From nornes at umich.edu Tue Apr 5 10:16:12 2022 From: nornes at umich.edu (Markus Nornes) Date: Tue, 5 Apr 2022 10:16:12 -0400 Subject: [KineJapan] Sono Sion Sexual Harassment Allegations Message-ID: Sono Sion is the subject of a long article accusing him of sexual harrassment in *Shukan Josei. *Why am I not surprised? ... https://www.jprime.jp/articles/-/23641 Here is the *Variety* article by Mark and Patrick reporting it out in English. https://variety.com/2022/film/news/sion-sono-sexual-harassment-1235224844/ This is coming on the heels of a meeting between Bunka-cho officials and Suo Nobuhiro and Nishikawa Miwa to deliver a request by a group (including Kore-eda, Funahashi, Fukada and Sode?and undersigned by hundreds of others) to get involved in preventing power and sexual harrassement in the film industrry. https://eiga.com/news/20220328/26/?fbclid=IwAR3DEBCZDh3FXKp4y8HCdUMwY7xEPVQ7CUQfZ-r75-RX7HgxEzsNz2RMlpw Their letter is below. Markus ????????????????????????????? ????????????????????????????? ??????2022.03.18 ??? ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????? ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ?????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ????????????????????????????????????????????????????????????????????????????????????????????????????? ?????????????????? action4cinema at gmail.com ???????????????? ??????????????????????????2017??????????????????????????????????????????????????????????????? ??????????????????????????????? ??????????????????? ???????????????? ?????????????????? ?????????????????????? ??????????????????????????????? ???????????????????????? ??????????????????????????????????? -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Fri Apr 8 18:53:30 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 8 Apr 2022 22:53:30 +0000 (UTC) Subject: [KineJapan] Old Enough References: <932163780.54297.1649458410249.ref@mail.yahoo.com> Message-ID: <932163780.54297.1649458410249@mail.yahoo.com> Am I old enough for Netflix ?https://www.theguardian.com/tv-and-radio/2022/apr/07/old-enough-the-japanese-tv-show-that-abandons-toddlers-on-public-transport Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From lorenzojavier.torres.hortelano at urjc.es Sat Apr 9 04:55:30 2022 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Sat, 9 Apr 2022 08:55:30 +0000 Subject: [KineJapan] Old Enough In-Reply-To: <932163780.54297.1649458410249@mail.yahoo.com> References: <932163780.54297.1649458410249.ref@mail.yahoo.com> <932163780.54297.1649458410249@mail.yahoo.com> Message-ID: Thanks, Roger! When I was in Japan, it was one of the things that surprised me the most, finding these little children alone in the subway... I find it educationally admirable. I'll watch the Netflix adaptation, let's see... Best, [X] Lorenzo J. Torres Hortelano Vicedecano de Investigaci?n y Relaciones Internacionales Vice-Dean of Research 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 Roger Macy via KineJapan Enviado: s?bado, 9 de abril de 2022 0:53 Para: KineJapan discussion forum Cc: Roger Macy Asunto: [KineJapan] Old Enough Am I old enough for Netflix ? https://www.theguardian.com/tv-and-radio/2022/apr/07/old-enough-the-japanese-tv-show-that-abandons-toddlers-on-public-transport Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Sat Apr 9 05:45:56 2022 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Sat, 9 Apr 2022 12:45:56 +0300 Subject: [KineJapan] Old Enough In-Reply-To: References: <932163780.54297.1649458410249.ref@mail.yahoo.com> <932163780.54297.1649458410249@mail.yahoo.com> Message-ID: In my country, Finland, also quite young kids travel alone with bus or tram to school, hobbies...Some Americans who come to live in Finland are surprised. I guess it depends on how safe the society is felt to be. Eija la 9. huhtik. 2022 klo 11.55 Lorenzo Javier Torres Hortelano via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > Thanks, Roger! > > When I was in Japan, it was one of the things that surprised me the most, > finding these little children alone in the subway... I find it > educationally admirable. I'll watch the Netflix adaptation, let's see... > > Best, > > > > > *Lorenzo J. Torres Hortelano * > > *Vicedecano de Investigaci?n y Relaciones Internacionales* > > *Vice-Dean of Research 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 Roger > Macy via KineJapan > *Enviado:* s?bado, 9 de abril de 2022 0:53 > *Para:* KineJapan discussion forum > *Cc:* Roger Macy > *Asunto:* [KineJapan] Old Enough > > Am I old enough for Netflix ? > > https://www.theguardian.com/tv-and-radio/2022/apr/07/old-enough-the-japanese-tv-show-that-abandons-toddlers-on-public-transport > > Roger > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From lorenzojavier.torres.hortelano at urjc.es Sat Apr 9 05:51:02 2022 From: lorenzojavier.torres.hortelano at urjc.es (Lorenzo Javier Torres Hortelano) Date: Sat, 9 Apr 2022 09:51:02 +0000 Subject: [KineJapan] Old Enough In-Reply-To: References: <932163780.54297.1649458410249.ref@mail.yahoo.com> <932163780.54297.1649458410249@mail.yahoo.com> Message-ID: In Spain it was also usual, now, beginning 21st c., is quite odd, above all in big cities. [X] Lorenzo J. Torres Hortelano Vicedecano de Investigaci?n y Relaciones Internacionales Vice-Dean of Research 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: Eija Niskanen Enviado: s?bado, 9 de abril de 2022 11:45 Para: Japanese Cinema Discussion Forum Cc: Lorenzo Javier Torres Hortelano Asunto: Re: [KineJapan] Old Enough In my country, Finland, also quite young kids travel alone with bus or tram to school, hobbies...Some Americans who come to live in Finland are surprised. I guess it depends on how safe the society is felt to be. Eija la 9. huhtik. 2022 klo 11.55 Lorenzo Javier Torres Hortelano via KineJapan (kinejapan at mailman.yale.edu) kirjoitti: Thanks, Roger! When I was in Japan, it was one of the things that surprised me the most, finding these little children alone in the subway... I find it educationally admirable. I'll watch the Netflix adaptation, let's see... Best, [X] Lorenzo J. Torres Hortelano Vicedecano de Investigaci?n y Relaciones Internacionales Vice-Dean of Research 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 Roger Macy via KineJapan > Enviado: s?bado, 9 de abril de 2022 0:53 Para: KineJapan discussion forum > Cc: Roger Macy > Asunto: [KineJapan] Old Enough Am I old enough for Netflix ? https://www.theguardian.com/tv-and-radio/2022/apr/07/old-enough-the-japanese-tv-show-that-abandons-toddlers-on-public-transport Roger _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From mathieucapel at gmail.com Mon Apr 11 00:41:36 2022 From: mathieucapel at gmail.com (Mathieu Capel) Date: Mon, 11 Apr 2022 13:41:36 +0900 Subject: [KineJapan] Release notice Ebisu 59 Message-ID: Dear Kinejapaners, I am happy to inform you about the release of the new issue of *Ebisu. Etudes japonaises, *published by the French Research Institute on Japan - Maison Franco-japonaise (FRIJ-MFJ). The main feature is entitled "Films in the Mirror: forty years of Cinema in Japan (1980-2020)" and is available in full online here (open-access) : https://journals.openedition.org/ebisu/6593 It is in French, but we could benefit from the participation of scholars well-known on the list, whom I wish to thank once again for their work and patience ! I hope that French-speaking readers on the list will be interested in all these articles. Best regards, Mathieu Capel The University of Tokyo PS : here is the summary in English : [image: image.png] -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image.png Type: image/png Size: 2448538 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Ebisu59_Avis (1).pdf Type: application/pdf Size: 1158881 bytes Desc: not available URL: From mathieucapel at gmail.com Mon Apr 11 19:49:19 2022 From: mathieucapel at gmail.com (Mathieu Capel) Date: Tue, 12 Apr 2022 08:49:19 +0900 Subject: [KineJapan] Release Notice Ebisu 59 Message-ID: Dear Kinejapaners, I am happy to inform you of the release of the new issue of *Ebisu. Etudes japonaises, *published by the French Research Institute on Japan - Maison Franco-japonaise (FRIJ-MFJ). The main feature is entitled "Films in the Mirror: forty years of Cinema in Japan (1980-2020)" and is available online here (open-access) : https://journals.openedition.org/ebisu/6593 The whole issue is in French (with abstract both in English and Japanese), but we could benefit from the participation of scholars (and a filmmaker) well-known on the list, whom I wish to thank once again for their work and patience ! Here goes the summary in English : *Feature. Films in the Mirror: Forty Years of Cinema in Japan (1980-2020)* Edited by Mathieu Capel *I. Distribution, Production, Creation: From the Nikkatsu Roman Porno to Netflix* - *Mathieu **Capel **Introduction. Notes on the Contemporary Landscape of Japanese Cinema* *Dimitri Ianni *Role and Trajectories of Nikkatsu Roman Porno Producers *Tom Mes *Excess, Restraint, and the Global Film Festival Emergence of Miike Takashi *Christopher P. Hood *Japanese Disaster Narratives of the Early Twenty-First Century: Continuity and Change *El?onore Mahmoudian *The Kuzoku Collective and Japanese Independent Cinema at the Turn of 2010 *Fabien Carpentras *Movies Produced in Collaboration with the Japanese Self-Defense Forces: An Example of Activism in a Multicentric World *Rapha?lle Yokota *What Can Streaming Platforms Do for Production in Today?s Film Industry in Japan? *Hao Wen *Japanese Ind?zu Cinema and the Networked Effort of Neoliberal Auteur-Making: A Case Study of MOOSIC LAB *II. Film Critic: The Hasumi ?Phenomenon?* *Mathieu **Capel **Introduction. Hasumi Shigehiko, the Film as an Event* *Ry?suke Hamaguchi *Encounter and Shock *Chika Kinoshita *Women and Children?s Struggle: Spectatorship in Hasumi Shigehiko?s Film Reviews *Daisuke Watanabe *The Future of the Dual Historical/Media Theory Shift: Hasumi Shigehiko and the Post-Medium Condition *Shigehiko Hasumi * - Cinema as an Institution - Cinema and Criticism - Cinema and Literature - Narrative, Narration, and their Discourse Best regards, Mathieu Capel The University of Tokyo -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija.niskanen at gmail.com Tue Apr 12 10:04:36 2022 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Tue, 12 Apr 2022 17:04:36 +0300 Subject: [KineJapan] Did Kurosawa attend Venice film festival? Message-ID: Just checking a fact: did Kurosawa Akira actually attend Venice with Rashomon, meaning was he personally present at the festival? Eija Niskanen helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From desser at illinois.edu Tue Apr 12 10:12:00 2022 From: desser at illinois.edu (Desser, David M) Date: Tue, 12 Apr 2022 14:12:00 +0000 Subject: [KineJapan] Did Kurosawa attend Venice film festival? In-Reply-To: References: Message-ID: <96AB57D5-12DB-4166-B29F-13D3845F98D9@illinois.edu> No. Sent from my iPhone On Apr 12, 2022, at 10:05 AM, Eija Niskanen via KineJapan wrote: ? Just checking a fact: did Kurosawa Akira actually attend Venice with Rashomon, meaning was he personally present at the festival? Eija Niskanen helsinkicineaasia.fi +358-50-355 3189 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!s04I-FskV99HG095GsE1LktLeyTEMzMzvQt9N_UUkMH0p_fm6HylpXVdfNPZ5L_N$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From jmthfrsa at gmail.com Tue Apr 12 01:25:38 2022 From: jmthfrsa at gmail.com (jacline MORICEAU) Date: Tue, 12 Apr 2022 07:25:38 +0200 Subject: [KineJapan] Release notice Ebisu 59 In-Reply-To: References: Message-ID: Bonjour Mathieu, F?licitations pour ce beau num?ro. ? bient?t ? l'occasion du colloque sur le noir Amiti?s Jacline Moriceau Le lun. 11 avr. 2022 ? 17:10, Mathieu Capel via KineJapan < kinejapan at mailman.yale.edu> a ?crit : > Dear Kinejapaners, > > I am happy to inform you about the release of the new issue of *Ebisu. > Etudes japonaises, *published by the French Research Institute on Japan - > Maison Franco-japonaise (FRIJ-MFJ). > > The main feature is entitled "Films in the Mirror: forty years of Cinema > in Japan (1980-2020)" and is available in full online here (open-access) : > https://journals.openedition.org/ebisu/6593 > > It is in French, but we could benefit from the participation of scholars > well-known on the list, whom I wish to thank once again for their work and > patience ! > I hope that French-speaking readers on the list will be interested in all > these articles. > > Best regards, > > Mathieu Capel > The University of Tokyo > > PS : here is the summary in English : > > [image: image.png] > _______________________________________________ > 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.png Type: image/png Size: 2448538 bytes Desc: not available URL: From jasper_sharp at hotmail.com Fri Apr 15 12:58:36 2022 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Fri, 15 Apr 2022 16:58:36 +0000 Subject: [KineJapan] Did Kurosawa attend Venice film festival? In-Reply-To: <96AB57D5-12DB-4166-B29F-13D3845F98D9@illinois.edu> References: <96AB57D5-12DB-4166-B29F-13D3845F98D9@illinois.edu> Message-ID: And the other thing is that the film only played in Japanese with italian subtitles, with no english-friendly version, hence the British critics at the time in their write ups of the festival claimed the film was "hard to follow"! The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Desser, David M via KineJapan Sent: 12 April 2022 14:12 To: Japanese Cinema Discussion Forum Cc: Desser, David M Subject: Re: [KineJapan] Did Kurosawa attend Venice film festival? No. Sent from my iPhone On Apr 12, 2022, at 10:05 AM, Eija Niskanen via KineJapan wrote: ? Just checking a fact: did Kurosawa Akira actually attend Venice with Rashomon, meaning was he personally present at the festival? Eija Niskanen helsinkicineaasia.fi +358-50-355 3189 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!s04I-FskV99HG095GsE1LktLeyTEMzMzvQt9N_UUkMH0p_fm6HylpXVdfNPZ5L_N$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija.niskanen at gmail.com Fri Apr 15 13:01:01 2022 From: eija.niskanen at gmail.com (Eija Niskanen) Date: Fri, 15 Apr 2022 17:01:01 +0000 Subject: [KineJapan] Did Kurosawa attend Venice film festival? In-Reply-To: References: <96AB57D5-12DB-4166-B29F-13D3845F98D9@illinois.edu> Message-ID: Jasper, this I did not know. Interesting. Even French subs would have given it more exposure. Eija Hanki Outlook for iOS ________________________________ L?hett?j?: KineJapan k?ytt?j?n Jasper Sharp via KineJapan puolesta L?hetetty: Friday, April 15, 2022 7:58:36 PM Vastaanottaja: Japanese Cinema Discussion Forum Kopio: Jasper Sharp Aihe: Re: [KineJapan] Did Kurosawa attend Venice film festival? And the other thing is that the film only played in Japanese with italian subtitles, with no english-friendly version, hence the British critics at the time in their write ups of the festival claimed the film was "hard to follow"! The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Desser, David M via KineJapan Sent: 12 April 2022 14:12 To: Japanese Cinema Discussion Forum Cc: Desser, David M Subject: Re: [KineJapan] Did Kurosawa attend Venice film festival? No. Sent from my iPhone On Apr 12, 2022, at 10:05 AM, Eija Niskanen via KineJapan wrote: ? Just checking a fact: did Kurosawa Akira actually attend Venice with Rashomon, meaning was he personally present at the festival? Eija Niskanen helsinkicineaasia.fi +358-50-355 3189 _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!s04I-FskV99HG095GsE1LktLeyTEMzMzvQt9N_UUkMH0p_fm6HylpXVdfNPZ5L_N$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From dm6 at soas.ac.uk Fri Apr 15 18:00:17 2022 From: dm6 at soas.ac.uk (Dolores Martinez) Date: Fri, 15 Apr 2022 23:00:17 +0100 Subject: [KineJapan] Did Kurosawa attend Venice film festival? In-Reply-To: References: <96AB57D5-12DB-4166-B29F-13D3845F98D9@illinois.edu> Message-ID: David Desser is right: no. I think all those photos of a bespectacled Japanese man holding the golden lion next to Sophia Loren is a producer. Definitely not Kurosawa. Lola On Friday, 15 April 2022, Jasper Sharp via KineJapan < kinejapan at mailman.yale.edu> wrote: > And the other thing is that the film only played in Japanese with italian > subtitles, with no english-friendly version, hence the British critics at > the time in their write ups of the festival claimed the film was "hard to > follow"! > > > *The Creeping Garden *- A Real-Life > Science-Fiction Story about Slime Moulds and the People Who Work With them, directed > by Tim Grabham and Jasper Sharp. > Available now on Dual-Format Blu-ray/DVD from Arrow Films > > . > The book, *The Creeping Garden: Irrational Encounters with Plasmodial > Slime Moulds *is out now from Alchimia Publishing > . > "A surprising investigation of perception, thought and life itself", > Nicolas Rapold, *The New York Times* > > . > "An out-of-left-field nerdy delight", John DeFore, *Hollywood Reporter* > > . > "Strange, eccentric, diverting", Peter Bradshaw, *The Guardian* > > . > > ------------------------------ > *From:* KineJapan on behalf of > Desser, David M via KineJapan > *Sent:* 12 April 2022 14:12 > *To:* Japanese Cinema Discussion Forum > *Cc:* Desser, David M > *Subject:* Re: [KineJapan] Did Kurosawa attend Venice film festival? > > No. > > Sent from my iPhone > > On Apr 12, 2022, at 10:05 AM, Eija Niskanen via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > ? > Just checking a fact: did Kurosawa Akira actually attend Venice with > Rashomon, meaning was he personally present at the festival? > > Eija Niskanen > helsinkicineaasia.fi > > +358-50-355 3189 > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://urldefense.com/v3/__https://mailman.yale.edu/ > mailman/listinfo/kinejapan__;!!DZ3fjg!s04I-FskV99HG095GsE1LktLeyTEMzMzvQt > 9N_UUkMH0p_fm6HylpXVdfNPZ5L_N$ > > -- Sent from Gmail Mobile -------------- next part -------------- An HTML attachment was scrubbed... URL: From timiles2003 at yahoo.com Sat Apr 16 18:37:21 2022 From: timiles2003 at yahoo.com (Tim Iles) Date: Sat, 16 Apr 2022 22:37:21 +0000 (UTC) Subject: [KineJapan] New Content on the ejcjs References: <719090477.274947.1650148641392.ref@mail.yahoo.com> Message-ID: <719090477.274947.1650148641392@mail.yahoo.com> We are pleased to announce that Volume 22, Issue 1 of the electronic journal of contemporary japanese studies is now available, at https://www.japanesestudies.org.uk/ejcjs/vol22/iss1/index.html The Table of Contents is as follows: Peer-reviewed articles: Ishida Kenji and Arita Shun, "Contextual Obstacles to Entrepreneurship in Japan from the Perspective of the Overseas Japanese Self-Employed" Kaori Yoshida, "Ambivalent Female Bodies: A Place for Feminine War Memory in Japan" Discussion Papers: Daniel Clausen, "'Inori no Nagasaki'? Exploring Christian Themes in the Construction of Nagasaki as a Hibakusha City" Albert Graves, "Behind the Scene: Stories with the Master and Miseko of a Korean Gay Bar in Japan" Andrew Watson, "Criminal Majority in Japan: What was Decided and Implemented" Translation: Kathryn Tanaka translating H?j? Tamio, "The Farce" With gratitude for our contributors, readers, and production team of global volunteers. Sincerely, Timothy Iles General Editor, the electronic journal of contemporary japanese studies From svaquerizo at uoc.edu Sun Apr 17 06:14:35 2022 From: svaquerizo at uoc.edu (=?utf-8?Q?Sabrina_Vaquerizo_Gonz=C3=A1lez?=) Date: Sun, 17 Apr 2022 12:14:35 +0200 Subject: [KineJapan] 90s Nouvelle Vague vs Cinema of Precarity Message-ID: Hi, everyone, I?m a PhD candidate and my research focuses on the Japanese cinema during the postbubble years. Being an economic downturn, and deeply influence by Allison?s Precarious Japan, I became interested in Amamiya Karin?s use of the term purekari?to and then I came with Lauren Berlant's concept of ?cinema of precarity? in the 90s. Of course I?ve been reading Iwata-Weickgenannt and Rosenbaum Visions of Precarity in Japanese Popular Culture and Literature. But I?m trying to make sense of Aoyama Shinji?s Nouvelle Vague Manifesto through the ?cinema of precarity? lense and here is where I become confused. Although his manifesto was prior to the neoliberal reforms in Japan, there?s a hopeless struggle in his Helpless (or Sabu?s Dangan Runner among others) which drives me inevitably to a global notion of precarity. Thanks in advanced for your comments. Sabrina Vaquerizo Gonz?lez PhD candidate Humanities and Communication svaquerizo at uoc.edu ORCID 0000-0003-4839-8516 Grup de Recerca Consolidat MEDUSA G?neres en Transici? -- INFORMACI? SOBRE PROTECCI? DE DADES DE LA UNIVERSITAT OBERTA DE CATALUNYA (UOC) Us informem que les vostres dades identificatives i les contingudes en els missatges electr?nics i fitxers adjunts es poden incorporar a les nostres bases de dades amb la finalitat de gestionar les relacions i comunicacions vinculades a la UOC, i que es poden conservar mentre es mantingui la relaci?. Si ho voleu, podeu exercir el dret a accedir a les vostres dades, rectificar-les i suprimir-les i altres drets reconeguts normativament adre?ant-vos a l'adre?a de correu emissora o a fuoc_pd at uoc.edu . Aquest missatge i qualsevol fitxer que porti adjunt, si escau, tenen el car?cter de confidencials i s'adrecen ?nicament a la persona o entitat a qui s'han enviat. Aix? mateix, posem a la vostra disposici? un delegat de protecci? de dades que no nom?s s'encarregar? de supervisar tots els tractaments de dades de la nostra entitat, sin? que us podr? atendre per a qualsevol q?esti? relacionada amb el tractament de dades. La seva adre?a de contacte ?s dpd at uoc.edu . INFORMACI?N SOBRE PROTECCI?N DE DATOS DE LA UNIVERSITAT OBERTA DE CATALUNYA (UOC) Os informamos de que vuestros datos identificativos y los contenidos en los mensajes electr?nicos y ficheros adjuntos pueden incorporarse a nuestras bases de datos con el fin de gestionar las relaciones y comunicaciones vinculadas a la UOC, y de que pueden conservarse mientras se mantenga la relaci?n. Si lo dese?is, pod?is ejercer el derecho a acceder a vuestros datos, rectificarlos y suprimirlos y otros derechos reconocidos normativamente dirigi?ndoos a la direcci?n de correo emisora o a fuoc_pd at uoc.edu . Este mensaje y cualquier fichero que lleve adjunto, si procede, tienen el car?cter de confidenciales y se dirigen ?nicamente a la persona o entidad a quien se han enviado. As? mismo, ponemos a vuestra disposici?n a un delegado de protecci?n de datos que no solo se encargar? de supervisar todos los tratamientos de datos de nuestra entidad, sino que podr? atenderos para cualquier cuesti?n relacionada con el tratamiento de datos. Su direcci?n de contacto es dpd at uoc.edu . UNIVERSITAT OBERTA DE CATALUNYA (UOC) DATA PROTECTION?INFORMATION Your personal data and the data contained in your email messages and attached files may be?stored in our databases for the purpose of maintaining relations and communications linked to?the UOC, and the data may be stored for as long as these relations and communications are?maintained. If you so wish, you can exercise your rights to access, rectification and erasure of?your data, and any other legally held rights, by writing to the sender?s email address or to?fuoc_pd at uoc.edu . This message and, where applicable, any attachments are confidential and addressed solely to?the individual or organization they were sent to. The UOC has a data protection officer who not only supervises the data processing carried out?at the University, but who will also respond to any questions you may have about this data?processing. You can contact our data protection officer by writing to dpd at uoc.edu . -------------- next part -------------- An HTML attachment was scrubbed... URL: From desser at illinois.edu Sun Apr 17 09:08:04 2022 From: desser at illinois.edu (Desser, David M) Date: Sun, 17 Apr 2022 13:08:04 +0000 Subject: [KineJapan] 90s Nouvelle Vague vs Cinema of Precarity In-Reply-To: References: Message-ID: <6D043977-9C33-4A0E-97DE-B31104A7348E@illinois.edu> Sent from my iPhone On Apr 17, 2022, at 6:14 AM, Sabrina Vaquerizo Gonz?lez via KineJapan wrote: ? Hi, everyone, I?m a PhD candidate and my research focuses on the Japanese cinema during the postbubble years. Being an economic downturn, and deeply influence by Allison?s Precarious Japan, I became interested in Amamiya Karin?s use of the term purekari?to and then I came with Lauren Berlant's concept of ?cinema of precarity? in the 90s. Of course I?ve been reading Iwata-Weickgenannt and Rosenbaum Visions of Precarity in Japanese Popular Culture and Literature. But I?m trying to make sense of Aoyama Shinji?s Nouvelle Vague Manifesto through the ?cinema of precarity? lense and here is where I become confused. Although his manifesto was prior to the neoliberal reforms in Japan, there?s a hopeless struggle in his Helpless (or Sabu?s Dangan Runner among others) which drives me inevitably to a global notion of precarity. Thanks in advanced for your comments. Sabrina Vaquerizo Gonz?lez PhD candidate Humanities and Communication svaquerizo at uoc.edu ORCID 0000-0003-4839-8516 Grup de Recerca Consolidat MEDUSA G?neres en Transici? INFORMACI? SOBRE PROTECCI? DE DADES DE LA UNIVERSITAT OBERTA DE CATALUNYA (UOC) Us informem que les vostres dades identificatives i les contingudes en els missatges electr?nics i fitxers adjunts es poden incorporar a les nostres bases de dades amb la finalitat de gestionar les relacions i comunicacions vinculades a la UOC, i que es poden conservar mentre es mantingui la relaci?. Si ho voleu, podeu exercir el dret a accedir a les vostres dades, rectificar-les i suprimir-les i altres drets reconeguts normativament adre?ant-vos a l'adre?a de correu emissora o a fuoc_pd at uoc.edu. Aquest missatge i qualsevol fitxer que porti adjunt, si escau, tenen el car?cter de confidencials i s'adrecen ?nicament a la persona o entitat a qui s'han enviat. Aix? mateix, posem a la vostra disposici? un delegat de protecci? de dades que no nom?s s'encarregar? de supervisar tots els tractaments de dades de la nostra entitat, sin? que us podr? atendre per a qualsevol q?esti? relacionada amb el tractament de dades. La seva adre?a de contacte ?s dpd at uoc.edu. ________________________________ INFORMACI?N SOBRE PROTECCI?N DE DATOS DE LA UNIVERSITAT OBERTA DE CATALUNYA (UOC) Os informamos de que vuestros datos identificativos y los contenidos en los mensajes electr?nicos y ficheros adjuntos pueden incorporarse a nuestras bases de datos con el fin de gestionar las relaciones y comunicaciones vinculadas a la UOC, y de que pueden conservarse mientras se mantenga la relaci?n. Si lo dese?is, pod?is ejercer el derecho a acceder a vuestros datos, rectificarlos y suprimirlos y otros derechos reconocidos normativamente dirigi?ndoos a la direcci?n de correo emisora o a fuoc_pd at uoc.edu. Este mensaje y cualquier fichero que lleve adjunto, si procede, tienen el car?cter de confidenciales y se dirigen ?nicamente a la persona o entidad a quien se han enviado. As? mismo, ponemos a vuestra disposici?n a un delegado de protecci?n de datos que no solo se encargar? de supervisar todos los tratamientos de datos de nuestra entidad, sino que podr? atenderos para cualquier cuesti?n relacionada con el tratamiento de datos. Su direcci?n de contacto es dpd at uoc.edu. ________________________________ UNIVERSITAT OBERTA DE CATALUNYA (UOC) DATA PROTECTION INFORMATION Your personal data and the data contained in your email messages and attached files may be stored in our databases for the purpose of maintaining relations and communications linked to the UOC, and the data may be stored for as long as these relations and communications are maintained. If you so wish, you can exercise your rights to access, rectification and erasure of your data, and any other legally held rights, by writing to the sender?s email address or to fuoc_pd at uoc.edu. This message and, where applicable, any attachments are confidential and addressed solely to the individual or organization they were sent to. The UOC has a data protection officer who not only supervises the data processing carried out at the University, but who will also respond to any questions you may have about this data processing. You can contact our data protection officer by writing to dpd at uoc.edu. _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!rtIngd37DixKlEGGE71jaCr61upJjK4XP6rpMCbIrVEwj_TUi8tQ_ZFwTi-opR5m$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Tue Apr 19 06:55:51 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Tue, 19 Apr 2022 19:55:51 +0900 Subject: [KineJapan] Mini theatres and independent movies Message-ID: Dear All, Researching about how Haneda Sumiko's Ode to Mt Hayachine came into being, that is through the help and support of Equipe de Cinema, Iwanami Hall, and Takano Etsuko, made me wonder whether there are other examples of Japanese independent cinemas or mini theatres helping a movie being produced. Any help would be appreciated. Thank you Matteo -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue Apr 19 08:28:30 2022 From: nornes at umich.edu (Markus Nornes) Date: Tue, 19 Apr 2022 08:28:30 -0400 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: This is an interesting question. I look forward to hearing what people can think of. A few things come to mind. There are mini-theater operators who were making films alongside their work in exhibition. Daishima Haruhiko was producing Pineapple Tours (currently in revival) when he was running Box Higashi Nakano, and the guy that owned (?) it was a photographer who also made a few documentaries (Hashiguchi? Can't quite remember his name off-hand). Before that, I think you could think of ATG as a kind of precursor, no? And before that, Jieiso?the outfit behind pre-1968 Ogawa films?was specifically creating an interface between exhibition and production that directly led to the establishment of many of the first mini-theaters (an example is the Forum in Yamagata). Just off the top of my head..... Markus --- *Markus Nornes* *Professor of Asian Cinema* *Interim Chair, Dept. of Asian Languages and Culture* Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design *Homepage: http://www-personal.umich.edu/~nornes/ * *Department of Film, Television and Media* *6348 North Quad* *105 S. State Street**Ann Arbor, MI 48109-1285* On Tue, Apr 19, 2022 at 6:56 AM matteoB via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear All, > > Researching about how Haneda Sumiko's Ode to Mt Hayachine came into being, > that is through the help and support of Equipe de Cinema, Iwanami Hall, and > Takano Etsuko, made me wonder whether there are other examples of Japanese > independent cinemas or mini theatres helping a movie being produced. > > Any help would be appreciated. > > Thank you > > Matteo > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From reavolution at gmail.com Tue Apr 19 10:21:33 2022 From: reavolution at gmail.com (Rea Amit) Date: Tue, 19 Apr 2022 09:21:33 -0500 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: I believe Jennifer Coates has done some work on a theater in Kyoto that participated in documentary film production. You might want to check more information with her. Best of luck, Rea On Tue, Apr 19, 2022 at 7:28 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > This is an interesting question. I look forward to hearing what people can > think of. > > A few things come to mind. There are mini-theater operators who were > making films alongside their work in exhibition. Daishima Haruhiko was > producing Pineapple Tours (currently in revival) when he was running Box > Higashi Nakano, and the guy that owned (?) it was a photographer who also > made a few documentaries (Hashiguchi? Can't quite remember his name > off-hand). > > Before that, I think you could think of ATG as a kind of precursor, no? > > And before that, Jieiso?the outfit behind pre-1968 Ogawa films?was > specifically creating an interface between exhibition and production that > directly led to the establishment of many of the first mini-theaters (an > example is the Forum in Yamagata). > > Just off the top of my head..... > > Markus > > > > > > > > > --- > > *Markus Nornes* > *Professor of Asian Cinema* > *Interim Chair, Dept. of Asian Languages and Culture* > > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > > > > *Homepage: http://www-personal.umich.edu/~nornes/ > * > *Department of Film, Television and Media* > *6348 North Quad* > *105 S. State Street**Ann Arbor, MI 48109-1285* > > > > > On Tue, Apr 19, 2022 at 6:56 AM matteoB via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Dear All, >> >> Researching about how Haneda Sumiko's Ode to Mt Hayachine came into >> being, that is through the help and support of Equipe de Cinema, Iwanami >> Hall, and Takano Etsuko, made me wonder whether there are other examples of >> Japanese independent cinemas or mini theatres helping a movie being >> produced. >> >> Any help would be appreciated. >> >> Thank you >> >> Matteo >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Tue Apr 19 14:12:54 2022 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Tue, 19 Apr 2022 18:12:54 +0000 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: Hi Matteo, In the late 1970s the Shinbungeiza in Ikebukuro co-funded some jishu films (basically, but not quite accurately, ?amateur? films), as did some other theaters in Tokyo that (usually) wouldn?t strictly qualify as arthouse theaters. In the 1980s many minitheaters teamed up with video distribution companies to purchase foreign films? full-package rights for Japan; that way the minitheater could afford the exclusive rights for screenings, and the video company would get the distribution rights for home video (with the added bonus of pre-advertising via the minitheater run). Since many of the films purchased in this way relied heavily on pre-sales to finance the production of the film you could say that the minitheaters in some way contributed to their production, though they didn?t really ?make? the film. In the 1990s and 2000s a number of small theater chains were involved in film production, often (but not always) via the production committee system; Theatre Shinjuku?s parent company is one of these. This is a fascinating history, thanks for kicking off this thread- Alex ------------------------------- Alexander Zahlten Professor of East Asian Languages and Civilizations Chair, Regional Studies East Asia (RSEA) Program Harvard University (He / him / his) From: KineJapan on behalf of Rea Amit via KineJapan Date: Tuesday, April 19, 2022 at 10:22 To: Japanese Cinema Discussion Forum Cc: Rea Amit Subject: Re: [KineJapan] Mini theatres and independent movies I believe Jennifer Coates has done some work on a theater in Kyoto that participated in documentary film production. You might want to check more information with her. Best of luck, Rea On Tue, Apr 19, 2022 at 7:28 AM Markus Nornes via KineJapan > wrote: This is an interesting question. I look forward to hearing what people can think of. A few things come to mind. There are mini-theater operators who were making films alongside their work in exhibition. Daishima Haruhiko was producing Pineapple Tours (currently in revival) when he was running Box Higashi Nakano, and the guy that owned (?) it was a photographer who also made a few documentaries (Hashiguchi? Can't quite remember his name off-hand). Before that, I think you could think of ATG as a kind of precursor, no? And before that, Jieiso?the outfit behind pre-1968 Ogawa films?was specifically creating an interface between exhibition and production that directly led to the establishment of many of the first mini-theaters (an example is the Forum in Yamagata). Just off the top of my head..... Markus --- [https://docs.google.com/uc?export=download&id=1YYQZdrswh1HD_xCKXSzMs3lLalKxLVgs&revid=0By9QGX7UmiKRSEdLZ0xoVDNEM2xLclB3R0pDbk93ek8yeEtVPQ] Markus Nornes Professor of Asian Cinema Interim Chair, Dept. of Asian Languages and Culture Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Homepage: http://www-personal.umich.edu/~nornes/ Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 On Tue, Apr 19, 2022 at 6:56 AM matteoB via KineJapan > wrote: Dear All, Researching about how Haneda Sumiko's Ode to Mt Hayachine came into being, that is through the help and support of Equipe de Cinema, Iwanami Hall, and Takano Etsuko, made me wonder whether there are other examples of Japanese independent cinemas or mini theatres helping a movie being produced. Any help would be appreciated. Thank you Matteo _______________________________________________ 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 dianni at free.fr Tue Apr 19 14:49:08 2022 From: dianni at free.fr (Dimitri Ianni) Date: Tue, 19 Apr 2022 20:49:08 +0200 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: Picking up this thread. What comes to mind in recent times is Cinema Iris in Hakodate with the series of Sat? Yasushi adaptations?: http://www.cinemairis.com/hakodate.html Wamrly, Dimitri Ianni Le 19/04/2022 ? 20:12, Zahlten, Alexander via KineJapan a ?crit?: > > Hi Matteo, > > In the late 1970s the Shinbungeiza in Ikebukuro co-funded some jishu > films (basically, but not quite accurately, ?amateur? films), as did > some other theaters in Tokyo that (usually) wouldn?t strictly qualify > as arthouse theaters. > > In the 1980s many minitheaters teamed up with video distribution > companies to purchase foreign films? full-package rights for Japan; > that way the minitheater could afford the exclusive rights for > screenings, and the video company would get the distribution rights > for home video (with the added bonus of pre-advertising via the > minitheater run). Since many of the films purchased in this way relied > heavily on pre-sales to finance the production of the film you could > say that the minitheaters in some way contributed to their production, > though they didn?t really ?make? the film. > > In the 1990s and 2000s a number of small theater chains were involved > in film production, often (but not always) via the production > committee system; Theatre Shinjuku?s parent company is one of these. > > This is a fascinating history, thanks for kicking off this thread- > > Alex > > ------------------------------- > > Alexander Zahlten > > Professor of East Asian Languages and Civilizations > > Chair, Regional Studies East Asia (RSEA) Program > > Harvard University > > (He / him / his) > > *From: *KineJapan on behalf of > Rea Amit via KineJapan > *Date: *Tuesday, April 19, 2022 at 10:22 > *To: *Japanese Cinema Discussion Forum > *Cc: *Rea Amit > *Subject: *Re: [KineJapan] Mini theatres and independent movies > > I believe Jennifer Coates has done some work on a theater in Kyoto > that participated in documentary film production. You might want to > check more information with her. > > Best of luck, > > Rea > > On Tue, Apr 19, 2022 at 7:28 AM Markus Nornes via KineJapan > wrote: > > This is an interesting question. I look forward to hearing what > people can think of. > > A few things come to mind. There are mini-theater operators who > were making films alongside their work in exhibition. Daishima > Haruhiko was producing Pineapple Tours (currently in revival) when > he was running Box Higashi Nakano, and the guy that owned (?) it > was a photographer who also made a few documentaries (Hashiguchi? > Can't quite remember his name off-hand). > > Before that, I think you could think of ATG as a kind of > precursor, no? > > And before that, Jieiso?the outfit behind pre-1968 Ogawa films?was > specifically creating an interface between exhibition and > production that directly led to the establishment of many of the > first mini-theaters (an example is the Forum in Yamagata). > > Just off the top of my head..... > > Markus > > > --- > > ** > > *Markus Nornes* > > *Professor of Asian Cinema* > > *Interim Chair, Dept. of Asian Languages and Culture* > > Department of Film, Television and Media, Department of > Asian Languages and Cultures, Penny Stamps?School of Art & > Design > > *_Homepage: http://www-personal.umich.edu/~nornes/ > _**_ > _**Department of Film, Television and Media > 6348 North Quad > 105 S. State Street > Ann Arbor, MI 48109-1285* > > On Tue, Apr 19, 2022 at 6:56 AM matteoB via KineJapan > wrote: > > Dear All, > > Researching about how Haneda Sumiko's Ode to Mt Hayachine came > into being, that is through the help and support of Equipe de > Cinema, Iwanami Hall, and Takano Etsuko, made me wonder > whether there are other examples of Japanese independent > cinemas or mini theatres helping a movie being produced. > > Any help?would be appreciated. > > Thank you > > Matteo > > _______________________________________________ > 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 jtj53213 at gmail.com Wed Apr 20 02:58:27 2022 From: jtj53213 at gmail.com (John Junkerman) Date: Wed, 20 Apr 2022 15:58:27 +0900 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: Motohashi Seiichi is the owner of (now) Pole-pole Higashinakano, made several films around Chornobyl, and has produced several others (Hanabusa Aya's documentaries), through Pole Pole Times-sha. Didn't Eurospace produce Sato Makoto's Self and Others? Best, John Junkerman On Wed, Apr 20, 2022 at 3:49 AM Dimitri Ianni via KineJapan < kinejapan at mailman.yale.edu> wrote: > Picking up this thread. What comes to mind in recent times is Cinema Iris > in Hakodate with the series of Sat? Yasushi adaptations : > http://www.cinemairis.com/hakodate.html > > Wamrly, > Dimitri Ianni > > > Le 19/04/2022 ? 20:12, Zahlten, Alexander via KineJapan a ?crit : > > Hi Matteo, > > > > In the late 1970s the Shinbungeiza in Ikebukuro co-funded some jishu films > (basically, but not quite accurately, ?amateur? films), as did some other > theaters in Tokyo that (usually) wouldn?t strictly qualify as arthouse > theaters. > > In the 1980s many minitheaters teamed up with video distribution companies > to purchase foreign films? full-package rights for Japan; that way the > minitheater could afford the exclusive rights for screenings, and the video > company would get the distribution rights for home video (with the added > bonus of pre-advertising via the minitheater run). Since many of the films > purchased in this way relied heavily on pre-sales to finance the production > of the film you could say that the minitheaters in some way contributed to > their production, though they didn?t really ?make? the film. > > In the 1990s and 2000s a number of small theater chains were involved in > film production, often (but not always) via the production committee > system; Theatre Shinjuku?s parent company is one of these. > > This is a fascinating history, thanks for kicking off this thread- > > Alex > > > > > > ------------------------------- > > Alexander Zahlten > > Professor of East Asian Languages and Civilizations > > Chair, Regional Studies East Asia (RSEA) Program > > Harvard University > > (He / him / his) > > > > *From: *KineJapan > on behalf of Rea Amit via KineJapan > > *Date: *Tuesday, April 19, 2022 at 10:22 > *To: *Japanese Cinema Discussion Forum > > *Cc: *Rea Amit > *Subject: *Re: [KineJapan] Mini theatres and independent movies > > I believe Jennifer Coates has done some work on a theater in Kyoto that > participated in documentary film production. You might want to check more > information with her. > > > > Best of luck, > > Rea > > > > On Tue, Apr 19, 2022 at 7:28 AM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > This is an interesting question. I look forward to hearing what people can > think of. > > > > A few things come to mind. There are mini-theater operators who were > making films alongside their work in exhibition. Daishima Haruhiko was > producing Pineapple Tours (currently in revival) when he was running Box > Higashi Nakano, and the guy that owned (?) it was a photographer who also > made a few documentaries (Hashiguchi? Can't quite remember his name > off-hand). > > > > Before that, I think you could think of ATG as a kind of precursor, no? > > > > And before that, Jieiso?the outfit behind pre-1968 Ogawa films?was > specifically creating an interface between exhibition and production that > directly led to the establishment of many of the first mini-theaters (an > example is the Forum in Yamagata). > > > > Just off the top of my head..... > > > > Markus > > > > > > > > > > > > > > > > > --- > > *Markus Nornes* > > *Professor of Asian Cinema* > > *Interim Chair, Dept. of Asian Languages and Culture* > > Department of Film, Television and Media, Department of Asian Languages > and Cultures, Penny Stamps School of Art & Design > > > > *Homepage: http://www-personal.umich.edu/~nornes/ > * > > > > *Department of Film, Television and Media 6348 North Quad 105 S. State > Street Ann Arbor, MI 48109-1285* > > > > > > > > On Tue, Apr 19, 2022 at 6:56 AM matteoB via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > Dear All, > > > > Researching about how Haneda Sumiko's Ode to Mt Hayachine came into being, > that is through the help and support of Equipe de Cinema, Iwanami Hall, and > Takano Etsuko, made me wonder whether there are other examples of Japanese > independent cinemas or mini theatres helping a movie being produced. > > > > Any help would be appreciated. > > > > Thank you > > > > Matteo > > > > > > _______________________________________________ > 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 listKineJapan at mailman.yale.eduhttps://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 nornes at umich.edu Wed Apr 20 10:00:33 2022 From: nornes at umich.edu (Markus Nornes) Date: Wed, 20 Apr 2022 10:00:33 -0400 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: John's right. *Self and Others* was by Eurospace. And weren't they involved in at least one Kurosawa Kiyoshi film? *Barren Illusions?* Earlier, I was thinking about the Eurospace/Eiga Bigakko/Atene nexus... Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Wed Apr 20 10:45:11 2022 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Wed, 20 Apr 2022 14:45:11 +0000 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: I think Eurospace were involved in the Horror/Ero/Warau bancho series with the Film School of Tokyo in 2004, which gave us Takashi Shimizu's Marebito, Takehisa Zeze's Yuda and Yuki Tanada's Moon and Cherry, among other films. The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Markus Nornes via KineJapan Sent: 20 April 2022 14:00 To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: Re: [KineJapan] Mini theatres and independent movies John's right. Self and Others was by Eurospace. And weren't they involved in at least one Kurosawa Kiyoshi film? Barren Illusions? Earlier, I was thinking about the Eurospace/Eiga Bigakko/Atene nexus... Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Thu Apr 21 03:31:17 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Thu, 21 Apr 2022 16:31:17 +0900 Subject: [KineJapan] Mini theatres and independent movies In-Reply-To: References: Message-ID: thank you everyone for your insightful replies, it's a very fascinating subject. regards Matteo On Wed, 20 Apr 2022, 23:45 Jasper Sharp via KineJapan, < kinejapan at mailman.yale.edu> wrote: > I think Eurospace were involved in the Horror/Ero/Warau bancho series with > the Film School of Tokyo in 2004, which gave us Takashi Shimizu's Marebito, > Takehisa Zeze's Yuda and Yuki Tanada's Moon and Cherry, among other films. > > > *The Creeping Garden *- A Real-Life > Science-Fiction Story about Slime Moulds and the People Who Work With them, directed > by Tim Grabham and Jasper Sharp. > Available now on Dual-Format Blu-ray/DVD from Arrow Films > > . > The book, *The Creeping Garden: Irrational Encounters with Plasmodial > Slime Moulds *is out now from Alchimia Publishing > . > "A surprising investigation of perception, thought and life itself", > Nicolas Rapold, *The New York Times* > > . > "An out-of-left-field nerdy delight", John DeFore, *Hollywood Reporter* > > . > "Strange, eccentric, diverting", Peter Bradshaw, *The Guardian* > > . > > ------------------------------ > *From:* KineJapan on behalf of > Markus Nornes via KineJapan > *Sent:* 20 April 2022 14:00 > *To:* Japanese Cinema Discussion Forum > *Cc:* Markus Nornes > *Subject:* Re: [KineJapan] Mini theatres and independent movies > > John's right. *Self and Others* was by Eurospace. And weren't they > involved in at least one Kurosawa Kiyoshi film? *Barren Illusions?* > > Earlier, I was thinking about the Eurospace/Eiga Bigakko/Atene nexus... > > Markus > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Fri Apr 22 14:07:02 2022 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Fri, 22 Apr 2022 18:07:02 +0000 Subject: [KineJapan] New Content on the ejcjs In-Reply-To: <719090477.274947.1650148641392@mail.yahoo.com> References: <719090477.274947.1650148641392.ref@mail.yahoo.com> <719090477.274947.1650148641392@mail.yahoo.com> Message-ID: Hi Everyone, This is just to point you to an interesting special of films on Okinawa taking place at the Japan Society New York due to the efforts of Alexander Fee. It features a really nice span of types of films, from a Nakajima Sadao-directed Yakuza film to two usually very difficult to access films by the legendary documentary film collective NDU. Here is the link: https://www.japansociety.org/arts-and-culture/films/okinawa-cinematic-reflections Some films are being streamed as well, though the majority is for in-person screenings. All best, Alex ------------------------------- Alexander Zahlten Professor of East Asian Languages and Civilizations Chair, Regional Studies East Asia (RSEA) Program Harvard University (He / him / his) -------------- next part -------------- An HTML attachment was scrubbed... URL: From azahlten at fas.harvard.edu Fri Apr 22 14:10:25 2022 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Fri, 22 Apr 2022 18:10:25 +0000 Subject: [KineJapan] Special Program on Okinawa films In-Reply-To: References: <719090477.274947.1650148641392.ref@mail.yahoo.com> <719090477.274947.1650148641392@mail.yahoo.com> Message-ID: Hello All, Apologies, I forgot to edit the subject line when I just sent out the email. Sorry about that! See the original message below. Best, Alex Hi Everyone, This is just to point you to an interesting special of films on Okinawa taking place at the Japan Society New York due to the efforts of Alexander Fee. It features a really nice span of types of films, from a Nakajima Sadao-directed Yakuza film to two usually very difficult to access films by the legendary documentary film collective NDU. Here is the link: https://www.japansociety.org/arts-and-culture/films/okinawa-cinematic-reflections Some films are being streamed as well, though the majority is for in-person screenings. All best, Alex ------------------------------- Alexander Zahlten Professor of East Asian Languages and Civilizations Chair, Regional Studies East Asia (RSEA) Program Harvard University (He / him / his) -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sun Apr 24 04:28:52 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Sun, 24 Apr 2022 17:28:52 +0900 Subject: [KineJapan] How to contact the National Film Archive of Japan Message-ID: Dear All, Apologies if this question has been asked before, but what is the best way to contact the National Film Archive of Japan (regarding a film that they may have)? Matteo -------------- next part -------------- An HTML attachment was scrubbed... URL: From susanneschermann at yahoo.co.jp Sun Apr 24 09:20:10 2022 From: susanneschermann at yahoo.co.jp (Schermann Susanne) Date: Sun, 24 Apr 2022 22:20:10 +0900 (JST) Subject: [KineJapan] How to contact the National Film Archive of Japan In-Reply-To: References: Message-ID: <1372911909.83393.1650806410915.JavaMail.yahoo@mail.yahoo.co.jp> * { font-size: 13px; font-family: 'MS P????', sans-serif;}p, ul, ol, blockquote { margin: 0;}a { color: #0064c8; text-decoration: none;}a:hover { color: #0057af; text-decoration: underline;}a:active { color: #004c98;} Hi Matteo, first of all, you might want to check if they do have the film you are looking for. This search machine is quite reliable, but try different writings and styles if your film does not show up. If you want help, feel free to contact me. http://nfad.nfaj.go.jp/ As for mails and phone, they are quite stingy about it and don't post it on the website. The telephone number there is not at all useful imho. I have private contacts, but I would have to ask them if it is okay to share this with you. Again, if you give me details in a private mail, I might be able to help you. Best Susanne ----- Original Message ----- From: "Japanese Cinema Discussion Forum" To: "Japanese Cinema Discussion Forum" Cc: "matteoB" Date: 2022/04/24 ? 17:29 Subject: [KineJapan] How to contact the National Film Archive of Japan Dear All, Apologies if this question has been asked before, but what is the best way to contact the National Film Archive of Japan (regarding a film that they may have)?? Matteo? _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sun Apr 24 21:47:41 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Mon, 25 Apr 2022 10:47:41 +0900 Subject: [KineJapan] How to contact the National Film Archive of Japan In-Reply-To: <1372911909.83393.1650806410915.JavaMail.yahoo@mail.yahoo.co.jp> References: <1372911909.83393.1650806410915.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: Thank you very much Susanne, I will email you shortly mb Il giorno dom 24 apr 2022 alle ore 22:20 Schermann Susanne via KineJapan < kinejapan at mailman.yale.edu> ha scritto: > Hi Matteo, > > > first of all, you might want to check if they do have the film you are > looking for. This search machine is quite reliable, but try different > writings and styles if your film does not show up. If you want help, feel > free to contact me. > > http://nfad.nfaj.go.jp/ > > > As for mails and phone, they are quite stingy about it and don't post it > on the website. The telephone number there is not at all useful imho. I > have private contacts, but I would have to ask them if it is okay to share > this with you. Again, if you give me details in a private mail, I might be > able to help you. > > Best > > Susanne > > > > ----- Original Message ----- > > > *From: *"Japanese Cinema Discussion Forum" > > *To: *"Japanese Cinema Discussion Forum" > > *Cc: *"matteoB" > > *Date: *2022/04/24 ? 17:29 > > *Subject: *[KineJapan] How to contact the National Film Archive of Japan > > > > Dear All, > > > Apologies if this question has been asked before, but what is the best way > to contact the National Film Archive of Japan (regarding a film that they > may have)? > > > Matteo > > > _______________________________________________ > > 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 alojoekalda at gmail.com Sun Apr 24 22:29:44 2022 From: alojoekalda at gmail.com (=?UTF-8?Q?Alo_J=C3=B5ekalda?=) Date: Mon, 25 Apr 2022 11:29:44 +0900 Subject: [KineJapan] How to contact the National Film Archive of Japan In-Reply-To: References: <1372911909.83393.1650806410915.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: Dear Matteo, Please feel free to send any enquiries about the film collection directly to me at joekalda-a at nfaj.go.jp. Looking forward to hearing from you. As Susanne pointed out, the online database is a good place to start, but it does not cover non-fiction or non-Japanese films. The same database is also available through Japan Search which can be somewhat easier to navigate (you will have to scroll down a little for the NFAJ search field): https://jpsearch.go.jp/database/nfad All the best, Alo On Mon, 25 Apr 2022 at 10:47, matteoB via KineJapan wrote: > > Thank you very much Susanne, I will email you shortly > > mb > > Il giorno dom 24 apr 2022 alle ore 22:20 Schermann Susanne via KineJapan ha scritto: >> >> Hi Matteo, >> >> >> first of all, you might want to check if they do have the film you are looking for. This search machine is quite reliable, but try different writings and styles if your film does not show up. If you want help, feel free to contact me. >> >> http://nfad.nfaj.go.jp/ >> >> >> As for mails and phone, they are quite stingy about it and don't post it on the website. The telephone number there is not at all useful imho. I have private contacts, but I would have to ask them if it is okay to share this with you. Again, if you give me details in a private mail, I might be able to help you. >> >> Best >> >> Susanne >> >> >> >> ----- Original Message ----- >> >> >> From: "Japanese Cinema Discussion Forum" >> >> To: "Japanese Cinema Discussion Forum" >> >> Cc: "matteoB" >> >> Date: 2022/04/24 ? 17:29 >> >> Subject: [KineJapan] How to contact the National Film Archive of Japan >> >> >> >> Dear All, >> >> >> Apologies if this question has been asked before, but what is the best way to contact the National Film Archive of Japan (regarding a film that they may have)? >> >> >> Matteo >> >> >> _______________________________________________ >> >> 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 From matteo.boscarol at gmail.com Sun Apr 24 22:33:21 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Mon, 25 Apr 2022 11:33:21 +0900 Subject: [KineJapan] How to contact the National Film Archive of Japan In-Reply-To: References: <1372911909.83393.1650806410915.JavaMail.yahoo@mail.yahoo.co.jp> Message-ID: Thank you Alo Il giorno lun 25 apr 2022 alle ore 11:30 Alo J?ekalda via KineJapan < kinejapan at mailman.yale.edu> ha scritto: > Dear Matteo, > > Please feel free to send any enquiries about the film collection > directly to me at joekalda-a at nfaj.go.jp. Looking forward to hearing > from you. > > As Susanne pointed out, the online database is a good place to start, > but it does not cover non-fiction or non-Japanese films. The same > database is also available through Japan Search which can be somewhat > easier to navigate (you will have to scroll down a little for the NFAJ > search field): > > https://jpsearch.go.jp/database/nfad > > All the best, > Alo > > On Mon, 25 Apr 2022 at 10:47, matteoB via KineJapan > wrote: > > > > Thank you very much Susanne, I will email you shortly > > > > mb > > > > Il giorno dom 24 apr 2022 alle ore 22:20 Schermann Susanne via KineJapan > ha scritto: > >> > >> Hi Matteo, > >> > >> > >> first of all, you might want to check if they do have the film you are > looking for. This search machine is quite reliable, but try different > writings and styles if your film does not show up. If you want help, feel > free to contact me. > >> > >> http://nfad.nfaj.go.jp/ > >> > >> > >> As for mails and phone, they are quite stingy about it and don't post > it on the website. The telephone number there is not at all useful imho. I > have private contacts, but I would have to ask them if it is okay to share > this with you. Again, if you give me details in a private mail, I might be > able to help you. > >> > >> Best > >> > >> Susanne > >> > >> > >> > >> ----- Original Message ----- > >> > >> > >> From: "Japanese Cinema Discussion Forum" > >> > >> To: "Japanese Cinema Discussion Forum" > >> > >> Cc: "matteoB" > >> > >> Date: 2022/04/24 ? 17:29 > >> > >> Subject: [KineJapan] How to contact the National Film Archive of Japan > >> > >> > >> > >> Dear All, > >> > >> > >> Apologies if this question has been asked before, but what is the best > way to contact the National Film Archive of Japan (regarding a film that > they may have)? > >> > >> > >> Matteo > >> > >> > >> _______________________________________________ > >> > >> KineJapan mailing list > >> > >> KineJapan at mailman.yale.edu > >> > >> https://mailman.yale.edu/mailman/listinfo/kinejapan > >> > >> _______________________________________________ > >> KineJapan mailing list > >> KineJapan at mailman.yale.edu > >> https://mailman.yale.edu/mailman/listinfo/kinejapan > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at mailman.yale.edu > > https://mailman.yale.edu/mailman/listinfo/kinejapan > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Mon Apr 25 21:40:05 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 25 Apr 2022 21:40:05 -0400 Subject: [KineJapan] Fwd: CFP: (Re)thinking Landscape Conference, Yale University, 29 September - 1 October References: Message-ID: <6A07905B-7ABD-4652-A8E5-F7083E4F6950@yale.edu> > > Dear colleagues, > > With apologies for cross-posting, please find below a CFP for an interdisciplinary conference on landscape, scheduled to be held in-person at Yale University from September 29 to October 1. Abstracts on landscape in cinema are particularly welcome and encouraged. > > ----- > > (Re)thinking Landscape: Ways of Knowing / Ways of Being > > September 29 - October 1, 2022 > Yale University > > The cumulative crises of anthropogenic climate change, Indigenous land and water defender campaigns, and calls to decolonize museums, universities and other cultural spaces have directed attention to the material structures of power that shape our interaction with place. If landscape studies have traditionally focused on questions of representation and cultural imaginaries, how does taking land seriously as a category prompt a rethinking of landscape? Landscapes have real, material impacts on our lives but landscape is also a canvas onto which a variety of emotional, ideological, and discursive involvement is mapped. Landscape is used by artists, writers, theorists, and politicians to tell us something?and, importantly, to make us believe something?about our lives and ourselves. As inhabitants, stewards, and architects of landscape, we have a responsibility to think critically about the role of landscape. Land and landscape are a point of entry to reckon with how colonial, nationalist, heteronormative, and white supremacist systems and structures impose themselves on land, waters, and communities. Given the very material politics of the present, what utility does landscape have as a framework? What does a history of landscape that centers land relations look like? What does landscape tell us about temporality, endurance, disappearance, emergency, and disaster? > > We invite papers from interdisciplinary scholars working at the convergence of land, representation, and politics across media, geographies, and time periods. Through the framework of the Environmental Humanities, this conference seeks to re-think landscape studies and the definition of landscape through a cross-disciplinary dialogue across the humanities and social sciences. > > Keynote Speakers: Nick Estes (University of Minnesota) and Tiffany Lethabo King (University of Virginia) > Film Screening: Logos Zanzotto (2021, Italy, dir. Denis Brotto), followed by Q&A with the director > > Possible topics may include, but are not limited to, the following: > The interplay between materiality and representation > Land relations and land ethics > Disappearing/enduring landscapes > Landscape and memory studies > Landscape and belonging > Landscape and the picturesque > Representing landscapes in literature, art, cinema, and other creative media > Immaterial and invented landscapes > How representation shapes how we know and value land > Landscapes/Seascapes/Skyscapes > Shoals and other in-between formations > Embodied experiences of landscape > The ethics of land art > Landscapes as materials, metaphors, media, archives, and frameworks > Please send an abstract of 250 words and a short bio to the organizing committee at rethinking.landscape.conference at gmail.com by May 31. We encourage proposals that emphasize expansive thinking about landscape from scholars, artists, and activists at all stages of their careers. > > This conference is generously sponsored by The Edward J. and Dorothy Clarke Kempf Memorial Fund and the Yale Environmental Humanities program. > ---- Learn to speak like a film/TV professor! Listen to the ScreenLex podcast: http://screenlex.org -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Tue Apr 26 07:34:34 2022 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 26 Apr 2022 11:34:34 +0000 Subject: [KineJapan] 5th May 7pm (BST) - Online Talk - Zatoichi: Reality or Fantasy? Creating the Hero of the Blind Swordsman In-Reply-To: References: Message-ID: Dear All With apologies for cross-posting. Please find below details for this online book launch event, taking place on Zoom, on 5th May at 7pm, UK time, although accessible to anyone anywhere around the globe if they wish to sign up for it, not just the UK This talk will also be recorded by the Japan Foundation, and provided on YouTube afterwards. All the best Jasper You are receiving this email as you have subscribed to information about film or literature related events. [cid:18065a415355b16b21] Date: Thursday, 5 May 2022, 7:00pm (BST) Online Event hosted on Zoom Zatoichi is regarded as one of the most influential characters from Japanese jidai-geki (period films). The first film out of 29 Japanese titles was directed by MISUMI Kenji and released in 1962. The series gained so much popularity that it was later remade in the USA. Despite being blind, Zatoichi is an accomplished sword fighter who beats many villains, and is inspiring enough to capture the hearts of even contemporary film makers such as KITANO Takeshi and MIIKE Takashi. Although adapted from literature and supposedly modelled on a real person, the film?s version of the character is far from the original influences. It was certainly the popularity of the films that pushed Zatoichi into the limelight. How was this blind hero invented and what factored into his success? Celebrating the 60th anniversary of the first film of Zatoichi, in this online talk Dr Jonathan Wroot, who published The Paths of Zatoichi, will introduce his latest book explaining the process of the characterisation of the famous blind swordsman, while referring to his impact on history and the cultural context. Together with Dr Dolores Martinez and Dr Jasper Sharp, the talk will also explore the representation of Zatoichi as a hero who is blind and why such a character is frequently portrayed within jidai-geki films and TV shows; while also considering the other examples of blind people in Japanese film and culture. Speakers [cid:18065a415356917eb2]Dr Jonathan Wroot is Senior Lecturer and Programme Leader for Film Studies at the University of Greenwich. He has previously published research on home media formats and Asian cinema distribution. He co-edited a collection entitled New Blood: Framing 21st Century Horror, for UWP, in 2021, in addition to his monograph on the Zatoichi film and TV franchise. Some of this research will be appearing in the forthco??ming edited collection, Women in East Asian Cinema. He has contributed to the podcast series Beyond Japan and Second Features, as well as the Japan Foundation Touring Film Programme 2022. Dolores P. Martinez is Emeritus Reader in Anthropology at SOAS, University of London and a Research Affiliate at ISCA, University of Oxford. She has written on maritime anthropology, tourism, religion, gender, film, and popular culture in Japan, as well as on women?s football in the USA, documentaries, and humour in science fiction films. Her publications include Identity and Ritual in a Japanese Diving Village; Remaking Kurosawa; editor of The Worlds of Japanese Popular Culture; and co-editor, Assembling Japan and Persistently Postwar. Dr Jasper Sharp is an author, filmmaker and curator known for his work on Japanese cinema and the co-founder of the film website Midnight Eye. His books include The Midnight Eye Guide to New Japanese Film (2004), joint-written with Tom Mes, Behind the Pink Curtain (2008) and The Historical Dictionary of Japanese Cinema (2011). His work has appeared in publications including Sight & Sound, The Guardian, The Japan Times, and Film International, and on numerous home video releases. Between 2010 and 2014 he was the director of Zipangu Fest, a London-based festival dedicated to showcasing Japanese independent cinema, and was the Artistic Director of the Asia House Film Festival between 2014 and 2016. He is the co-director with Tim Grabham of The Creeping Garden (2014), an award-winning documentary about plasmodial slime moulds, and currently works as a disc producer for Arrow Films. This online event is free to attend but registration is essential. To reserve your space, please book your ticket here. The Paths of Zatoichi The Global Influence of the Blind Swordsman By Dr Jonathan Wroot is available for purchase here. Please use code LXFANDF30 for 30% off when ordering. *For individual use only and may not be combined with other offers and discounts Event in collaboration with: [cid:18065a415357745b43] [A close up of a logo Description automatically generated] @jpflondon [A close up of a sign Description automatically generated] @jpflondon [A picture containing object, clock Description automatically generated] @japanfoundationlondon The Japan Foundation, London 101-111 Kensington High Street, London, W8 5SA www.jpf.org.uk If you wish to remove your name from this mailing list, please send a blank email with the subject 'Unsubscribe' to info at jpf.org.uk University of Greenwich, a charity and company limited by guarantee, registered in England (reg no. 986729). Registered Office: Old Royal Naval College, Park Row, Greenwich SE10 9LS. -- The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image002.png Type: image/png Size: 342016 bytes Desc: image002.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image003.jpg Type: image/jpeg Size: 5447 bytes Desc: image003.jpg URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image004.png Type: image/png Size: 21743 bytes Desc: image004.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image005.png Type: image/png Size: 2078 bytes Desc: image005.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image006.png Type: image/png Size: 2633 bytes Desc: image006.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image007.png Type: image/png Size: 1730 bytes Desc: image007.png URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image001.png Type: image/png Size: 608504 bytes Desc: image001.png URL: From jasper_sharp at hotmail.com Tue Apr 26 10:26:19 2022 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 26 Apr 2022 14:26:19 +0000 Subject: [KineJapan] 5th May 7pm (BST) - Online Talk - Zatoichi: Reality or Fantasy? Creating the Hero of the Blind Swordsman In-Reply-To: References: Message-ID: Sorry, I forgot to add the link to book tickets: https://www.eventbrite.co.uk/e/reality-or-fantasy-creating-the-hero-of-the-blind-swordsman-tickets-320539461157 The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. ________________________________ From: KineJapan on behalf of Jasper Sharp via KineJapan Sent: 26 April 2022 11:34 To: KineJapan at mailman.yale.edu Cc: Jasper Sharp Subject: [KineJapan] 5th May 7pm (BST) - Online Talk - Zatoichi: Reality or Fantasy? Creating the Hero of the Blind Swordsman Dear All With apologies for cross-posting. Please find below details for this online book launch event, taking place on Zoom, on 5th May at 7pm, UK time, although accessible to anyone anywhere around the globe if they wish to sign up for it, not just the UK This talk will also be recorded by the Japan Foundation, and provided on YouTube afterwards. All the best Jasper You are receiving this email as you have subscribed to information about film or literature related events. [cid:18065a415355b16b21] Date: Thursday, 5 May 2022, 7:00pm (BST) Online Event hosted on Zoom Zatoichi is regarded as one of the most influential characters from Japanese jidai-geki (period films). The first film out of 29 Japanese titles was directed by MISUMI Kenji and released in 1962. The series gained so much popularity that it was later remade in the USA. Despite being blind, Zatoichi is an accomplished sword fighter who beats many villains, and is inspiring enough to capture the hearts of even contemporary film makers such as KITANO Takeshi and MIIKE Takashi. Although adapted from literature and supposedly modelled on a real person, the film?s version of the character is far from the original influences. It was certainly the popularity of the films that pushed Zatoichi into the limelight. How was this blind hero invented and what factored into his success? Celebrating the 60th anniversary of the first film of Zatoichi, in this online talk Dr Jonathan Wroot, who published The Paths of Zatoichi, will introduce his latest book explaining the process of the characterisation of the famous blind swordsman, while referring to his impact on history and the cultural context. Together with Dr Dolores Martinez and Dr Jasper Sharp, the talk will also explore the representation of Zatoichi as a hero who is blind and why such a character is frequently portrayed within jidai-geki films and TV shows; while also considering the other examples of blind people in Japanese film and culture. Speakers [cid:18065a415356917eb2]Dr Jonathan Wroot is Senior Lecturer and Programme Leader for Film Studies at the University of Greenwich. He has previously published research on home media formats and Asian cinema distribution. He co-edited a collection entitled New Blood: Framing 21st Century Horror, for UWP, in 2021, in addition to his monograph on the Zatoichi film and TV franchise. Some of this research will be appearing in the forthco??ming edited collection, Women in East Asian Cinema. He has contributed to the podcast series Beyond Japan and Second Features, as well as the Japan Foundation Touring Film Programme 2022. Dolores P. Martinez is Emeritus Reader in Anthropology at SOAS, University of London and a Research Affiliate at ISCA, University of Oxford. She has written on maritime anthropology, tourism, religion, gender, film, and popular culture in Japan, as well as on women?s football in the USA, documentaries, and humour in science fiction films. Her publications include Identity and Ritual in a Japanese Diving Village; Remaking Kurosawa; editor of The Worlds of Japanese Popular Culture; and co-editor, Assembling Japan and Persistently Postwar. Dr Jasper Sharp is an author, filmmaker and curator known for his work on Japanese cinema and the co-founder of the film website Midnight Eye. His books include The Midnight Eye Guide to New Japanese Film (2004), joint-written with Tom Mes, Behind the Pink Curtain (2008) and The Historical Dictionary of Japanese Cinema (2011). His work has appeared in publications including Sight & Sound, The Guardian, The Japan Times, and Film International, and on numerous home video releases. Between 2010 and 2014 he was the director of Zipangu Fest, a London-based festival dedicated to showcasing Japanese independent cinema, and was the Artistic Director of the Asia House Film Festival between 2014 and 2016. He is the co-director with Tim Grabham of The Creeping Garden (2014), an award-winning documentary about plasmodial slime moulds, and currently works as a disc producer for Arrow Films. This online event is free to attend but registration is essential. To reserve your space, please book your ticket here. The Paths of Zatoichi The Global Influence of the Blind Swordsman By Dr Jonathan Wroot is available for purchase here. Please use code LXFANDF30 for 30% off when ordering. *For individual use only and may not be combined with other offers and discounts Event in collaboration with: [cid:18065a415357745b43] [A close up of a logo Description automatically generated] @jpflondon [A close up of a sign Description automatically generated] @jpflondon [A picture containing object, clock Description automatically generated] @japanfoundationlondon The Japan Foundation, London 101-111 Kensington High Street, London, W8 5SA www.jpf.org.uk If you wish to remove your name from this mailing list, please send a blank email with the subject 'Unsubscribe' to info at jpf.org.uk University of Greenwich, a charity and company limited by guarantee, registered in England (reg no. 986729). Registered Office: Old Royal Naval College, Park Row, Greenwich SE10 9LS. -- The Creeping Garden - A Real-Life Science-Fiction Story about Slime Moulds and the People Who Work With them, directed by Tim Grabham and Jasper Sharp. Available now on Dual-Format Blu-ray/DVD from Arrow Films. The book, The Creeping Garden: Irrational Encounters with Plasmodial Slime Moulds is out now from Alchimia Publishing. "A surprising investigation of perception, thought and life itself", Nicolas Rapold, The New York Times. "An out-of-left-field nerdy delight", John DeFore, Hollywood Reporter. "Strange, eccentric, diverting", Peter Bradshaw, The Guardian. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: image002.png Type: image/png Size: 342016 bytes Desc: image002.png URL: -------------- next part -------------- A non-text attachment was scrubbed... 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Name: image007.png Type: image/png Size: 1730 bytes Desc: image007.png URL: From hilson4 at hawaii.edu Tue Apr 26 11:27:55 2022 From: hilson4 at hawaii.edu (Hilson Reidpath) Date: Wed, 27 Apr 2022 00:27:55 +0900 Subject: [KineJapan] Special Program on Okinawa films In-Reply-To: References: <719090477.274947.1650148641392.ref@mail.yahoo.com> <719090477.274947.1650148641392@mail.yahoo.com> Message-ID: Thanks for sending this out Alex. I meant to share it as well. I really recommend to anyone remotely interested in post-war/occupation area Okinawa to check out *Motoshinkakarannu *at the very least. My understanding is it is *very* difficult to see. It was also filmed towards the tail-end of the US occupation, which was a tumultuous time for a number of reasons, but is of particular note (and controversy) because of its depiction of the extant yakuza gangs at the time. Best, Hilson Reidpath On Sat, Apr 23, 2022 at 3:10 AM Zahlten, Alexander via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hello All, > > Apologies, I forgot to edit the subject line when I just sent out the > email. Sorry about that! See the original message below. > > Best, > > Alex > > > > Hi Everyone, > > > > This is just to point you to an interesting special of films on Okinawa > taking place at the Japan Society New York due to the efforts of Alexander > Fee. It features a really nice span of types of films, from a Nakajima > Sadao-directed Yakuza film to two usually very difficult to access films by > the legendary documentary film collective NDU. Here is the link: > > > > > https://www.japansociety.org/arts-and-culture/films/okinawa-cinematic-reflections > > > > > Some films are being streamed as well, though the majority is for > in-person screenings. > > > > All best, > > Alex > > > > ------------------------------- > > Alexander Zahlten > > Professor of East Asian Languages and Civilizations > > Chair, Regional Studies East Asia (RSEA) Program > > Harvard University > > (He / him / his) > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Hilson Reidpath PhD Student in Japanese East Asian Language and Literature University of Hawai'i at M?noa -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Apr 28 14:54:08 2022 From: nornes at umich.edu (Markus Nornes) Date: Thu, 28 Apr 2022 14:54:08 -0400 Subject: [KineJapan] Hara 1 & Hara 2 Message-ID: Criterion is streaming a bunch of Hara Kazuo films on their channel. They asked me to jot down my thoughts about his career, and it got me rethinking everything. I don't think I'm the only one who was thrilled by his first films and disappointed with what came after the turn of the century. Recently, I've come to see how it was less a turning point than a shift in emphasize. Same Hara. Just a Hara 1 and a Hara 2. Check it out: https://www.criterion.com/current/posts/7775-kazuo-hara-s-dedicated-lives I wonder if it make sense..... Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From margherita.long at uci.edu Thu Apr 28 21:04:24 2022 From: margherita.long at uci.edu (Margherita R. Long) Date: Fri, 29 Apr 2022 01:04:24 +0000 Subject: [KineJapan] =?windows-1252?q?CFP_=93Writers_Who_Have_Seen_Too_Mu?= =?windows-1252?q?ch=3A_Earth=2C_Kin=2C_Care=94_=40UC_Irvine_30_Sept-_1_Oc?= =?windows-1252?q?t_2022?= Message-ID: Dear Colleagues, With apologies for cross-posting, please find below a CFP for an environmental humanities conference on Japanese literature and related topics, scheduled to be held in-person at UC Irvine University from September 29 to October 1. Best, Mimi Long Margherita Long Associate Professor Department of East Asian Studies University of California, Irvine https://www.faculty.uci.edu/profile.cfm?faculty_id=6157 *** Call for Proposals ?Writers Who Have Seen Too Much: Earth, Kin, Care? International Japanese Literature Symposium 30 September ? 1 October 2022, In Person University of California, Irvine This two-day conference gathers scholars who work on five writers: Chiri Yukie (1903-1922), Sakiyama Tami (1954- ), Tsushima Yuko (1947-2016), Ishimure Michiko (1927-2018), and Kobayashi Erika (1978- ). Our title refers to the emotional toll taken by environmental destruction at four ongoing moments in Japanese modernity: the theft of Ainu lands, the theft of Ryukyuan lands, the Minamata mercury poisoning incident, and the Fukushima nuclear disaster. How do those who ?see too much? use literature not only to critique but also to affirm? How does literature allow them to engage the earth, and what modes of kinship, both human and more-than-human, do they narrate in the process? Our aim is to open environmental questions in new (and old) directions: disability studies, indigenous knowledges, care feminisms, and philosophies of vitalism. By focusing on figures who have inspired some of the most compelling multilingual scholarship in Japanese literature studies, we want to cultivate relationships between senior and junior scholars while also developing our understanding of how the five writers amplify each other?s projects. Topics: We welcome proposals on any of the five writers and/or additional figures who are in direct conversation, on topics including but not limited to: indigeneity and indigenous knowledges/sciences disability studies queer/trans ecology vitalism debates: eugenics vs. anarchism /animism animal/plant studies ecopoetics and obligate storytelling climate caucasianism and transpacific racial justice activist narrative as literature eco-marxism affective labor / feminism / legacies of ribu Conveners: Margherita Long, UC Irvine Jon L Pitt, UC Irvine Anne McKnight, UC Riverside Vanessa Baker, UC Irvine Sponsorship: Generous support from a Japan Foundation Institutional Grant will cover travel and lodging for most participants. Timeline: 6/6/22 Abstracts due 6/27/22 Conference Program Announced 8/15/22 COVID decision: cancel or commit to in-person 8/30/22 One-page paper outlines due to conference website 8/31/22 Panels meet by zoom to identify connections (30 minutes) 9/30/22-10/1/22: Conference Abstract Submission * By 5/27/22 midnight to earthkincareconference2022 at gmail.com subject heading ?conference proposal? * Include name, email, institutional affiliation, title, 250-word abstract, 100-word bio * Questions: Margherita Long (margherita.long at uci.edu) or Jon L Pitt (jpitt at uci.edu) -------------- next part -------------- An HTML attachment was scrubbed... URL: From marion at nipponconnection.com Sat Apr 30 08:40:00 2022 From: marion at nipponconnection.com (Marion Klomfass) Date: Sat, 30 Apr 2022 14:40:00 +0200 Subject: [KineJapan] 22nd Nippon Connection Film Festival, May 24 - 29, 2022 Message-ID: <43356f85-8946-238f-a0cf-8caa1b18bbb4@nipponconnection.com> ** *Dear All,* * After two online editions, the22nd Nippon Connection Film Festival, which will be held from May 24 to 29, 2022in Frankfurt am Main / Germany, will bring the most exciting current Japanese films to the big screens again. Around 100 short and feature-length films showcase the complete range of Japanese cinema ? from newcomers to established directors, from anime to documentaries.?The film program includes many world,? international,? European and German premieres. For the sixth time, the festival will present the Nippon Honor Award. The award is a tribute to outstanding personalities for their special contributions to Japanese cinema. This year?s awardee is renowned actor Masatoshi Nagase. Several films with Nagase can be seen at the Nippon Connection Film Festival as German premieres, among them Under The Starsby Tatsushi Omori and Keita Fujimoto?s Just The Two of Us. Nippon Connection celebrates its return to the big screens with an ode to cinema: Talking The Picturesby Masayuki Suo is a racy comedy about Japanese silent film narrators (benshi) at the beginning of the 20th century, in which Nippon Honor awardee Masatoshi Nagase can be seen as an alcoholic rogue. Fans of genre films will enjoy the yakuza thrillerLast of the Wolvesby Kazuya Shiraishi. Director Shinichiro Ueda, who won over genre fans with his surprise hit ?One Cut of the Dead? (2017), returns with his latest film Popran, a fast-paced comedy about a man in search of his private parts.?With *We Made A Beautiful Bouquet* Nobuhiro Doi presents a bittersweet melodrama about the unconditional longing for love. This year?s thematic focus Stories of Youthoffers insights into the lives of young people in Japan and the various experiences and challenges they are facing. Shogo Kusano?s drama What She Likes?illustrates how difficult it still is to come out in conservative Japanese society. In A Madder Red by Yuya Ishii, a boy is confronted with the loss of his father against the backdrop of the COVID-19 pandemic. The festival will also present numerous *animation films*. Masaaki Yuasa, returns to the cinema with Inu-Oh. Dozens of Norths, the first feature-length film by Oscar-nominated animation artist Koji Yamamura deals with the trauma that the triple disaster of March 2011 has caused in Japanese society.? The sci-fi high school musical comedySing A Bit Of Harmonyby Yasuhiro Yoshiura is a colorful take on artificial intelligence. The Nippon Visionssection is dedicated to up-and-coming directors and independent films. Young female director Rin Shuto proves to be one of the most intriguing new talents with Unlock Your Heart, a highschool drama about avoiding gender clich?s. A dreamy melancholic summer atmosphere pervades Song Of A Dying Summer, the feature-length debut of Kohei Sengen. The deep action film Pure Japaneseby Daishi Matsunaga was produced by leading actor Dean Fujioka. Many queer films will once again be featured in this year?s festival program: Actor Ren Sudo delivers his directing debut withBacklight, a summer film set in 1970s? Southern Japan. In Angry Sonby Kasho Iizuka, teenager Jungo ? half Filipino, half Japanese, and gay ? is searching for his father, whom he never got to know. Let Me Hear It Barefootby Riho Kudo is a sensitive LGBTQ drama and a tribute to Wong Kar-Wais? ?Happy Together?. The section Nippon Docspresents new documentaries from Japan. Fumiari Hyuga?sTokyo Kurds tells the story of two Turkish Kurds living in Japan, suffering from the country's rigid immigration laws. Salaryman, the debut documentary of Costa Rican artist and photographer Allegra Pacheco, dives into the peculiarities of Japan?s white-collar working world. The world premiere Origamiby Tadasuke Kotani accompanies painter Atsushi Suwa as he makes a portrait of a deceased young man. In cooperation with the Japan Foundation Tokyo, the retrospectiveStories Of Youthpresents eight works from five decades in the cinema at the DFF ? Deutsches Filminstitut & Filmmuseum, including A Town Of Love And Hope(1959), the debut of nouvelle vague legend Nagisa Oshima, as well as Mikio Naruse?s overlooked drama The Approach Of Autumn(1960).Muddy Riverby Kohei Oguri (1981) offers almost neorealist impressions of a childhood in post-war Japan, while Pastoral Hide And Seek(1974) by avantgarde poet Shuji Terayama stages a surrealistic kaleidoscope of memories. The supporting programof this year contains more than 60 events, including workshops, concerts and performances. Besides various lectures on Japanese art and culture, the panel discussionJapanese Film Industry ? Women Raising Their Voice(moderator: Erina Ito) will shed light on the working conditions of women in the film industry, a topic that has also been brought up in the context of the #MeToo movement. You can join this panel in Frankfurt or via Zoom. Former Nippon Connection programmer Prof. Alex Zahlten gives an online lecture on Paranoia And The Information Society ? How Media Both Overwhelms And Offers Solutions In Japanese Film. The events of the 22nd Nippon Connection Film Festival take place at twelve locations in Frankfurt am Main. The festival centers are at K?nstlerhaus Mousonturm and NAXOS.The complete program and tickets will be available starting May 7, 2022 on the festival homepage NipponConnection.com. As a special addition, a part of the film program will be available under the title Nippon Connection On Demand from May 30 to June 6, 2022on the festival?s plattform watch.NipponConnection (Germany only). The streaming line-up will be revealed on May 29, 2022. You can find the accreditation form on our website: https://nipponconnection.com/en/press/accreditation/ I?m looking forward to seeing you in Frankfurt! Best regards, Marion Klomfass Festival director Nippon Connection ** * * 22nd Japanese Film Festival May 24 ? 29, 2022 Frankfurt am Main, Germany* * *Film Program Survey:(as of April 27, 2022)* * NIPPON CINEMA Any Crybabies Around?by Takuma SATO, Japan 2020, German premiere The Asadas by Ryota NAKANO, Japan 2020, German premiere A Balanceby Yujiro HARUMOTO, Japan 2020 The End Of The Pale Hourby Hana MATSUMOTO, Japan 2021, International premiere Intolerance by Keisuke YOSHIDA, Japan 2020, European premiere Just Remembering by Daigo MATSUI, Japan 2021, German premiere Last Of The Wolvesby Kazuya SHIRAISHI, Japan 2021, German premiere A Madder Redby Yuya ISHII, Japan 2021, European premiere The Mole Song: Final by Takashi MIIKE, Japan 2021, German premiere My Brother, The Android And Meby Junji SAKAMOTO, Japan 2020, European premiere Mystery Train by Jim Jarmusch, USA / Japan 1989 Film concert: Okabre Plays A Page Of Madness Parasite In Loveby Kensaku KAKIMOTO, Japan 2021, European premiere Popran by Shinichiro UEDA, Japan 2022, German premiere Sensei, Would You Sit Beside Me?by Takahiro HORIE, Japan 2021, European premiere Small, Slow But Steadyby Sho MIYAKE, Japan / Frankreich 2022 The Sunday Runoff by Yuichiro SAKASHITA, Japan 2021, German premiere Talking The Picturesby Masayuki SUO, Japan 2019, German premiere They Say Nothing Stays The Same by Joe ODAGIRI, Japan 2019 Under The Stars by Tatsushi OMORI, Japan 2020, German premiere We Made A Beautiful Bouquetby Nobuhiro DOI, Japan 2020, German premiere What She Likes...by Shogo KUSANO, Japan 2021, German premiere Wheel Of Fortune And Fantasyby Ryusuke HAMAGUCHI, Japan 2021 NIPPON ANIMATION Belle by Mamoru HOSODA, Japan 2021 Dozens Of Norths by Koji YAMAMURA, Japan / France 2021, German premiere Inu-Ohby Masaaki YUASA, Japan / China 2021 My Neighbor Totoro by Hayao MIYAZAKI, Japan 1988 Millennium Actress by Satoshi KON, Japan 2001 Sing A Bit Of Harmonyby Yasuhiro YOSHIURA, Japan 2021, German premiere Short films: 3 Intestine Road, Fish Islandby Moe WAKABAYASHI, Japan 2022, International premiere 919 by Tai ISHII, Japan 2022, International premiere Before Dawnby Wei XU, Japan 2022, International premiere A Bite Of Boneby Honami YANO, Japan 2021 Boogerly Loveby Kano IKEDA, Japan 2022, International premiere Fourth Period Swimming Classby Mayo KOBAYASHI, Japan 2022, International premiere HA?NA?KU?SOby Amane ODA, Japan 2022, International premiere I Wanted To Be Wanted. by higoAKARI, Japan 2022, International premiere Iizuna Fair by Sumito SAKAKIBARA, Japan 2021, German premiere Invisible by Zeng Liang LIN, Japan 2022, International premiere Krasue by Ryo HIRANO, Japan 2021 Liminal Parkby Moe KISHIMOTO, Japan 2022, International premiere Monorail by Shizuko TABATA, Japan 2020 nowhere by Asaki NISHINO, Japan 2022, International premiere On Time Off Timeby Hirotoshi IWASAKI, Japan 2020 Poetics Of The Gardenby Sachiyo KUROSAWA, Japan 2022, International premiere Poo Down Hill Up by Yuta MASUDA, Japan 2022, International premiere Pukkulapottas And Hours In The Forestby Takeshi YASHIRO, Japan 2021 RED TABLEby Hakhyun KIM, Japan 2021 Stained Smellby Amane ABE, Japan 2022, International premiere Still Lifeby Masa KUDO, Japan 2021 Winter Starby Jiayin CHEN, Japan 2022, International premiere NIPPON VISIONS Angry Son by Kasho IIZUKA, Japan 2022, International premiere Backlight by Ren SUDO, Japan 2021, German premiere Just The Two Of Us by Keita FUJIMOTO, Japan 2020, German premiere Let Me Hear It Barefootby Riho KUDO, Japan 2021, German premiere Melting Soundsby Kahori HIGASHI, Japan 2021, European premiere Mr. Suzuki -A Man In God's Country-by Omoi SASAKI, Japan 2020 Ninja Girlby Yu IRIE, Japan 2021, European premiere One Day, You Will Reach The Seaby Ryutaro NAKAGAWA, Japan 2022, German premiere Pure Japaneseby Daishi MATSUNAGA, Japan 2022, International premiere Ring Wanderingby Masakazu KANEKO, Japan 2021, German premiere Song of a Dying Summer by Kohei SENGEN, Japan 2021, International premiere Unlock Your Heart by Rin SHUTO, Japan 2021, International premiere Short films: Everything In Its Right Placeby Willy LAU, Japan 2021, German premiere Funny by Keisuke SAKUMA, Japan 2021,EP Go Seppuku Yourselves by Toshiaki TOYODA, Japan 2021, German premiere Goodbye! by Fuka NAKATSUKA, Japan 2021 Last Judgement by Shinya KAWAKAMI, Japan 2019, European premiere Like In Moviesby Yo KOMAYA, Japan 2021, German premiere Manga Girls by Takashi OKADO und Yuki KEDOIN, Japan 2021, German premiere Psychology Counselor by Zenzo SAKAI, Japan 2021, International premiere School Radio To Major Tomby Takuya CHISAKA, Japan 2020, German premiere Volte-Faceby Kanshi IWASAKI, Japan 2021 Wao by Emi YASUMURA, Japan 2020, German premiere NIPPON DOCS Double Layered Town / Making A Song To Replace Our Positions by Haruka KOMORI, Natsumi SEO, Japan 2019, German premiere I Go Gaga, Welcome Home Mom.by Naoko NOBUTOMO, Japan 2022, International premiere Origami by Tadasuke KOTANI, Japan 2022, world premiere Paper City by Adrian Francis, Australia, Japan 2021, German premiere Salaryman by Allegra Pacheco, 2021, German premiere Satoshi Kon, The Illusionist by Pascal-Alex Vincent, Japan / France 2021, German premiere Target by Shinji NISHIJIMA, Japan 2021, European premiere Tokyo Kurdsby Fumiari HYUGA, Japan 2021, European premiere NIPPON RETRO The Approach Of Autumnby Mikio Naruse, Japan 1960 Canary by Akihiko SHIOTA, Japan 2004 Children Hand in Handby Susumu HANI, Japan 1964 Muddy Riverby Kohei Oguri, Japan 1981 Pastoral Hide And Seekby Shuji TERAYAMA, Japan 1974 A Town Of Love And Hopeby Nagisa OSHIMA, Japan 1959 The Young And Wild by Nobuhiko OBAYASHI, Japan 1986 Young Murderer by Kazuhiko HASEGAWA, Japan 1976 * * -------------- next part -------------- An HTML attachment was scrubbed... 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