message, I started thinking about Kyoto?s Aoi Matsuri, which serves as a parade of Heian Fashion, and realised that Rashomon?s Kanazawa must be a ???? (kebiishi), a ?? position that combined the duties of a judge and a policeman. After a search for Akutagawa in my library, one book confirmed that Kanazawa? s job in Akutagawa?s story is indeed that of ???? (See attachment) Mar?a Jos? On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via KineJapan > wrote: Interesting question. See my observations on this character, written rather casually but with some visuals, in the attached pdf file. Mar?a Jos? Gonz?lez Mu?oz Kwansei University Nishinomiya, Japan On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan > wrote: There seems to have been a problem with this message from Lorenzo, so I?m forwarding it here. Markus From: Lorenzo Javier Torres Hortelano Date: Fri, 26 Mar 2021 12:29:44 +0000 Subject: Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- --- [https://drive.google.com/a/umich.edu/uc?id=1i0izwlsrcSvQgU4nMCzTLiOhmdDMm-xZ&export=download] Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: image001.jpg URL: From jalekseyeva at gmail.com Sun Mar 28 18:28:22 2021 From: jalekseyeva at gmail.com (Julia Alekseyeva) Date: Sun, 28 Mar 2021 18:28:22 -0400 Subject: [KineJapan] Miryam Sas at Penn CIMS Message-ID: Dear KineJapaners, Miryam Sas will be giving a talk at Penn's Cinema and Media Studies colloquium this coming Wednesday (March 31) at 12 ET. The presentation will be on Zoom, and you can register at this link (you will need to pre-register in order to attend): https://upenn.zoom.us/meeting/register/tJEvcOitqD8vGtffgPq0-2OS9UBM45JtrdGH More information about the talk is found here: https://cinemastudies.sas.upenn.edu/events/2021/March/ColloquiumMiryamSas It will no doubt be brilliant, and I hope to see some of you there! -Julia Alekseyeva -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sun Mar 28 20:08:47 2021 From: matteo.boscarol at gmail.com (Asian Docs) Date: Mon, 29 Mar 2021 09:08:47 +0900 Subject: [KineJapan] 13 at A2FF In-Reply-To: References: Message-ID: thank you for sharing Markus, Just a Guy was....fascinating and disturbing to say the least... matteo On Mon, 29 Mar 2021, 03:11 Markus Nornes via KineJapan, < kinejapan at mailman.yale.edu> wrote: > *The 59th Ann Arbor Film Festival just announced this year's awards and a > Japanese filmmaker took the top prize. * > > Isobe Shinya won the Ken Burns for Best of the Festival award. He's a grad > of Zokeidai and the school at Image Forum. The film is 13 and filled me > with awe. It starts out with a dot that drops into the upper left corner of > the screen and for 13 seconds it streams to the lower right corner. It's > the sun setting in time lapse. Then another dot and another and another and > they start appearing in groups, moving across the same track. He shot the > same view of the sunset in stop motion for 5 years. In the course of the > film he uses a lighter neutral density filter and you see features and > clouds along with the sun, and if your mind isn't already melting that does > it. Wonderful, cosmic film. > > [image: image.jpeg] > > In addition to this, a German originally from Okayama won The No Violence > Award. It's a short that's been taking awards at the big animation > festivals and is nominated for best animated short at the Oscars. It's *Just > a Guy *by Shoko Hara, an animated doc about serial killer Richard > Ramirez's groupies. It's wild and disturbing and I watched it with my 90 > year old parents. I had warned them that they were about to see some weird > films, but that didn't prepare them for this madness. Really brilliant > animation. It's actually online now: https://youtu.be/rMtkdFJTmFk > > > Markus > > > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image.jpeg Type: image/jpeg Size: 19409 bytes Desc: not available URL: From tkarsavina at yahoo.com Mon Mar 29 04:16:31 2021 From: tkarsavina at yahoo.com (Maria Jose Gonzalez) Date: Mon, 29 Mar 2021 08:16:31 +0000 (UTC) Subject: [KineJapan] Rashomon question In-Reply-To: References: <1722235273.725735.1616831305175@mail.yahoo.com> <1879079101.695130.1616863507466@mail.yahoo.com> Message-ID: <2112042201.1065561.1617005791417@mail.yahoo.com> Hola Lorenzo.Indeed, I speak Spanish (from Barcelona) and indeed cannot access the link.;-) Mar?a Jos? On Monday, 29 March 2021, 03:24:15 AM GMT+9, Lorenzo Javier Torres Hortelano wrote: #yiv8562657440 #yiv8562657440 -- _filtered {} _filtered {} _filtered {} _filtered {} _filtered {} _filtered {}#yiv8562657440 #yiv8562657440 p.yiv8562657440MsoNormal, #yiv8562657440 li.yiv8562657440MsoNormal, #yiv8562657440 div.yiv8562657440MsoNormal {margin:0cm;font-size:11.0pt;font-family:sans-serif;}#yiv8562657440 a:link, #yiv8562657440 span.yiv8562657440MsoHyperlink {color:blue;text-decoration:underline;}#yiv8562657440 p.yiv8562657440ydp782357d2yiv4982064180ydp3f0e65d3yiv4214269239msonormal, #yiv8562657440 li.yiv8562657440ydp782357d2yiv4982064180ydp3f0e65d3yiv4214269239msonormal, #yiv8562657440 div.yiv8562657440ydp782357d2yiv4982064180ydp3f0e65d3yiv4214269239msonormal {margin-right:0cm;margin-left:0cm;font-size:11.0pt;font-family:sans-serif;}#yiv8562657440 span.yiv8562657440EstiloCorreo20 {font-family:serif;color:windowtext;}#yiv8562657440 .yiv8562657440MsoChpDefault {font-size:10.0pt;} _filtered {}#yiv8562657440 div.yiv8562657440WordSection1 {}#yiv8562657440 Dear M? Jos?, this and the first email are very interesting, thanks. We have good material to reflect on! ? In fact, you touch something I had already noticed, and that I reminded to my colleague: that Kanazawa is not a coward in the fight, no matter how much Tajomaru's violence makes him very cautious, and several times, wields his sword to take down the bandit. ? By your name maybe you can speak Spanish, in case you?re interested, here you have the first class session (of two; on 7 April will be the second):https://www.youtube.com/watch?v=gMkFvJbDRU4&t=2771s Its has been banned in some countries as I use video fragments (Youtube?!), in case it is your case, please, tell me and I can give you a link to my Onedrive -or to anyone who is interested and can understand Spanish. ? Best, ? ? Lorenzo J. Torres Hortelano? Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n? Departamento de Ciencias de la Comunicaci?n y Sociolog?a?? Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada? +34 91 488 73 11 lorenzojavier.torres.hortelano at urjc.es gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano researchgate.net/profile/Lorenzo_Torres Lorenzo Torres Academia.edu IP proyecto Europa Creativahttp://theylive.eu/ ? De: KineJapan En nombre de Maria Jose Gonzalez via KineJapan Enviado el: s?bado, 27 de marzo de 2021 17:45 Para: Japanese Cinema Discussion Forum CC: Maria Jose Gonzalez Asunto: Re: [KineJapan] Rashomon question ? Shortly after I sent my previous message, I started thinking about Kyoto?s Aoi Matsuri, ?which serves as a parade of Heian Fashion, ?and realised that Rashomon?s Kanazawa must be a ???? (kebiishi), a?? position that combined the duties of a judge and a policeman. After a search for Akutagawa in my library, one book confirmed that Kanazawa? s job in Akutagawa?s story is indeed that of???? (See attachment) ? Mar?a Jos? ? On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via KineJapan wrote: ? ? Interesting question. See my observations on this character, written rather casually but with some visuals, in the attached pdf file. ? ? Mar?a Jos? Gonz?lez Mu?oz Kwansei University Nishinomiya, Japan ? ? On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan wrote: ? ? There seems to have been ? a problem with this message from Lorenzo, so I?m forwarding it here.? ? Markus ? ? ? From:?Lorenzo Javier Torres Hortelano? Date:?Fri, 26 Mar 2021 12:29:44 +0000 Subject:?Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on?Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- ---? Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design ? Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 ? _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: not available URL: From dm6 at soas.ac.uk Mon Mar 29 06:13:49 2021 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Mon, 29 Mar 2021 10:13:49 +0000 Subject: [KineJapan] Rashomon question In-Reply-To: <2112042201.1065561.1617005791417@mail.yahoo.com> References: <1722235273.725735.1616831305175@mail.yahoo.com> <1879079101.695130.1616863507466@mail.yahoo.com> <2112042201.1065561.1617005791417@mail.yahoo.com> Message-ID: Just to note that Maria?s careful analysis adds another layer of meaning to the film as a postwar commentary: a samurai, perhaps even a law enforcer, was not able to protect his wife from a brigand, what does that say about Japan?s ?great? martial tradition? Think of shichinin no samurai and how difficult it is to get someone to protect the farmers and the revelation that the bandits are probably former samurai. Kurosawa never strayed far from his young leftist leanings (or as his great friend Honda put it when asked in a NHK documentary if it was true that Kurosawa had been a communist: Of course! We were all communists then!). The West had to gloss it as humanism, but it was a concern about structural injustice that was more to the left (but probably no longer Marxist) than that. Thank you Maria for your analysis and Lorenzo for asking the question. Lola On Monday, 29 March 2021, Maria Jose Gonzalez via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hola Lorenzo. > Indeed, I speak Spanish (from Barcelona) and indeed cannot access the link. > ;-) > > Mar?a Jos? > > On Monday, 29 March 2021, 03:24:15 AM GMT+9, Lorenzo Javier Torres > Hortelano wrote: > > > Dear M? Jos?, this and the first email are very interesting, thanks. We > have good material to reflect on! > > > > In fact, you touch something I had already noticed, and that I reminded to > my colleague: that Kanazawa is not a coward in the fight, no matter how > much Tajomaru's violence makes him very cautious, and several times, wields > his sword to take down the bandit. > > > > By your name maybe you can speak Spanish, in case you?re interested, here > you have the first class session (of two; on 7 April will be the second): > https://www.youtube.com/watch?v=gMkFvJbDRU4&t=2771s Its has been banned > in some countries as I use video fragments (Youtube?!), in case it is your > case, please, tell me and I can give you a link to my Onedrive -or to > anyone who is interested and can understand Spanish. > > > > Best, > > > > > > *Lorenzo J. Torres Hortelano * > > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > > *Vice-Dean of University Extension and International Relations* > > Profesor Titular/Professor > > Universidad Rey Juan Carlos > > Facultad de Ciencias de la Comunicaci?n > > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > > Edificio de Gesti?n - Decanato > > Camino del Molino s/n, 28943 Fuenlabrada > > +34 91 488 73 11 > > lorenzojavier.torres.hortelano at urjc.es > > gestion2.urjc.es/pdi/ver/lorenzojavier.torres.hortelano > > researchgate.net/profile/Lorenzo_Torres > > > Lorenzo Torres Academia.edu > > IP proyecto Europa Creativa http://theylive.eu/ > > > > *De:* KineJapan * En nombre de *Maria > Jose Gonzalez via KineJapan > *Enviado el:* s?bado, 27 de marzo de 2021 17:45 > *Para:* Japanese Cinema Discussion Forum > *CC:* Maria Jose Gonzalez > *Asunto:* Re: [KineJapan] Rashomon question > > > > Shortly after I sent my previous message, I started thinking about Kyoto?s > Aoi Matsuri, which serves as a parade of Heian Fashion, and realised that > Rashomon?s Kanazawa must be a ???? (kebiishi), a ?? position that > combined the duties of a judge and a policeman. > > After a search for Akutagawa in my library, one book confirmed that > Kanazawa? s job in Akutagawa?s story is indeed that of ???? > > (See attachment) > > > > Mar?a Jos? > > > > On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via > KineJapan wrote: > > > > > > Interesting question. > > See my observations on this character, written rather casually but with > some visuals, in the attached pdf file. > > > > > > Mar?a Jos? Gonz?lez Mu?oz > > Kwansei University > > Nishinomiya, Japan > > > > > > On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > > > > There seems to have been a problem with this message from Lorenzo, so > I?m forwarding it here. > > > > Markus > > > > > > > > From: Lorenzo Javier Torres Hortelano > Date: Fri, 26 Mar 2021 12:29:44 +0000 > Subject: Doubt on RASH?MON > > Dear colleagues, > > I?m contributing to Japan Foundation Spain, with a colleague, on a course > on *Rash?mon*. I just wanted to bring one apparent secondary doubt: the > man who is killed, is a public servant or a samurai? Is it both, taking in > mind the etymology of the word ?samurai?, ?saburau? or ?server?? > > In most of the synopsis you can find he is a samurai, but in Akutagawa?s > homonymous tale he is a ?public servant?. > > -- > > --- > > *Markus Nornes* > > *Professor of Asian Cinema* > > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > > > *Department of Film, Television and Media* > > *6348 North Quad* > > *105 S. State Street > * > > *Ann Arbor, MI 48109-1285 > * > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: not available URL: From dm6 at soas.ac.uk Mon Mar 29 13:38:17 2021 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Mon, 29 Mar 2021 18:38:17 +0100 Subject: [KineJapan] Rashomon question In-Reply-To: <467341270.1218489.1617039087407@mail.yahoo.com> References: <1722235273.725735.1616831305175@mail.yahoo.com> <1879079101.695130.1616863507466@mail.yahoo.com> <2112042201.1065561.1617005791417@mail.yahoo.com> <467341270.1218489.1617039087407@mail.yahoo.com> Message-ID: And of course, we mustn't forget that his wife, the star of Ichiban utsukushiku Yoko Yaguchi, was the woman's union leader and he notes she spent a lot of time arguing with him about his treatment of the actors during the filming. We really don't know enough about her -- born in Shanghai and obviously a woman of strong character. Thank you for the article and photos! Lola Dr Lola Martinez Reviews Editor, JRAI Emeritus Reader, SOAS Research Affiliate, ISCA, University of Oxford On Mon, 29 Mar 2021 at 18:31, Maria Jose Gonzalez wrote: > Of course, one of the great influences on Kurosawa's film were the > (postwar) Toho Labour Disputes and their corresponding strikes: > http://zip2000.server-shared.com/tohosougi.htm > > The very last paragraph in the article states: > *Those days of tense fighting in the barricades left a strong impression > on him (Kurosawa), as it was the only c**ombat experience he had been > to. It is said that this impression was visualised in the famous film "The > Seven Samurai".* > > If you take a look at some of the strikes photos, there is certainly a > resemblance with some Seven Samurai scenes (see attachments). > > > Mar?a Jos? Gonz?lez > Kwansei Gakuin University > Nishinomiya, Japan > > On Monday, 29 March 2021, 07:13:50 PM GMT+9, Dolores Martinez < > dm6 at soas.ac.uk> wrote: > > > Just to note that Maria?s careful analysis adds another layer of meaning > to the film as a postwar commentary: a samurai, perhaps even a law > enforcer, was not able to protect his wife from a brigand, what does that > say about Japan?s ?great? martial tradition? Think of shichinin no samurai > and how difficult it is to get someone to protect the farmers and the > revelation that the bandits are probably former samurai. Kurosawa never > strayed far from his young leftist leanings (or as his great friend Honda > put it when asked in a NHK documentary if it was true that Kurosawa had > been a communist: Of course! We were all communists then!). The West had to > gloss it as humanism, but it was a concern about structural injustice that > was more to the left (but probably no longer Marxist) than that. Thank you > Maria for your analysis and Lorenzo for asking the question. Lola > > On Monday, 29 March 2021, Maria Jose Gonzalez via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Hola Lorenzo. > Indeed, I speak Spanish (from Barcelona) and indeed cannot access the link. > ;-) > > Mar?a Jos? > > On Monday, 29 March 2021, 03:24:15 AM GMT+9, Lorenzo Javier Torres > Hortelano > wrote: > > > Dear M? Jos?, this and the first email are very interesting, thanks. We > have good material to reflect on! > > > > In fact, you touch something I had already noticed, and that I reminded to > my colleague: that Kanazawa is not a coward in the fight, no matter how > much Tajomaru's violence makes him very cautious, and several times, wields > his sword to take down the bandit. > > > > By your name maybe you can speak Spanish, in case you?re interested, here > you have the first class session (of two; on 7 April will be the second): https://www.youtube.com/watch? > v=gMkFvJbDRU4&t=2771s > Its has been banned > in some countries as I use video fragments (Youtube?!), in case it is your > case, please, tell me and I can give you a link to my Onedrive -or to > anyone who is interested and can understand Spanish. > > > > Best, > > > > > > *Lorenzo J. Torres Hortelano * > > *Vicedecano de Extensi?n Universitaria y Relaciones Internacionales* > > *Vice-Dean of University Extension and International Relations* > > Profesor Titular/Professor > > Universidad Rey Juan Carlos > > Facultad de Ciencias de la Comunicaci?n > > Departamento de Ciencias de la Comunicaci?n y Sociolog?a > > Edificio de Gesti?n - Decanato > > Camino del Molino s/n, 28943 Fuenlabrada > > +34 91 488 73 11 > > lorenzojavier.torres. hortelano at urjc.es > > > gestion2.urjc.es/pdi/ver/ lorenzojavier.torres.hortelano > > > researchgate.net/profile/ Lorenzo_Torres > > > Lorenzo Torres Academia.edu > > IP proyecto Europa Creativa http://theylive.eu/ > > > > *De:* KineJapan > * En nombre de *Maria Jose Gonzalez > via KineJapan > *Enviado el:* s?bado, 27 de marzo de 2021 17:45 > *Para:* Japanese Cinema Discussion Forum > *CC:* Maria Jose Gonzalez > *Asunto:* Re: [KineJapan] Rashomon question > > > > Shortly after I sent my previous message, I started thinking about Kyoto?s > Aoi Matsuri, which serves as a parade of Heian Fashion, and realised that > Rashomon?s Kanazawa must be a ???? (kebiishi), a ?? position that > combined the duties of a judge and a policeman. > > After a search for Akutagawa in my library, one book confirmed that > Kanazawa? s job in Akutagawa?s story is indeed that of ???? > > (See attachment) > > > > Mar?a Jos? > > > > On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via > KineJapan wrote: > > > > > > Interesting question. > > See my observations on this character, written rather casually but with > some visuals, in the attached pdf file. > > > > > > Mar?a Jos? Gonz?lez Mu?oz > > Kwansei University > > Nishinomiya, Japan > > > > > > On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > > > > There seems to have been a problem with this message from Lorenzo, so > I?m forwarding it here. > > > > Markus > > > > > > > > From: Lorenzo Javier Torres Hortelano > Date: Fri, 26 Mar 2021 12:29:44 +0000 > Subject: Doubt on RASH?MON > > Dear colleagues, > > I?m contributing to Japan Foundation Spain, with a colleague, on a course > on *Rash?mon*. I just wanted to bring one apparent secondary doubt: the > man who is killed, is a public servant or a samurai? Is it both, taking in > mind the etymology of the word ?samurai?, ?saburau? or ?server?? > > In most of the synopsis you can find he is a samurai, but in Akutagawa?s > homonymous tale he is a ?public servant?. > > -- > > --- > > *Markus Nornes* > > *Professor of Asian Cinema* > > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > > > *Department of Film, Television and Media* > > *6348 North Quad* > > *105 S. State Street > * > > *Ann Arbor, MI 48109-1285 > * > > > > ______________________________ _________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/ mailman/listinfo/kinejapan > > > ______________________________ _________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/ mailman/listinfo/kinejapan > > > > > -- > Sent from Gmail Mobile > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: not available URL: From timiles2003 at yahoo.com Mon Mar 29 21:45:50 2021 From: timiles2003 at yahoo.com (Tim Iles) Date: Tue, 30 Mar 2021 01:45:50 +0000 (UTC) Subject: [KineJapan] Help identifying two films with a connection to Bhutan... References: <82986845.997865.1617068750328.ref@mail.yahoo.com> Message-ID: <82986845.997865.1617068750328@mail.yahoo.com> Friends, a PhD candidate at the University of Toronto has asked me whether I could help him identify two Japanese films that have a connection with Bhutan--he?s described what he remembers of them, but they don?t ring any bells for me... Would anyone have any suggestions as to which films these might be? I quote the remembrances below: ?The movies played a vital role in culture connecting between Japan and Bhutan. ?Movie 1 The movie is basically set in Japan and it was a kind of a war movie (probably world war 2 ) the movie should be made in between 1970-1985 , the plot had the following scenes that I remember, the protagonist (who is a soldier) tries to save an elephant throughout the movie, he takes care of the elephant and tries to hide from the army, in a particular scene we see the army using a dog as a bomb carrier to send it enemy camp - this is the best I can remember. ?Movie 2 This movie is also from Japan based on two young friends ( kids aged 10-15 ) , one of them is chubby and tall and another short, both of them try to learn karate or some form of martial arts from others by watching others practices over a windows.? Many thanks to one and all! Best, Tim Iles University of Victoria From tkarsavina at yahoo.com Tue Mar 30 00:36:50 2021 From: tkarsavina at yahoo.com (Maria Jose Gonzalez) Date: Tue, 30 Mar 2021 04:36:50 +0000 (UTC) Subject: [KineJapan] Rashomon question In-Reply-To: References: <1722235273.725735.1616831305175@mail.yahoo.com> <1879079101.695130.1616863507466@mail.yahoo.com> <2112042201.1065561.1617005791417@mail.yahoo.com> <467341270.1218489.1617039087407@mail.yahoo.com> Message-ID: <992011114.1312704.1617079011049@mail.yahoo.com> Hello again Lola.I can see that some sources in English indicate that Yaguchi was born in Shanghai but it was actually Hong Kong.Her father was a foreign route purser, possibly with some relation to Japan Post?, in mainland China.?Later the family moved to Shanghai where Yaguchi shortly attended school before returning to Japan.Because she had been brought up as an ??? in a wealthy environment, she wasn't very good at cooking when she married Kurosawa which prompted her to take lessons, becoming then such a good cook that she would prepare o-bentos for staff and often had her house full of people coming to eat and drink.Her daughter explained in an interview that her mother often told her that "if the cooking is good, the husband always returns home" (a commonly used phrase in Japan). Mar?a Jos? Gonz?lezKwansei Gakuin UniversityNishinomiya, Japan On Tuesday, 30 March 2021, 02:38:52 AM GMT+9, Dolores Martinez wrote: And of course, we mustn't forget that his wife, the star of Ichiban utsukushiku Yoko Yaguchi, was the woman's union leader and he notes she spent a lot of time arguing with him about his treatment of the actors during the filming.? We really don't know enough about her -- born in Shanghai and obviously a woman of strong character.? Thank you for the article and photos! Lola Dr Lola Martinez Reviews Editor, JRAI Emeritus Reader, SOAS Research Affiliate, ISCA, University of Oxford On Mon, 29 Mar 2021 at 18:31, Maria Jose Gonzalez wrote: Of course, one of the great influences on Kurosawa's film were the (postwar) Toho Labour Disputes and their corresponding strikes:http://zip2000.server-shared.com/tohosougi.htm The very last paragraph in the article states:Those days of tense fighting in the barricades left a strong impression on him (Kurosawa), as it was the only combat experience he had ?been to. It is said that this impression was visualised in the famous film "The Seven Samurai". If you take a look at some of the strikes photos, there is certainly a resemblance with some Seven Samurai scenes (see attachments). Mar?a Jos? Gonz?lezKwansei Gakuin UniversityNishinomiya, Japan On Monday, 29 March 2021, 07:13:50 PM GMT+9, Dolores Martinez wrote: Just to note that Maria?s careful analysis adds another layer of meaning to the film as a postwar commentary: a samurai, perhaps even a law enforcer, was not able to protect his wife from a brigand, what does that say about Japan?s ?great? martial tradition? Think of shichinin no samurai and how difficult it is to get someone to protect the farmers and the revelation that the bandits are probably former samurai. Kurosawa never strayed far from his young leftist leanings (or as his great friend Honda put it when asked in a NHK documentary if it was true that Kurosawa had been a communist: Of course! We were all communists then!). The West had to gloss it as humanism, but it was a concern about structural injustice that was more to the left (but probably no longer Marxist) than that. Thank you Maria for your analysis and Lorenzo for asking the question. Lola? On Monday, 29 March 2021, Maria Jose Gonzalez via KineJapan wrote: Hola Lorenzo.Indeed, I speak Spanish (from Barcelona) and indeed cannot access the link.;-) Mar?a Jos? On Monday, 29 March 2021, 03:24:15 AM GMT+9, Lorenzo Javier Torres Hortelano wrote: Dear M? Jos?, this and the first email are very interesting, thanks. We have good material to reflect on! ? In fact, you touch something I had already noticed, and that I reminded to my colleague: that Kanazawa is not a coward in the fight, no matter how much Tajomaru's violence makes him very cautious, and several times, wields his sword to take down the bandit. ? By your name maybe you can speak Spanish, in case you?re interested, here you have the first class session (of two; on 7 April will be the second):https://www.youtube.com/watch? v=gMkFvJbDRU4&t=2771s Its has been banned in some countries as I use video fragments (Youtube?!), in case it is your case, please, tell me and I can give you a link to my Onedrive -or to anyone who is interested and can understand Spanish. ? Best, ? ? Lorenzo J. Torres Hortelano? Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n? Departamento de Ciencias de la Comunicaci?n y Sociolog?a?? Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada? +34 91 488 73 11 lorenzojavier.torres. hortelano at urjc.es gestion2.urjc.es/pdi/ver/ lorenzojavier.torres.hortelano researchgate.net/profile/ Lorenzo_Torres Lorenzo Torres Academia.edu IP proyecto Europa Creativahttp://theylive.eu/ ? De: KineJapan En nombre de Maria Jose Gonzalez via KineJapan Enviado el: s?bado, 27 de marzo de 2021 17:45 Para: Japanese Cinema Discussion Forum CC: Maria Jose Gonzalez Asunto: Re: [KineJapan] Rashomon question ? Shortly after I sent my previous message, I started thinking about Kyoto?s Aoi Matsuri, ?which serves as a parade of Heian Fashion, ?and realised that Rashomon?s Kanazawa must be a ???? (kebiishi), a?? position that combined the duties of a judge and a policeman. After a search for Akutagawa in my library, one book confirmed that Kanazawa? s job in Akutagawa?s story is indeed that of???? (See attachment) ? Mar?a Jos? ? On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via KineJapan wrote: ? ? Interesting question. See my observations on this character, written rather casually but with some visuals, in the attached pdf file. ? ? Mar?a Jos? Gonz?lez Mu?oz Kwansei University Nishinomiya, Japan ? ? On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan wrote: ? ? There seems to have been ? a problem with this message from Lorenzo, so I?m forwarding it here.? ? Markus ? ? ? From:?Lorenzo Javier Torres Hortelano? Date:?Fri, 26 Mar 2021 12:29:44 +0000 Subject:?Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on?Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- ---? Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design ? Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 ? ______________________________ _________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/ mailman/listinfo/kinejapan ______________________________ _________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/ mailman/listinfo/kinejapan -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.jpg Type: image/jpeg Size: 20323 bytes Desc: not available URL: From hilson4 at hawaii.edu Tue Mar 30 07:52:19 2021 From: hilson4 at hawaii.edu (Hilson Reidpath) Date: Tue, 30 Mar 2021 01:52:19 -1000 Subject: [KineJapan] 13 at A2FF In-Reply-To: References: Message-ID: Thank you for sharing this information. I am seeing that the Shoko Hara Youtube link is unavailable because it is private. Any idea if it is still viewable in any capacity? Thank you, Hilson Reidpath PhD Student in Japanese East Asian Language and Literature University of Hawai'i at M?noa On Sun, Mar 28, 2021 at 8:11 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > *The 59th Ann Arbor Film Festival just announced this year's awards and a > Japanese filmmaker took the top prize. * > > Isobe Shinya won the Ken Burns for Best of the Festival award. He's a grad > of Zokeidai and the school at Image Forum. The film is 13 and filled me > with awe. It starts out with a dot that drops into the upper left corner of > the screen and for 13 seconds it streams to the lower right corner. It's > the sun setting in time lapse. Then another dot and another and another and > they start appearing in groups, moving across the same track. He shot the > same view of the sunset in stop motion for 5 years. In the course of the > film he uses a lighter neutral density filter and you see features and > clouds along with the sun, and if your mind isn't already melting that does > it. Wonderful, cosmic film. > > [image: image.jpeg] > > In addition to this, a German originally from Okayama won The No Violence > Award. It's a short that's been taking awards at the big animation > festivals and is nominated for best animated short at the Oscars. It's *Just > a Guy *by Shoko Hara, an animated doc about serial killer Richard > Ramirez's groupies. It's wild and disturbing and I watched it with my 90 > year old parents. I had warned them that they were about to see some weird > films, but that didn't prepare them for this madness. Really brilliant > animation. It's actually online now: https://youtu.be/rMtkdFJTmFk > > > Markus > > > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image.jpeg Type: image/jpeg Size: 19409 bytes Desc: not available URL: From nornes at umich.edu Tue Mar 30 12:58:14 2021 From: nornes at umich.edu (Markus Nornes) Date: Tue, 30 Mar 2021 10:58:14 -0600 Subject: [KineJapan] 13 at A2FF In-Reply-To: References: Message-ID: I should have mentioned that if you run to the Ann Arbor Film Festival website you can watch the films online (for a reasonable ticket price). 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, Mar 30, 2021 at 5:52 AM Hilson Reidpath via KineJapan < kinejapan at mailman.yale.edu> wrote: > Thank you for sharing this information. I am seeing that the Shoko Hara > Youtube link is unavailable because it is private. Any idea if it is still > viewable in any capacity? > > Thank you, > > Hilson Reidpath > > PhD Student in Japanese > > East Asian Language and Literature > > University of Hawai'i at M?noa > > > > On Sun, Mar 28, 2021 at 8:11 AM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> *The 59th Ann Arbor Film Festival just announced this year's awards and a >> Japanese filmmaker took the top prize. * >> >> Isobe Shinya won the Ken Burns for Best of the Festival award. He's a >> grad of Zokeidai and the school at Image Forum. The film is 13 and >> filled me with awe. It starts out with a dot that drops into the upper left >> corner of the screen and for 13 seconds it streams to the lower right >> corner. It's the sun setting in time lapse. Then another dot and another >> and another and they start appearing in groups, moving across the same >> track. He shot the same view of the sunset in stop motion for 5 years. In >> the course of the film he uses a lighter neutral density filter and you see >> features and clouds along with the sun, and if your mind isn't already >> melting that does it. Wonderful, cosmic film. >> >> [image: image.jpeg] >> >> In addition to this, a German originally from Okayama won The No Violence >> Award. It's a short that's been taking awards at the big animation >> festivals and is nominated for best animated short at the Oscars. It's *Just >> a Guy *by Shoko Hara, an animated doc about serial killer Richard >> Ramirez's groupies. It's wild and disturbing and I watched it with my 90 >> year old parents. I had warned them that they were about to see some weird >> films, but that didn't prepare them for this madness. Really brilliant >> animation. It's actually online now: https://youtu.be/rMtkdFJTmFk >> >> >> Markus >> >> >> >> --- >> >> *Markus Nornes* >> *Professor of Asian Cinema* >> Department of Film, Television and Media, Department of Asian Languages >> and Cultures, Penny Stamps School of Art & Design >> >> *Department of Film, Television and Media* >> *6348 North Quad* >> *105 S. State Street* >> *Ann Arbor, MI 48109-1285* >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image.jpeg Type: image/jpeg Size: 19409 bytes Desc: not available URL: From eija.niskanen at gmail.com Tue Mar 30 13:39:05 2021 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Tue, 30 Mar 2021 20:39:05 +0300 Subject: [KineJapan] Fuji-Tv quote Message-ID: Hi! I remember that someone (a Japanese film critic?) has said along these lines: "Japan's biggest film studio is Fuji Television", referring to the current trend to make movies out of popular TV drama. But who was it, who said this? Eija Niskanen helsinkicineaasia.fi -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed Mar 31 10:45:31 2021 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 31 Mar 2021 10:45:31 -0400 Subject: [KineJapan] Brushed in Light: Calligraphy in East Asian Cinema Message-ID: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> Markus Nornes?s new book Brushed in Light: Calligraphy in East Asian Cinema, published by the University of Michigan Press, seems to now be available! You can download it for free from Fulcrum: https://www.fulcrum.org/concern/monographs/4t64gq206 Here is the blurb: Drawing on a millennia of calligraphy theory and history, Brushed in Light examines how the brushed word appears in films and in film cultures of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent era intertitles, subtitles, title frames, letters, graffiti, end titles, and props. Markus Nornes also looks at the role of calligraphy in film culture at large, from gifts to correspondence to advertising. The book begins with a historical dimension, tracking how calligraphy is initially used in early cinema and how it is continually rearticulated by transforming conventions and the integration of new technologies. These chapters ask how calligraphy creates new meaning in cinema and demonstrate how calligraphy, cinematography, and acting work together in a single film. The last part of the book moves to other regions of theory. Nornes explores the cinematization of the handwritten word and explores how calligraphers understand their own work. The online version is full of links to images, so you should check that out. But the hardbound book has the best images, so please have your library order it if you can. Aaron Gerow Professor Film and Media Studies Program/East Asian Languages and Literatures Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com From nornes at umich.edu Wed Mar 31 12:20:28 2021 From: nornes at umich.edu (Markus Nornes) Date: Wed, 31 Mar 2021 10:20:28 -0600 Subject: [KineJapan] Brushed in Light: Calligraphy in East Asian Cinema In-Reply-To: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> References: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> Message-ID: Oh, you beat me to it, Aaron! (The book's online version database is something of a work in progress, so I was waiting for an update to the keywords before announcing the book!) So this book sat on a back burner for over 30 years. Back in grad school at USC, I was eagerly watching every East Asian film I could get my hands on?at Chinatown and Little Tokyo theaters, Koreatown and Monterey Park supermarket videos, 16mm prints borrowed from the South Korean and Taiwanese consulates, art house retrospectives, the few VHS tapes on home video. I've always been fascinated by the relationship of text and screen, and couldn't help notice the wonderful ubiquity of calligraphy in the films. It was marvelous, lovely, and always creative (even when crude). For me, it was one thing that set East Asian film apart?or held it together. At the time, I thought this could make an interesting dissertation. I sheepishly spoke to a couple prominent Asian art historians. They almost laughed at me?"There's no calligraphy in film!" (You can read the book to find out their reasoning.) Long story short, they scared me off the topic and I set it aside but never forgot about it. Then in 2008-9, the Reischauer Institute graciously hosted me for a year. It was wonderful being around Stanley Cavell and David Rodowick?and revisiting their work?and suddenly something clicked. I figured out what I wanted to say about the cinematographic calligraph and moved the project to the front burner. I immersed myself in the subject. I visited the props departments of most of the major film studios. Talked to celebrated calligraphers. I quickly found that directors had nothing interesting to say, but propsmen and art directors and poster designers were brilliant and an absolute delight to talk to. It was so fun to research I hated to finish the writing. But I did, and now it's out. It is open access at: https://doi.org/10.3998/mpub.11373292 But I hope you get the ($40) hard back paper version. I wanted a book as beautiful as the subject matter, and the University of Michigan Press delivered for sure. I love the squarish design, the 150+ color images. I hope you can at least have your library order it. This was the first book I've ever written off a corpus. I was lucky to have undergraduate research assistants help me make framegrabs from the 30,000+ DVDs in our Donald Hall Collection. Students started at A and Z respectively, and met in the middle. When they were done, we had over 2,800 images of calligraphy from Japan, Taiwan, Hong Kong, PRC and South Korea. *And ALL of them are online*, and thoroughly linked to the online version of the book (click the "*Resources* " button to go straight into the image database). In some regards, I think it stretches the limits of the open access book. (Like I said, it's a work in progress. The captions and keywords are being updated little by little. This has been a huge project...) I've depended on so many people in the course of research and writing. Many of you are on KineJapan. I'm so grateful to you all. Hope you enjoy the book! Markus --- *Markus Nornes* *Professor of Asian Cinema* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street* *Ann Arbor, MI 48109-1285* On Wed, Mar 31, 2021 at 8:45 AM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > Markus Nornes?s new book Brushed in Light: Calligraphy in East Asian > Cinema, published by the University of Michigan Press, seems to now be > available! You can download it for free from Fulcrum: > > https://www.fulcrum.org/concern/monographs/4t64gq206 > > Here is the blurb: > > Drawing on a millennia of calligraphy theory and history, Brushed in Light > examines how the brushed word appears in films and in film cultures of > Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent era > intertitles, subtitles, title frames, letters, graffiti, end titles, and > props. Markus Nornes also looks at the role of calligraphy in film culture > at large, from gifts to correspondence to advertising. The book begins with > a historical dimension, tracking how calligraphy is initially used in early > cinema and how it is continually rearticulated by transforming conventions > and the integration of new technologies. These chapters ask how calligraphy > creates new meaning in cinema and demonstrate how calligraphy, > cinematography, and acting work together in a single film. The last part of > the book moves to other regions of theory. Nornes explores the > cinematization of the handwritten word and explores how calligraphers > understand their own work. > > The online version is full of links to images, so you should check that > out. But the hardbound book has the best images, so please have your > library order it if you can. > > > > > Aaron Gerow > Professor > Film and Media Studies Program/East Asian Languages and Literatures > Chair, East Asian Languages and Literatures > Yale University > 320 York Street, Room 108 > PO Box 208201 > New Haven, CT 06520-8201 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pslarson2 at gmail.com Wed Mar 31 12:37:23 2021 From: pslarson2 at gmail.com (Peter Larson) Date: Wed, 31 Mar 2021 12:37:23 -0400 Subject: [KineJapan] Brushed in Light: Calligraphy in East Asian Cinema In-Reply-To: References: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> Message-ID: Wow! Just perused it a bit and it looks really great, I am excited to read it. Congratulations! On Wed, Mar 31, 2021 at 12:20 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Oh, you beat me to it, Aaron! (The book's online version database is > something of a work in progress, so I was waiting for an update to the > keywords before announcing the book!) > > So this book sat on a back burner for over 30 years. Back in grad school > at USC, I was eagerly watching every East Asian film I could get my hands > on?at Chinatown and Little Tokyo theaters, Koreatown and Monterey Park > supermarket videos, 16mm prints borrowed from the South Korean and > Taiwanese consulates, art house retrospectives, the few VHS tapes on home > video. I've always been fascinated by the relationship of text and screen, > and couldn't help notice the wonderful ubiquity of calligraphy in the > films. It was marvelous, lovely, and always creative (even when crude). For > me, it was one thing that set East Asian film apart?or held it together. > > At the time, I thought this could make an interesting dissertation. I > sheepishly spoke to a couple prominent Asian art historians. They almost > laughed at me?"There's no calligraphy in film!" (You can read the book to > find out their reasoning.) Long story short, they scared me off the topic > and I set it aside but never forgot about it. > > Then in 2008-9, the Reischauer Institute graciously hosted me for a year. > It was wonderful being around Stanley Cavell and David Rodowick?and > revisiting their work?and suddenly something clicked. I figured out what I > wanted to say about the cinematographic calligraph and moved the project to > the front burner. > > I immersed myself in the subject. I visited the props departments of most > of the major film studios. Talked to celebrated calligraphers. I quickly > found that directors had nothing interesting to say, but propsmen and art > directors and poster designers were brilliant and an absolute delight > to talk to. It was so fun to research I hated to finish the writing. > > But I did, and now it's out. It is open access at: > https://doi.org/10.3998/mpub.11373292 > > But I hope you get the ($40) hard back paper version. I wanted a book as > beautiful as the subject matter, and the University of Michigan Press > delivered for sure. I love the squarish design, the 150+ color images. I > hope you can at least have your library order it. > > This was the first book I've ever written off a corpus. I was lucky to > have undergraduate research assistants help me make framegrabs from the > 30,000+ DVDs in our Donald Hall Collection. Students started at A and Z > respectively, and met in the middle. When they were done, we had over 2,800 > images of calligraphy from Japan, Taiwan, Hong Kong, PRC and South Korea. > > *And ALL of them are online*, and thoroughly linked to the online version > of the book (click the "*Resources* > " button > to go straight into the image database). In some regards, I think it > stretches the limits of the open access book. (Like I said, it's a work in > progress. The captions and keywords are being updated little by little. > This has been a huge project...) > > I've depended on so many people in the course of research and writing. > Many of you are on KineJapan. I'm so grateful to you all. > > Hope you enjoy the book! > > Markus > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Wed, Mar 31, 2021 at 8:45 AM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Markus Nornes?s new book Brushed in Light: Calligraphy in East Asian >> Cinema, published by the University of Michigan Press, seems to now be >> available! You can download it for free from Fulcrum: >> >> https://www.fulcrum.org/concern/monographs/4t64gq206 >> >> Here is the blurb: >> >> Drawing on a millennia of calligraphy theory and history, Brushed in >> Light examines how the brushed word appears in films and in film cultures >> of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent >> era intertitles, subtitles, title frames, letters, graffiti, end titles, >> and props. Markus Nornes also looks at the role of calligraphy in film >> culture at large, from gifts to correspondence to advertising. The book >> begins with a historical dimension, tracking how calligraphy is initially >> used in early cinema and how it is continually rearticulated by >> transforming conventions and the integration of new technologies. These >> chapters ask how calligraphy creates new meaning in cinema and demonstrate >> how calligraphy, cinematography, and acting work together in a single film. >> The last part of the book moves to other regions of theory. Nornes explores >> the cinematization of the handwritten word and explores how calligraphers >> understand their own work. >> >> The online version is full of links to images, so you should check that >> out. But the hardbound book has the best images, so please have your >> library order it if you can. >> >> >> >> >> Aaron Gerow >> Professor >> Film and Media Studies Program/East Asian Languages and Literatures >> Chair, East Asian Languages and Literatures >> Yale University >> 320 York Street, Room 108 >> PO Box 208201 >> New Haven, CT 06520-8201 >> 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From raine.michael.j at gmail.com Wed Mar 31 13:14:21 2021 From: raine.michael.j at gmail.com (Michael Raine) Date: Wed, 31 Mar 2021 12:14:21 -0500 Subject: [KineJapan] Brushed in Light: Calligraphy in East Asian Cinema In-Reply-To: References: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> Message-ID: Thank you Markus -- for writing the book and making it freely available. I'll be ordering a physical copy too -- looks beautiful! Michael On Wed, Mar 31, 2021 at 11:20 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Oh, you beat me to it, Aaron! (The book's online version database is > something of a work in progress, so I was waiting for an update to the > keywords before announcing the book!) > > So this book sat on a back burner for over 30 years. Back in grad school > at USC, I was eagerly watching every East Asian film I could get my hands > on?at Chinatown and Little Tokyo theaters, Koreatown and Monterey Park > supermarket videos, 16mm prints borrowed from the South Korean and > Taiwanese consulates, art house retrospectives, the few VHS tapes on home > video. I've always been fascinated by the relationship of text and screen, > and couldn't help notice the wonderful ubiquity of calligraphy in the > films. It was marvelous, lovely, and always creative (even when crude). For > me, it was one thing that set East Asian film apart?or held it together. > > At the time, I thought this could make an interesting dissertation. I > sheepishly spoke to a couple prominent Asian art historians. They almost > laughed at me?"There's no calligraphy in film!" (You can read the book to > find out their reasoning.) Long story short, they scared me off the topic > and I set it aside but never forgot about it. > > Then in 2008-9, the Reischauer Institute graciously hosted me for a year. > It was wonderful being around Stanley Cavell and David Rodowick?and > revisiting their work?and suddenly something clicked. I figured out what I > wanted to say about the cinematographic calligraph and moved the project to > the front burner. > > I immersed myself in the subject. I visited the props departments of most > of the major film studios. Talked to celebrated calligraphers. I quickly > found that directors had nothing interesting to say, but propsmen and art > directors and poster designers were brilliant and an absolute delight > to talk to. It was so fun to research I hated to finish the writing. > > But I did, and now it's out. It is open access at: > https://doi.org/10.3998/mpub.11373292 > > But I hope you get the ($40) hard back paper version. I wanted a book as > beautiful as the subject matter, and the University of Michigan Press > delivered for sure. I love the squarish design, the 150+ color images. I > hope you can at least have your library order it. > > This was the first book I've ever written off a corpus. I was lucky to > have undergraduate research assistants help me make framegrabs from the > 30,000+ DVDs in our Donald Hall Collection. Students started at A and Z > respectively, and met in the middle. When they were done, we had over 2,800 > images of calligraphy from Japan, Taiwan, Hong Kong, PRC and South Korea. > > *And ALL of them are online*, and thoroughly linked to the online version > of the book (click the "*Resources* > " button > to go straight into the image database). In some regards, I think it > stretches the limits of the open access book. (Like I said, it's a work in > progress. The captions and keywords are being updated little by little. > This has been a huge project...) > > I've depended on so many people in the course of research and writing. > Many of you are on KineJapan. I'm so grateful to you all. > > Hope you enjoy the book! > > Markus > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Wed, Mar 31, 2021 at 8:45 AM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Markus Nornes?s new book Brushed in Light: Calligraphy in East Asian >> Cinema, published by the University of Michigan Press, seems to now be >> available! You can download it for free from Fulcrum: >> >> https://www.fulcrum.org/concern/monographs/4t64gq206 >> >> Here is the blurb: >> >> Drawing on a millennia of calligraphy theory and history, Brushed in >> Light examines how the brushed word appears in films and in film cultures >> of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent >> era intertitles, subtitles, title frames, letters, graffiti, end titles, >> and props. Markus Nornes also looks at the role of calligraphy in film >> culture at large, from gifts to correspondence to advertising. The book >> begins with a historical dimension, tracking how calligraphy is initially >> used in early cinema and how it is continually rearticulated by >> transforming conventions and the integration of new technologies. These >> chapters ask how calligraphy creates new meaning in cinema and demonstrate >> how calligraphy, cinematography, and acting work together in a single film. >> The last part of the book moves to other regions of theory. Nornes explores >> the cinematization of the handwritten word and explores how calligraphers >> understand their own work. >> >> The online version is full of links to images, so you should check that >> out. But the hardbound book has the best images, so please have your >> library order it if you can. >> >> >> >> >> Aaron Gerow >> Professor >> Film and Media Studies Program/East Asian Languages and Literatures >> Chair, East Asian Languages and Literatures >> Yale University >> 320 York Street, Room 108 >> PO Box 208201 >> New Haven, CT 06520-8201 >> 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From odoriko21 at gmail.com Wed Mar 31 14:10:43 2021 From: odoriko21 at gmail.com (LCE) Date: Wed, 31 Mar 2021 14:10:43 -0400 Subject: [KineJapan] Brushed in Light: Calligraphy in East Asian Cinema In-Reply-To: References: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> Message-ID: It's an excellent idea for a book, Markus. Thank you. On Wed, Mar 31, 2021 at 12:20 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Oh, you beat me to it, Aaron! (The book's online version database is > something of a work in progress, so I was waiting for an update to the > keywords before announcing the book!) > > So this book sat on a back burner for over 30 years. Back in grad school > at USC, I was eagerly watching every East Asian film I could get my hands > on?at Chinatown and Little Tokyo theaters, Koreatown and Monterey Park > supermarket videos, 16mm prints borrowed from the South Korean and > Taiwanese consulates, art house retrospectives, the few VHS tapes on home > video. I've always been fascinated by the relationship of text and screen, > and couldn't help notice the wonderful ubiquity of calligraphy in the > films. It was marvelous, lovely, and always creative (even when crude). For > me, it was one thing that set East Asian film apart?or held it together. > > At the time, I thought this could make an interesting dissertation. I > sheepishly spoke to a couple prominent Asian art historians. They almost > laughed at me?"There's no calligraphy in film!" (You can read the book to > find out their reasoning.) Long story short, they scared me off the topic > and I set it aside but never forgot about it. > > Then in 2008-9, the Reischauer Institute graciously hosted me for a year. > It was wonderful being around Stanley Cavell and David Rodowick?and > revisiting their work?and suddenly something clicked. I figured out what I > wanted to say about the cinematographic calligraph and moved the project to > the front burner. > > I immersed myself in the subject. I visited the props departments of most > of the major film studios. Talked to celebrated calligraphers. I quickly > found that directors had nothing interesting to say, but propsmen and art > directors and poster designers were brilliant and an absolute delight > to talk to. It was so fun to research I hated to finish the writing. > > But I did, and now it's out. It is open access at: > https://doi.org/10.3998/mpub.11373292 > > But I hope you get the ($40) hard back paper version. I wanted a book as > beautiful as the subject matter, and the University of Michigan Press > delivered for sure. I love the squarish design, the 150+ color images. I > hope you can at least have your library order it. > > This was the first book I've ever written off a corpus. I was lucky to > have undergraduate research assistants help me make framegrabs from the > 30,000+ DVDs in our Donald Hall Collection. Students started at A and Z > respectively, and met in the middle. When they were done, we had over 2,800 > images of calligraphy from Japan, Taiwan, Hong Kong, PRC and South Korea. > > *And ALL of them are online*, and thoroughly linked to the online version > of the book (click the "*Resources* > " button > to go straight into the image database). In some regards, I think it > stretches the limits of the open access book. (Like I said, it's a work in > progress. The captions and keywords are being updated little by little. > This has been a huge project...) > > I've depended on so many people in the course of research and writing. > Many of you are on KineJapan. I'm so grateful to you all. > > Hope you enjoy the book! > > Markus > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street* > *Ann Arbor, MI 48109-1285* > > > > On Wed, Mar 31, 2021 at 8:45 AM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Markus Nornes?s new book Brushed in Light: Calligraphy in East Asian >> Cinema, published by the University of Michigan Press, seems to now be >> available! You can download it for free from Fulcrum: >> >> https://www.fulcrum.org/concern/monographs/4t64gq206 >> >> Here is the blurb: >> >> Drawing on a millennia of calligraphy theory and history, Brushed in >> Light examines how the brushed word appears in films and in film cultures >> of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent >> era intertitles, subtitles, title frames, letters, graffiti, end titles, >> and props. Markus Nornes also looks at the role of calligraphy in film >> culture at large, from gifts to correspondence to advertising. The book >> begins with a historical dimension, tracking how calligraphy is initially >> used in early cinema and how it is continually rearticulated by >> transforming conventions and the integration of new technologies. These >> chapters ask how calligraphy creates new meaning in cinema and demonstrate >> how calligraphy, cinematography, and acting work together in a single film. >> The last part of the book moves to other regions of theory. Nornes explores >> the cinematization of the handwritten word and explores how calligraphers >> understand their own work. >> >> The online version is full of links to images, so you should check that >> out. But the hardbound book has the best images, so please have your >> library order it if you can. >> >> >> >> >> Aaron Gerow >> Professor >> Film and Media Studies Program/East Asian Languages and Literatures >> Chair, East Asian Languages and Literatures >> Yale University >> 320 York Street, Room 108 >> PO Box 208201 >> New Haven, CT 06520-8201 >> 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From steven.elworth at gmail.com Wed Mar 31 14:26:55 2021 From: steven.elworth at gmail.com (Steven Elworth) Date: Wed, 31 Mar 2021 14:26:55 -0400 Subject: [KineJapan] Brushed in Light: Calligraphy in East Asian Cinema In-Reply-To: References: <4309357E-7931-4409-8D30-37A445FCF057@yale.edu> Message-ID: Thank you so much Markus. And I love that it is covering all five East Asian cinemas that I love so much. On Wed, Mar 31, 2021 at 2:10 PM LCE via KineJapan < kinejapan at mailman.yale.edu> wrote: > It's an excellent idea for a book, Markus. Thank you. > > On Wed, Mar 31, 2021 at 12:20 PM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Oh, you beat me to it, Aaron! (The book's online version database is >> something of a work in progress, so I was waiting for an update to the >> keywords before announcing the book!) >> >> So this book sat on a back burner for over 30 years. Back in grad school >> at USC, I was eagerly watching every East Asian film I could get my hands >> on?at Chinatown and Little Tokyo theaters, Koreatown and Monterey Park >> supermarket videos, 16mm prints borrowed from the South Korean and >> Taiwanese consulates, art house retrospectives, the few VHS tapes on home >> video. I've always been fascinated by the relationship of text and screen, >> and couldn't help notice the wonderful ubiquity of calligraphy in the >> films. It was marvelous, lovely, and always creative (even when crude). For >> me, it was one thing that set East Asian film apart?or held it together. >> >> At the time, I thought this could make an interesting dissertation. I >> sheepishly spoke to a couple prominent Asian art historians. They almost >> laughed at me?"There's no calligraphy in film!" (You can read the book to >> find out their reasoning.) Long story short, they scared me off the topic >> and I set it aside but never forgot about it. >> >> Then in 2008-9, the Reischauer Institute graciously hosted me for a year. >> It was wonderful being around Stanley Cavell and David Rodowick?and >> revisiting their work?and suddenly something clicked. I figured out what I >> wanted to say about the cinematographic calligraph and moved the project to >> the front burner. >> >> I immersed myself in the subject. I visited the props departments of most >> of the major film studios. Talked to celebrated calligraphers. I quickly >> found that directors had nothing interesting to say, but propsmen and art >> directors and poster designers were brilliant and an absolute delight >> to talk to. It was so fun to research I hated to finish the writing. >> >> But I did, and now it's out. It is open access at: >> https://doi.org/10.3998/mpub.11373292 >> >> But I hope you get the ($40) hard back paper version. I wanted a book as >> beautiful as the subject matter, and the University of Michigan Press >> delivered for sure. I love the squarish design, the 150+ color images. I >> hope you can at least have your library order it. >> >> This was the first book I've ever written off a corpus. I was lucky to >> have undergraduate research assistants help me make framegrabs from the >> 30,000+ DVDs in our Donald Hall Collection. Students started at A and Z >> respectively, and met in the middle. When they were done, we had over 2,800 >> images of calligraphy from Japan, Taiwan, Hong Kong, PRC and South Korea. >> >> *And ALL of them are online*, and thoroughly linked to the online >> version of the book (click the "*Resources* >> " button >> to go straight into the image database). In some regards, I think it >> stretches the limits of the open access book. (Like I said, it's a work in >> progress. The captions and keywords are being updated little by little. >> This has been a huge project...) >> >> I've depended on so many people in the course of research and writing. >> Many of you are on KineJapan. I'm so grateful to you all. >> >> Hope you enjoy the book! >> >> Markus >> >> --- >> >> *Markus Nornes* >> *Professor of Asian Cinema* >> Department of Film, Television and Media, Department of Asian Languages >> and Cultures, Penny Stamps School of Art & Design >> >> *Department of Film, Television and Media* >> *6348 North Quad* >> *105 S. State Street >> * >> *Ann Arbor, MI 48109-1285 >> * >> >> >> >> On Wed, Mar 31, 2021 at 8:45 AM Gerow Aaron via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> Markus Nornes?s new book Brushed in Light: Calligraphy in East Asian >>> Cinema, published by the University of Michigan Press, seems to now be >>> available! You can download it for free from Fulcrum: >>> >>> https://www.fulcrum.org/concern/monographs/4t64gq206 >>> >>> Here is the blurb: >>> >>> Drawing on a millennia of calligraphy theory and history, Brushed in >>> Light examines how the brushed word appears in films and in film cultures >>> of Korea, Japan, Taiwan, Hong Kong, and PRC cinemas. This includes silent >>> era intertitles, subtitles, title frames, letters, graffiti, end titles, >>> and props. Markus Nornes also looks at the role of calligraphy in film >>> culture at large, from gifts to correspondence to advertising. The book >>> begins with a historical dimension, tracking how calligraphy is initially >>> used in early cinema and how it is continually rearticulated by >>> transforming conventions and the integration of new technologies. These >>> chapters ask how calligraphy creates new meaning in cinema and demonstrate >>> how calligraphy, cinematography, and acting work together in a single film. >>> The last part of the book moves to other regions of theory. Nornes explores >>> the cinematization of the handwritten word and explores how calligraphers >>> understand their own work. >>> >>> The online version is full of links to images, so you should check that >>> out. But the hardbound book has the best images, so please have your >>> library order it if you can. >>> >>> >>> >>> >>> Aaron Gerow >>> Professor >>> Film and Media Studies Program/East Asian Languages and Literatures >>> Chair, East Asian Languages and Literatures >>> Yale University >>> 320 York Street, Room 108 >>> >>> PO Box 208201 >>> New Haven, CT 06520-8201 >>> 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 > -------------- next part -------------- An HTML attachment was scrubbed... URL: From tkarsavina at yahoo.com Mon Mar 29 13:31:24 2021 From: tkarsavina at yahoo.com (Maria Jose Gonzalez) Date: Mon, 29 Mar 2021 17:31:24 +0000 (UTC) Subject: [KineJapan] Rashomon question In-Reply-To: References: <1722235273.725735.1616831305175@mail.yahoo.com> <1879079101.695130.1616863507466@mail.yahoo.com> <2112042201.1065561.1617005791417@mail.yahoo.com> Message-ID: <467341270.1218489.1617039087407@mail.yahoo.com> Of course, one of the great influences on Kurosawa's film were the (postwar) Toho Labour Disputes and their corresponding strikes:http://zip2000.server-shared.com/tohosougi.htm The very last paragraph in the article states:Those days of tense fighting in the barricades left a strong impression on him (Kurosawa), as it was the only combat experience he had ?been to. It is said that this impression was visualised in the famous film "The Seven Samurai". If you take a look at some of the strikes photos, there is certainly a resemblance with some Seven Samurai scenes (see attachments). Mar?a Jos? Gonz?lezKwansei Gakuin UniversityNishinomiya, Japan On Monday, 29 March 2021, 07:13:50 PM GMT+9, Dolores Martinez wrote: Just to note that Maria?s careful analysis adds another layer of meaning to the film as a postwar commentary: a samurai, perhaps even a law enforcer, was not able to protect his wife from a brigand, what does that say about Japan?s ?great? martial tradition? Think of shichinin no samurai and how difficult it is to get someone to protect the farmers and the revelation that the bandits are probably former samurai. Kurosawa never strayed far from his young leftist leanings (or as his great friend Honda put it when asked in a NHK documentary if it was true that Kurosawa had been a communist: Of course! We were all communists then!). The West had to gloss it as humanism, but it was a concern about structural injustice that was more to the left (but probably no longer Marxist) than that. Thank you Maria for your analysis and Lorenzo for asking the question. Lola? On Monday, 29 March 2021, Maria Jose Gonzalez via KineJapan wrote: Hola Lorenzo.Indeed, I speak Spanish (from Barcelona) and indeed cannot access the link.;-) Mar?a Jos? On Monday, 29 March 2021, 03:24:15 AM GMT+9, Lorenzo Javier Torres Hortelano wrote: Dear M? Jos?, this and the first email are very interesting, thanks. We have good material to reflect on! ? In fact, you touch something I had already noticed, and that I reminded to my colleague: that Kanazawa is not a coward in the fight, no matter how much Tajomaru's violence makes him very cautious, and several times, wields his sword to take down the bandit. ? By your name maybe you can speak Spanish, in case you?re interested, here you have the first class session (of two; on 7 April will be the second):https://www.youtube.com/watch? v=gMkFvJbDRU4&t=2771s Its has been banned in some countries as I use video fragments (Youtube?!), in case it is your case, please, tell me and I can give you a link to my Onedrive -or to anyone who is interested and can understand Spanish. ? Best, ? ? Lorenzo J. Torres Hortelano? Vicedecano de Extensi?n Universitaria y Relaciones Internacionales Vice-Dean of University Extension and International Relations Profesor Titular/Professor Universidad Rey Juan Carlos Facultad de Ciencias de la Comunicaci?n? Departamento de Ciencias de la Comunicaci?n y Sociolog?a?? Edificio de Gesti?n - Decanato Camino del Molino s/n, 28943 Fuenlabrada? +34 91 488 73 11 lorenzojavier.torres. hortelano at urjc.es gestion2.urjc.es/pdi/ver/ lorenzojavier.torres.hortelano researchgate.net/profile/ Lorenzo_Torres Lorenzo Torres Academia.edu IP proyecto Europa Creativahttp://theylive.eu/ ? De: KineJapan En nombre de Maria Jose Gonzalez via KineJapan Enviado el: s?bado, 27 de marzo de 2021 17:45 Para: Japanese Cinema Discussion Forum CC: Maria Jose Gonzalez Asunto: Re: [KineJapan] Rashomon question ? Shortly after I sent my previous message, I started thinking about Kyoto?s Aoi Matsuri, ?which serves as a parade of Heian Fashion, ?and realised that Rashomon?s Kanazawa must be a ???? (kebiishi), a?? position that combined the duties of a judge and a policeman. After a search for Akutagawa in my library, one book confirmed that Kanazawa? s job in Akutagawa?s story is indeed that of???? (See attachment) ? Mar?a Jos? ? On Saturday, 27 March 2021, 04:50:04 PM GMT+9, Maria Jose Gonzalez via KineJapan wrote: ? ? Interesting question. See my observations on this character, written rather casually but with some visuals, in the attached pdf file. ? ? Mar?a Jos? Gonz?lez Mu?oz Kwansei University Nishinomiya, Japan ? ? On Friday, 26 March 2021, 10:02:54 PM GMT+9, Markus Nornes via KineJapan wrote: ? ? There seems to have been ? a problem with this message from Lorenzo, so I?m forwarding it here.? ? Markus ? ? ? From:?Lorenzo Javier Torres Hortelano? Date:?Fri, 26 Mar 2021 12:29:44 +0000 Subject:?Doubt on RASH?MON Dear colleagues, I?m contributing to Japan Foundation Spain, with a colleague, on a course on?Rash?mon. I just wanted to bring one apparent secondary doubt: the man who is killed, is a public servant or a samurai? Is it both, taking in mind the etymology of the word ?samurai?, ?saburau? or ?server?? In most of the synopsis you can find he is a samurai, but in Akutagawa?s homonymous tale he is a ?public servant?. -- ---? Markus Nornes Professor of Asian Cinema Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps?School of Art & Design ? Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 ? ______________________________ _________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/ mailman/listinfo/kinejapan ______________________________ _________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/ mailman/listinfo/kinejapan -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... 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