From macyroger at yahoo.co.uk  Sat Aug  6 06:47:26 2022
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sat, 6 Aug 2022 10:47:26 +0000 (UTC)
Subject: [KineJapan] Senses of Cinema reports
In-Reply-To: <19D1C915-D5E0-4BF7-95ED-B1E244130136@illinois.edu>
References: <173896682.3834065.1658910190060.ref@mail.yahoo.com>
 <173896682.3834065.1658910190060@mail.yahoo.com>
 <874209902.3884380.1658912015769@mail.yahoo.com>
 <513BA953-7092-4869-990A-473E4210B858@illinois.edu>
 <1370631227.4182315.1658931989427@mail.yahoo.com>
 <19D1C915-D5E0-4BF7-95ED-B1E244130136@illinois.edu>
Message-ID: <1552293744.2076407.1659782846779@mail.yahoo.com>

 
Dear All,

Apologies for previously jumping the gun on the ?Senses of Cinema?reports from Nippon Connection and Cinema Ritrovato. Issue 102(July) has now been published, with my pieces are at the same links.

https://www.sensesofcinema.com/2022/festival-reports/the-22nd-nippon-connection-refuses-to-age/

https://www.sensesofcinema.com/2022/festival-reports/36th-cinema-ritrovato-gets-covid-in-the-tail/

My Nippon Connection report stillhas the probably inaccurate description of Wada Emi?s costume as ?magenta?,amongst, doubtless, other inaccuracies.

?

I see there is also a feature, which I havestill to read, by Matthew Michaudand Justin Richardson, ?Suicide and Genius:Insights into One Episode of Akira Kurosawa?s Dreams?, ?https://www.sensesofcinema.com/2022/feature-articles/suicide-and-genius-insights-into-one-episode-of-akira-kurosawas-dreams/?

?

Roger


    On Wednesday, 27 July 2022 at 15:29:02 BST, Desser, David M via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Misumi Kenji has been a favorite of mine for almost 50 years. Yipes!
David

Sent from my iPhone

On Jul 27, 2022, at 10:26 AM, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:



?David, they've been taken down.? I must have jumped the gun. Thanks for your interest, hopefully we will spot when they go up again.Roger

On Wednesday, 27 July 2022 at 15:18:51 BST, Desser, David M via KineJapan <kinejapan at mailman.yale.edu> wrote:

Sorry, Roger. Link still doesn?t work.?
David
Sent from my iPhone

On Jul 27, 2022, at 4:53 AM, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:



?Woops.I gave you the wrong link for 'Cinema Ritrovato' https://www.sensesofcinema.com/2022/festival-reports/36th-cinema-ritrovato-gets-covid-in-the-tail/

Roger



On Wednesday, 27 July 2022 at 09:25:58 BST, Roger Macy via KineJapan <kinejapan at mailman.yale.edu> wrote:


Dear KineJapaners,

May I be so bold as to flag up my review of Nippon Connection this year onSenses of Cinema - https://www.sensesofcinema.com/2022/festival-reports/the-22nd-nippon-connection-refuses-to-age/#fnref-44789-5 .

Looking at it with pictures, I?m no longer so sure on one point. I described the costume chosen by Wada Emi inAru send? hanashi as ?deep magenta?.? That came from the one thing I knew on that, which was the colour was named after the battle of Magenta, so I think of dried blood. But the colour charts have magenta as closer to purple. I?d be happy for suggestions on that. Only those with at least two X-chromosomes need respond ...

Also out is my report on Cinema Ritrovato, which includes a section on the films of MISUMI Kenji.The 22nd Nippon Connection Refuses to Age ? Senses of Cinema


| 
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The 22nd Nippon Connection Refuses to Age ? Senses of Cinema


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Roger

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From nornes at umich.edu  Sun Aug  7 21:31:53 2022
From: nornes at umich.edu (Markus Nornes)
Date: Sun, 7 Aug 2022 21:31:53 -0400
Subject: [KineJapan] Iimura Takahiko, May He Rest in Peace
Message-ID: <CANoSnpCpd-CJtfyFFAo1_eY8r3vi_b+MTUKyLv0Yx+_TvZRZ5A@mail.gmail.com>

I just learned that experimental filmmaker Iimura Takahiko passed away on
July 31 at the age of 85. The cause was an inflammation of the lungs.

Iimura was one of the key figures in experimental film, and in a
global sense. He graduated from Keio and began his film career in PR film.
But rather than turn to documentary and fiction like so many of his
colleagues in that area, Iimura committed his life to the poetry of film. I
love his 60s films in particular, and wrote about *White Calligraphy* in my
recent book. I have often shown Ai/Love in my Japanese cinema course.
https://youtu.be/b_SZejNKeeI

He started splitting his time between New York and Japan starting in the
mid-1960s, which gave him a great platform for introducing Japanese
experimental films to the world and vice-versa. Iimura brought intermedial
happening strategies to film screenings, and was quick to shift to video
art, pioneering yet another field.

Iimura-san created lots of DVDs, books, and gave lots of interviews over
the years, a great contribution to the writing of this history (which is
often so ephemeral).  I enjoyed bringing him to Ann Arbor for an Ann Arbor
Film Festival screening, and drinking good Michigan beer while telling
stories about White Calligraphy and the many ways he screened it over the
years. He was one of those people I'd bump into at receptions and parties
all over Tokyo, and was always fun to chat with.

I've been writing about Film Independent?which he helped lead?and so I
tried contacting him this spring to try and meet up, but never heard back.
When I got to Japan, I heard he wasn't doing well, so this isn't a
shock?but it's always a shock.

Iimura's work is easy to rent or purchase from Filmmakers Cooperative. This
page gives a wonderful flavor for his artistic practice.
https://film-makerscoop.com/search?q=iimura

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/
<http://www-personal.umich.edu/~nornes/>*
*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street**Ann Arbor, MI 48109-1285*
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From earljac at gmail.com  Sun Aug  7 21:34:24 2022
From: earljac at gmail.com (Earl Jackson)
Date: Mon, 8 Aug 2022 09:34:24 +0800
Subject: [KineJapan] Iimura Takahiko, May He Rest in Peace
In-Reply-To: <CANoSnpCpd-CJtfyFFAo1_eY8r3vi_b+MTUKyLv0Yx+_TvZRZ5A@mail.gmail.com>
References: <CANoSnpCpd-CJtfyFFAo1_eY8r3vi_b+MTUKyLv0Yx+_TvZRZ5A@mail.gmail.com>
Message-ID: <CABhbz8NO4amkk0aa7o4dqRxNy7Q+zk7Lh1f4t1gw07yyvLtgug@mail.gmail.com>

Thank you telling us the sad news, Markus. His films have always been
revelatory and meditative for me, and I'm sure for many.
A truly gifted artist who contributed so much to the possibilities of Film.
May his memory be a blessing, as I'm sure it will.
ej
Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Mon, Aug 8, 2022 at 9:32 AM Markus Nornes via KineJapan <
kinejapan at mailman.yale.edu> wrote:

> I just learned that experimental filmmaker Iimura Takahiko passed away on
> July 31 at the age of 85. The cause was an inflammation of the lungs.
>
> Iimura was one of the key figures in experimental film, and in a
> global sense. He graduated from Keio and began his film career in PR film.
> But rather than turn to documentary and fiction like so many of his
> colleagues in that area, Iimura committed his life to the poetry of film. I
> love his 60s films in particular, and wrote about *White Calligraphy* in
> my recent book. I have often shown Ai/Love in my Japanese cinema course.
> https://youtu.be/b_SZejNKeeI
>
> He started splitting his time between New York and Japan starting in the
> mid-1960s, which gave him a great platform for introducing Japanese
> experimental films to the world and vice-versa. Iimura brought intermedial
> happening strategies to film screenings, and was quick to shift to video
> art, pioneering yet another field.
>
> Iimura-san created lots of DVDs, books, and gave lots of interviews over
> the years, a great contribution to the writing of this history (which is
> often so ephemeral).  I enjoyed bringing him to Ann Arbor for an Ann Arbor
> Film Festival screening, and drinking good Michigan beer while telling
> stories about White Calligraphy and the many ways he screened it over the
> years. He was one of those people I'd bump into at receptions and parties
> all over Tokyo, and was always fun to chat with.
>
> I've been writing about Film Independent?which he helped lead?and so I
> tried contacting him this spring to try and meet up, but never heard back.
> When I got to Japan, I heard he wasn't doing well, so this isn't a
> shock?but it's always a shock.
>
> Iimura's work is easy to rent or purchase from Filmmakers Cooperative.
> This page gives a wonderful flavor for his artistic practice.
> https://film-makerscoop.com/search?q=iimura
>
> 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/
> <http://www-personal.umich.edu/~nornes/>*
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street**Ann Arbor, MI 48109-1285*
>
>
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu
> https://mailman.yale.edu/mailman/listinfo/kinejapan
>
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From earljac at gmail.com  Mon Aug  8 04:27:28 2022
From: earljac at gmail.com (Earl Jackson)
Date: Mon, 8 Aug 2022 16:27:28 +0800
Subject: [KineJapan] Iimura Takahiko, May He Rest in Peace
In-Reply-To: <CABhbz8NO4amkk0aa7o4dqRxNy7Q+zk7Lh1f4t1gw07yyvLtgug@mail.gmail.com>
References: <CANoSnpCpd-CJtfyFFAo1_eY8r3vi_b+MTUKyLv0Yx+_TvZRZ5A@mail.gmail.com>
 <CABhbz8NO4amkk0aa7o4dqRxNy7Q+zk7Lh1f4t1gw07yyvLtgug@mail.gmail.com>
Message-ID: <CABhbz8Ppmt4xgfB2PVE0JJc1XfJA+8Yg6NV_E2RZPbHzCLRP+w@mail.gmail.com>

I went to a beautiful joint retrospective of Iimura and Jonas Mekas at the
Seoul Cinematheque one year. It was amazing to see them together. Their
works are completely different but the films shared an equal level of
challenge and reward.
Earl Jackson
Chair Professor
Foreign Languages and Literatures
Asia University
Professor Emeritus
National Chiao Tung University
Associate Professor Emeritus
University of California, Santa Cruz


On Mon, Aug 8, 2022 at 9:34 AM Earl Jackson <earljac at gmail.com> wrote:

> Thank you telling us the sad news, Markus. His films have always been
> revelatory and meditative for me, and I'm sure for many.
> A truly gifted artist who contributed so much to the possibilities of
> Film. May his memory be a blessing, as I'm sure it will.
> ej
> Earl Jackson
> Chair Professor
> Foreign Languages and Literatures
> Asia University
> Professor Emeritus
> National Chiao Tung University
> Associate Professor Emeritus
> University of California, Santa Cruz
>
>
> On Mon, Aug 8, 2022 at 9:32 AM Markus Nornes via KineJapan <
> kinejapan at mailman.yale.edu> wrote:
>
>> I just learned that experimental filmmaker Iimura Takahiko passed away on
>> July 31 at the age of 85. The cause was an inflammation of the lungs.
>>
>> Iimura was one of the key figures in experimental film, and in a
>> global sense. He graduated from Keio and began his film career in PR film.
>> But rather than turn to documentary and fiction like so many of his
>> colleagues in that area, Iimura committed his life to the poetry of film. I
>> love his 60s films in particular, and wrote about *White Calligraphy* in
>> my recent book. I have often shown Ai/Love in my Japanese cinema course.
>> https://youtu.be/b_SZejNKeeI
>>
>> He started splitting his time between New York and Japan starting in the
>> mid-1960s, which gave him a great platform for introducing Japanese
>> experimental films to the world and vice-versa. Iimura brought intermedial
>> happening strategies to film screenings, and was quick to shift to video
>> art, pioneering yet another field.
>>
>> Iimura-san created lots of DVDs, books, and gave lots of interviews over
>> the years, a great contribution to the writing of this history (which is
>> often so ephemeral).  I enjoyed bringing him to Ann Arbor for an Ann Arbor
>> Film Festival screening, and drinking good Michigan beer while telling
>> stories about White Calligraphy and the many ways he screened it over the
>> years. He was one of those people I'd bump into at receptions and parties
>> all over Tokyo, and was always fun to chat with.
>>
>> I've been writing about Film Independent?which he helped lead?and so I
>> tried contacting him this spring to try and meet up, but never heard back.
>> When I got to Japan, I heard he wasn't doing well, so this isn't a
>> shock?but it's always a shock.
>>
>> Iimura's work is easy to rent or purchase from Filmmakers Cooperative.
>> This page gives a wonderful flavor for his artistic practice.
>> https://film-makerscoop.com/search?q=iimura
>>
>> 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/
>> <http://www-personal.umich.edu/~nornes/>*
>> *Department of Film, Television and Media*
>> *6348 North Quad*
>> *105 S. State Street**Ann Arbor, MI 48109-1285*
>>
>>
>> _______________________________________________
>> KineJapan mailing list
>> KineJapan at mailman.yale.edu
>> https://mailman.yale.edu/mailman/listinfo/kinejapan
>>
>
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From timiles2003 at yahoo.com  Tue Aug 16 21:53:19 2022
From: timiles2003 at yahoo.com (Tim Iles)
Date: Wed, 17 Aug 2022 01:53:19 +0000 (UTC)
Subject: [KineJapan] New Content on the ejcjs
References: <1685305161.1494289.1660701199981.ref@mail.yahoo.com>
Message-ID: <1685305161.1494289.1660701199981@mail.yahoo.com>

We are pleased to announce that the latest edition of the electronic journal of contemporary japanese studies is now available, at

https://www.japanesestudies.org.uk/ejcjs/vol22/iss2/index.html

Peer-reviewed articles

Liudmila Bredikhina, Babiniku: what lies behind the virtual performance. Contesting gender norms through technology and Japanese theatre

Gianmarco Fiorentini, ?Can I communicate using only Japanese in Hawaii?? Language and transnationality as seen through the online discourse on Japanese tourism in Hawaii

Patrick Kandrac, How Reliable and Consistent Are Kanji Frequency Databases?

Maria Jose Santamaria Hergueta, Traditional folk textile dyeing in Japan: diversity, meanings, and continuity of the k?b?

Jun Tsukada, Media Education: Bridging the Intersection Between Media Literacy and Citizenship Education in Japan 


With gratitude for our contributors, readers, and international production team of volunteers.


Timothy Iles
General Editor, the ejcjs

From nornes at umich.edu  Mon Aug 22 02:18:54 2022
From: nornes at umich.edu (Markus Nornes)
Date: Mon, 22 Aug 2022 08:18:54 +0200
Subject: [KineJapan] =?utf-8?b?TWFu4oCZZWk=?=
Message-ID: <CANoSnpBn1KDoMScG_0GM7mFmJHjLeWeVF8RvDNwzr9msPDTY7g@mail.gmail.com>

Who is doing Man?ei research out there?

Considering the fact that their magazine was bilingual, I am wondering if
their Chinese films were ever subtitled or dubbed.

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/
<http://www-personal.umich.edu/~nornes/>*
*Department of Film, Television and Media*
*6348 North Quad*
*105 S. State Street**Ann Arbor, MI 48109-1285*
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From aaron.gerow at yale.edu  Fri Aug 26 12:08:54 2022
From: aaron.gerow at yale.edu (Gerow Aaron)
Date: Fri, 26 Aug 2022 12:08:54 -0400
Subject: [KineJapan] REMINDER: Noriaki Tsuchimoto Research Grants deadline
 approaching
Message-ID: <6790BFE4-EBDB-4E34-A995-7964AB6D7DD2@yale.edu>

NORIAKI TSUCHIMOTO RESEARCH GRANTS

?????????

The Council on East Asian Studies at Yale University invites applications for grants to support research utilizing the Noriaki Tsuchimoto Papers housed in Manuscripts and Archives in the Yale University Library. The collection is currently comprised of 83 boxes containing materials related to the filmmaking and other activities of the Japanese documentary filmmaker Noriaki Tsuchimoto (1928-2008), who is most famous for recording the struggles over the Minamata mercury poisoning incident and other environmental hazards. 

The Council will offer up to four (4) grants in FY 2022-2023 to support research utilizing the collection at the level of up to $1200 for researchers traveling from North America and $2200 for those coming from outside North America. Grant funds will be disbursed in the form of reimbursement for travel, lodging, meals, reproductions, and related research expenses. The competition is open to scholars in all parts of the world and from any discipline, but topics that make extensive use of the collection will be prioritized. The application deadline is Wednesday, August 31, 2022. The grant must be used by Wednesday, August 30, 2023. An additional four grants will be available in the 2023-2024 academic year, with the call for applications being posted by July 2023.

For more information, please consult the CEAS website:

https://ceas.yale.edu/academics/fellowships-grants/noriaki-tsuchimoto-research-grant <https://ceas.yale.edu/academics/fellowships-grants/noriaki-tsuchimoto-research-grant>

Aaron Gerow
Alfred W. Griswold Professor of East Asian Languages and Literatures and Film and Media Studies
Chair, East Asian Languages and LiteraturesYale University
320 York Street, Room 108
PO Box 208201
New Haven, CT 06520-8201
USA
Phone: 1-203-432-7082
Fax: 1-203-432-6729
e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
website: www.aarongerow.com <http://www.aarongerow.com/>
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From yunfeish at utexas.edu  Fri Aug 26 12:26:00 2022
From: yunfeish at utexas.edu (Yunfei Shang)
Date: Fri, 26 Aug 2022 11:26:00 -0500
Subject: [KineJapan] KineJapan Digest, Vol 51, Issue 4
In-Reply-To: <mailman.913.1661530143.1886.kinejapan@mailman.yale.edu>
References: <mailman.913.1661530143.1886.kinejapan@mailman.yale.edu>
Message-ID: <CAJgMT99w+hJoyDMcx1zU4a=p73WrYP+5x3QSibn+L--2tA0D7w@mail.gmail.com>

 RE: Man?ei (Markus Nornes)

Dear Prof. Nornes,

As far as I know, the Man'ei films were mostly subtitled rather than
dubbed. The Chinese dialogues were subtitled in Japanese and the Japanese
dialogues were subtitled in Chinese. For example this 1942 Man'ei film *Ying
Chun Hua* https://www.youtube.com/watch?v=duPI-49tYIg&t=366s.
In another multilingual Man'ei film called *My Nightingale *(1943) featuring
Russian, Japanese and Chinese, the Russian dialogues were subtitled in
Japanese rather than Chinese. (
https://www.youtube.com/watch?v=69MoTBtl_IE&t=2039s)

Hope this helps.

Yunfei Shang
PhD student
Department of Asian Studies
University of Texas at Austin

On Fri, Aug 26, 2022 at 11:09 AM <kinejapan-request at mailman.yale.edu> wrote:

> Send KineJapan mailing list submissions to
>         kinejapan at mailman.yale.edu
>
> To subscribe or unsubscribe via the World Wide Web, visit
>         https://mailman.yale.edu/mailman/listinfo/kinejapan
> or, via email, send a message with subject or body 'help' to
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>
> You can reach the person managing the list at
>         kinejapan-owner at mailman.yale.edu
>
> When replying, please edit your Subject line so it is more specific
> than "Re: Contents of KineJapan digest..."
>
>
> Today's Topics:
>
>    1. Man?ei (Markus Nornes)
>    2. REMINDER: Noriaki Tsuchimoto Research Grants deadline
>       approaching (Gerow Aaron)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Mon, 22 Aug 2022 08:18:54 +0200
> From: Markus Nornes <nornes at umich.edu>
> To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> Subject: [KineJapan] Man?ei
> Message-ID:
>         <
> CANoSnpBn1KDoMScG_0GM7mFmJHjLeWeVF8RvDNwzr9msPDTY7g at mail.gmail.com>
> Content-Type: text/plain; charset="utf-8"
>
> Who is doing Man?ei research out there?
>
> Considering the fact that their magazine was bilingual, I am wondering if
> their Chinese films were ever subtitled or dubbed.
>
> 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/
> <http://www-personal.umich.edu/~nornes/>*
> *Department of Film, Television and Media*
> *6348 North Quad*
> *105 S. State Street**Ann Arbor, MI 48109-1285*
> -------------- next part --------------
> An HTML attachment was scrubbed...
> URL: <
> http://mailman.yale.edu/pipermail/kinejapan/attachments/20220822/a4f3cfb0/attachment-0001.html
> >
>
> ------------------------------
>
> Message: 2
> Date: Fri, 26 Aug 2022 12:08:54 -0400
> From: Gerow Aaron <aaron.gerow at yale.edu>
> To: Japanese Cinema Discussion Forum <kinejapan at mailman.yale.edu>
> Subject: [KineJapan] REMINDER: Noriaki Tsuchimoto Research Grants
>         deadline approaching
> Message-ID: <6790BFE4-EBDB-4E34-A995-7964AB6D7DD2 at yale.edu>
> Content-Type: text/plain; charset="utf-8"
>
> NORIAKI TSUCHIMOTO RESEARCH GRANTS
>
> ?????????
>
> The Council on East Asian Studies at Yale University invites applications
> for grants to support research utilizing the Noriaki Tsuchimoto Papers
> housed in Manuscripts and Archives in the Yale University Library. The
> collection is currently comprised of 83 boxes containing materials related
> to the filmmaking and other activities of the Japanese documentary
> filmmaker Noriaki Tsuchimoto (1928-2008), who is most famous for recording
> the struggles over the Minamata mercury poisoning incident and other
> environmental hazards.
>
> The Council will offer up to four (4) grants in FY 2022-2023 to support
> research utilizing the collection at the level of up to $1200 for
> researchers traveling from North America and $2200 for those coming from
> outside North America. Grant funds will be disbursed in the form of
> reimbursement for travel, lodging, meals, reproductions, and related
> research expenses. The competition is open to scholars in all parts of the
> world and from any discipline, but topics that make extensive use of the
> collection will be prioritized. The application deadline is Wednesday,
> August 31, 2022. The grant must be used by Wednesday, August 30, 2023. An
> additional four grants will be available in the 2023-2024 academic year,
> with the call for applications being posted by July 2023.
>
> For more information, please consult the CEAS website:
>
>
> https://ceas.yale.edu/academics/fellowships-grants/noriaki-tsuchimoto-research-grant
> <
> https://ceas.yale.edu/academics/fellowships-grants/noriaki-tsuchimoto-research-grant
> >
>
> Aaron Gerow
> Alfred W. Griswold Professor of East Asian Languages and Literatures and
> Film and Media Studies
> Chair, East Asian Languages and LiteraturesYale University
> 320 York Street, Room 108
> PO Box 208201
> New Haven, CT 06520-8201
> USA
> Phone: 1-203-432-7082
> Fax: 1-203-432-6729
> e-mail: aaron.gerow at yale.edu <mailto:aaron.gerow at yale.edu>
> website: www.aarongerow.com <http://www.aarongerow.com/>
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> KineJapan at mailman.yale.edu
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From annekmcknight at gmail.com  Sun Aug 28 18:49:40 2022
From: annekmcknight at gmail.com (Anne McKnight)
Date: Sun, 28 Aug 2022 15:49:40 -0700
Subject: [KineJapan] On a silent film, and a JCP debate w Kurosawa
Message-ID: <69A24121-0F6B-4623-A34B-1438AC6B431D@gmail.com>

Hi everyone~

As some of you know, I have been working on a translation project involving Kurosawa Akira?s taidans and essays. I?ve run into a couple of references that have stumped me?one on a silent film narrated by Tokugawa Musei, and one on a debate he, apparently, got into with a JCP member at some unspecified time.

I would be curious if either of these items ring any bells?IDs or larger contexts.

a) here is the passage in a Kurosawa essay (or, more precisely, his daughter?s ventriloquization of his voice from memoirs, conversations, ephemera, etc.). Does this sound vaguely familiar? It is always possible it is a mis-remembered account, of course?though the gothic and perhaps Expressionist scent is strong...
Musei-san, like other benshi, was in charge of coordinating the accompaniment as well as the narration of the film. For instance, this is how one film went. A drunken guy approaches the sumptuous house of a wealthy man, carrying another man, and asks if the rich man will let the man on his back [?] spend the night, and leaves him. Musei doesn?t say a peep during that part, no accompaniment whatsoever. As time passes, the man keeps not waking up, and just as the rich man waves his hands [?] to revive the man he thinks is sleeping, Musei suddenly lets out a scream?kyaaa~~: the tragic cry of the man who discovers that the body lying underfoot belongs to his own son. Then the accompaniment suddenly begins, and the scene switches over to a lively carnival. Musei?s staging was incredibly skillful. I learned a lot from these productions, and spectators were really trained to watch films by Musei-san?s way of looking at things. For movie fans, Musei-san played the role of a guide. That?s just the kind of ideal movie theatre I want to create. (This is kind of long and I think the English description can suffice.)


b) Kurosawa (him, actually, this time) makes reference to some sort of debate he got into with a JCP person. The essay is 1993, so it could have been at any point in the middle or late 20th century, though for obvious reasons, probably closer to the 50s-70s than the 1993 date of this essay. This one almost sounds like it might be related to JCP debates after people abandoned socialist realism?people like Abe Kobo or Hanada Kiyoteru. Does this ?dispute? seem familiar to anyone, from film, art, or general debates about art and politics?

At one time in Tokyo, the Japanese Communist Party had a lot of clout, and there was a split between artists and artisans <>. There was one person who insisted that he was an artist, not an artisan, and I butted heads with him many times. In my view, the very idea that you could skip over the craft of being an artisan to just declare yourself an artist is ridiculous.

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

If anything occurs to you, by way of intuitions or resemblances, I would love to hear about it. Thanks for any leads!

Anne
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From macyroger at yahoo.co.uk  Sun Aug 28 19:02:40 2022
From: macyroger at yahoo.co.uk (Roger Macy)
Date: Sun, 28 Aug 2022 23:02:40 +0000 (UTC)
Subject: [KineJapan] On a silent film, and a JCP debate w Kurosawa
In-Reply-To: <69A24121-0F6B-4623-A34B-1438AC6B431D@gmail.com>
References: <69A24121-0F6B-4623-A34B-1438AC6B431D@gmail.com>
Message-ID: <1944282740.1246948.1661727760976@mail.yahoo.com>

 Anne, alas,? I've only got a question on your question 1.
Is there anything in the context that would say the film in question is definitely Japanese, or the reverse ??
Roger

    On Sunday, 28 August 2022 at 23:49:51 BST, Anne McKnight via KineJapan <kinejapan at mailman.yale.edu> wrote:  
 
 Hi everyone~
As some of you know, I have been working on a translation project involving Kurosawa Akira?s taidans and essays. I?ve run into a couple of references that have stumped me?one on a silent film narrated by Tokugawa Musei, and one on a debate he, apparently, got into with a JCP member at some unspecified time.
I would be curious if either of these items ring any bells?IDs or larger contexts.
a) here is the passage in a Kurosawa essay (or, more precisely, his daughter?s ventriloquization of his voice from memoirs, conversations, ephemera, etc.). Does this sound vaguely familiar? It is always possible it is a mis-remembered account, of course?though the gothic and perhaps Expressionist scent is strong...

Musei-san, like other?benshi, was in charge of coordinating the accompaniment as well as the narration of the film. For instance, this is how one film went. A drunken guy approaches the sumptuous house of a wealthy man, carrying another man, and asks if the rich man will let the man on his back [?] spend the night, and leaves him. Musei doesn?t say a peep during that part, no accompaniment whatsoever. As time passes, the man keeps not waking up, and just as the rich man waves his hands [?] to revive the man he thinks is sleeping, Musei suddenly lets out a scream?kyaaa~~: the tragic cry of the man who discovers that the body lying underfoot belongs to his own son. Then the accompaniment suddenly begins, and the scene switches over to a lively carnival. Musei?s staging was incredibly skillful. I learned a lot from these productions, and spectators were really trained to watch films by Musei-san?s way of looking at things. For movie fans, Musei-san played the role of a guide. That?s just the kind of ideal movie theatre I want to create. (This is kind of long and I think the English description can suffice.)


b) Kurosawa (him, actually, this time) makes reference to some sort of debate he got into with a JCP person. The essay is 1993, so it could have been at any point in the middle or late 20th century, though for obvious reasons, probably closer to the 50s-70s than the 1993 date of this essay. This one almost sounds like it might be related to JCP debates after people abandoned socialist realism?people like Abe Kobo or Hanada Kiyoteru. Does this ?dispute? seem familiar to anyone, from film, art, or general debates about art and politics?

At onetime in Tokyo, the Japanese Communist Party had a lot of clout, and there was asplit between artists and artisans. There was one person who insisted that he was anartist, not an artisan, and I butted heads with him many times. In my view, thevery idea that you could skip over the craft of being an artisan to justdeclare yourself an artist is ridiculous.
??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????

If anything occurs to you, by way of intuitions or resemblances, I would love to hear about it. Thanks for any leads!
Anne_______________________________________________
KineJapan mailing list
KineJapan at mailman.yale.edu
https://mailman.yale.edu/mailman/listinfo/kinejapan
  
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From annekmcknight at gmail.com  Sun Aug 28 19:14:15 2022
From: annekmcknight at gmail.com (Anne McKnight)
Date: Sun, 28 Aug 2022 16:14:15 -0700
Subject: [KineJapan] On a silent film, and a JCP debate w Kurosawa
In-Reply-To: <1944282740.1246948.1661727760976@mail.yahoo.com>
References: <69A24121-0F6B-4623-A34B-1438AC6B431D@gmail.com>
 <1944282740.1246948.1661727760976@mail.yahoo.com>
Message-ID: <28677496-2DB4-42A8-852B-97FEAA404E0A@gmail.com>

Thanks, Roger. No, I wish?

Nothing that would indicate decisively what theatre, what year, etc. Here?s the paragraph that goes before, which mentions films from the early 20s. I might be able to look at what played at some specific theatres, should I really really choose to go down that rabbithole and can spend a LOT of time in the library via ILL?but was hoping it was at least mildly familiar to someone out there? I already posted on Domitor and asked a couple of people who research around this field of early silents/mixed media performance, and no leads...
My brother was closely associated with Tokugawa Musei. My brother chose to follow the path of the benshi, and he became fairly famous under the stage name Suda Teimei. He worked in Tokyo until right before the talkie era, and he chose foreign films as his specialty, when there were theatres that booked really good foreign films. The theatre where my brother worked as a benshi, the Kanda Cinema Palace, was one such theatre, and Tokugawa Musei?s T?y? Palace was especially renowned. The modern benshi of that time were different than traditional benshi because they were expected to cover all the different roles of presentation?from skillful explanations of foreign film content and performing, to program selection, to advertisement. Their posters, too, were great, very inventive?. For example, when they did Doctor Mabuse, the title characters read from bottom to top. And with Blood and Sand (1922, Fred Niblo), at first glance the poster seemed to be a sheet of pure red, but if you looked closely, you could make out the small characters ?blood? and ?sand.? [draft]


> On Aug 28, 2022, at 16:02, Roger Macy <macyroger at yahoo.co.uk> wrote:
> 
> Anne, alas,  I've only got a question on your question 1.
> 
> Is there anything in the context that would say the film in question is definitely Japanese, or the reverse ??
> 
> Roger
> 
> On Sunday, 28 August 2022 at 23:49:51 BST, Anne McKnight via KineJapan <kinejapan at mailman.yale.edu> wrote:
> 
> 
> Hi everyone~
> 
> As some of you know, I have been working on a translation project involving Kurosawa Akira?s taidans and essays. I?ve run into a couple of references that have stumped me?one on a silent film narrated by Tokugawa Musei, and one on a debate he, apparently, got into with a JCP member at some unspecified time.
> 
> I would be curious if either of these items ring any bells?IDs or larger contexts.
> 
> a) here is the passage in a Kurosawa essay (or, more precisely, his daughter?s ventriloquization of his voice from memoirs, conversations, ephemera, etc.). Does this sound vaguely familiar? It is always possible it is a mis-remembered account, of course?though the gothic and perhaps Expressionist scent is strong...
> Musei-san, like other benshi, was in charge of coordinating the accompaniment as well as the narration of the film. For instance, this is how one film went. A drunken guy approaches the sumptuous house of a wealthy man, carrying another man, and asks if the rich man will let the man on his back [?] spend the night, and leaves him. Musei doesn?t say a peep during that part, no accompaniment whatsoever. As time passes, the man keeps not waking up, and just as the rich man waves his hands [?] to revive the man he thinks is sleeping, Musei suddenly lets out a scream?kyaaa~~: the tragic cry of the man who discovers that the body lying underfoot belongs to his own son. Then the accompaniment suddenly begins, and the scene switches over to a lively carnival. Musei?s staging was incredibly skillful. I learned a lot from these productions, and spectators were really trained to watch films by Musei-san?s way of looking at things. For movie fans, Musei-san played the role of a guide. That?s just the kind of ideal movie theatre I want to create. (This is kind of long and I think the English description can suffice.)
> 
> 
> b) Kurosawa (him, actually, this time) makes reference to some sort of debate he got into with a JCP person. The essay is 1993, so it could have been at any point in the middle or late 20th century, though for obvious reasons, probably closer to the 50s-70s than the 1993 date of this essay. This one almost sounds like it might be related to JCP debates after people abandoned socialist realism?people like Abe Kobo or Hanada Kiyoteru. Does this ?dispute? seem familiar to anyone, from film, art, or general debates about art and politics?
> 
> At one time in Tokyo, the Japanese Communist Party had a lot of clout, and there was a split between artists and artisans <>. There was one person who insisted that he was an artist, not an artisan, and I butted heads with him many times. In my view, the very idea that you could skip over the craft of being an artisan to just declare yourself an artist is ridiculous.
> 
> ????????????????????????????????????????????????????????????????
> ??????????????????????????????????????????????????????????????????????????????
> 
> If anything occurs to you, by way of intuitions or resemblances, I would love to hear about it. Thanks for any leads!
> 
> Anne
> _______________________________________________
> KineJapan mailing list
> KineJapan at mailman.yale.edu <mailto:KineJapan at mailman.yale.edu>
> https://mailman.yale.edu/mailman/listinfo/kinejapan <https://mailman.yale.edu/mailman/listinfo/kinejapan>

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