[KineJapan] Fw: Wartime archive uncovering at Amsterdam

[Roger Macy]

I didn’t get any suggestion that he had ‘found’ thesearchives, and they were all very well labelled and catalogued with Japanesenames. It seems quite likely he was tapped to do the film because of the familyconnection, and his recovered family history could  connect as recovered history for a wideraudience. Shin’ichi concludes with a comment that he is content to ‘hear’ thishistory through his father’s films, rather than having heard it in person. Perhapsthat’s rather accepting of a denialist stance but valid as a comment on film astestimony.

As a footnote, I see no reason why British and French couldn’t have hadequally rich archives with different attitudes.

I got to see it by buying a press pass at €53, so I need to binge overthe weekend to get my money’s worth. Now that the film has premiered in a theatre,I think you should be able to buy a digital viewing at this hybrid festival.

Thanks for this link. It mentions Batavia,so it’s going to include Javan films. I’d need to go through it to check. Butit sounds like you know more.

Roger


   ----- Forwarded message ----- From: quentin turnour <unkleque at yahoo.com.au>To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>Cc: Roger Macy <macyroger at yahoo.co.uk>Sent: Saturday, 27 November 2021, 01:43:59 GMTSubject: Re: [KineJapan] Wartime archive uncovering at Amsterdam
 Much thanks for the tip Roger.
I’m assuming that this story is connected to the Multfilm Batavia propaganda film collection that Netherlands Sound and Vision has been working on with NHK for the last few years and which they launched online in 2020. https://www.beeldengeluid.nl/en/knowledge/projects/japanese-propaganda-films-1942-1945-made-available-online.
But it’s not quite clear that this isn’t yet another strand to the story of the Sendenbu’s filmmaking in wartime Dutch East Indies. This has so many loose ends; also brings in the wartime stories of Joris Ivens and the ‘Filmmaker with Three Names’ Hinatsu Eitaro (amongst others) - as well as a whole lot of complex ethical issues of collaboration between occupiers, filmmakers and subjects. And they are spread across languages and historian communities that don’t seem to be in much conversation with each other. So I’d be curious if you know anything more?
Quentin TurnourNational Archives of Australia

On 27 Nov 2021, at 7:12 AM, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:

There’s only one Japanese film at IDFA this year but it’s agem for film historians - いまは むかし.Documentarist ISE Shin’ichi uncovers the wartime output of his father ISE Chōnosukein Indonesia,which turns out to be preserved well in Amsterdam.Son, granddaughter and team visit the studio in Java where the films wereedited and get glimmers of survivor’s tales. The son confesses he was estrangedfrom his father, so I’m left curious how Shin’ichi got into films. We end witha summarized filmography of father. From A.D. on Village without a Doctor,1940, and propaganda films for Nichi’ei Java, he had a substantial post-warcareer as editor on films like Sakuma Dam, and director of many more.
https://www.idfa.nl/en/film/ab281077-a2a1-4f58-87bf-553c1a15a39b/now-is-the-past-my-father-java-the-phantom-films#tickets
Roger
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