From jeremyharley at gmail.com Tue Jan 4 02:49:33 2022 From: jeremyharley at gmail.com (Jeremy Harley) Date: Tue, 4 Jan 2022 16:49:33 +0900 Subject: [KineJapan] =?utf-8?q?NHK_doc_about_Kawase_Naomi=E2=80=99s_Olymp?= =?utf-8?q?ic_doc?= Message-ID: Happy New Year, Kine Japanners! I was wondering if anyone watched the NHK doc on Kawase Naomi?s Olympic doc ???????????????by any chance? Apparently it aired on Dec 26 . Not her doc yet, it's a doc about her doc. I missed it and am curious about this dubious scene of a man purported to have been paid to participate in anti-Olympic protests. The clip declares that he was paid - a very inflammatory assertion - by making it seem like he is admitting to it, but in fact the central detail about getting paid is only in the titles. It's not her filming, and it would seem irrelevant to her documentary, so I was curious how it was framed........... just in case anyone happened to catch it? peace, Jeremy -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Mon Jan 10 22:12:32 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Tue, 11 Jan 2022 12:12:32 +0900 Subject: [KineJapan] Iwanami Hall closing Message-ID: Dear All, It has been announced today that Iwanami Hall will cease its activities on July 27th. A very sad news. Matteo Boscarol -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Mon Jan 10 22:19:48 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 10 Jan 2022 22:19:48 -0500 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: That is a shock. Thanks for letting us know, Matteo. Iwanami Hall was a groundbreaking cinema, often discussed as a precursor to the mini theater and crucial in screening art films other theaters would not touch. It was Iwanami that screened the rediscovered print of Kinugasa?s Page of Madness (about which I wrote a book). Crucial in its history is Takano Etsuko, who ran it for much of its history. Aaron Gerow A. Whitney Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue Jan 11 08:43:07 2022 From: nornes at umich.edu (Markus Nornes) Date: Tue, 11 Jan 2022 08:43:07 -0500 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: Incredible. Has anyone heard if it's Covid related? 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 Mon, Jan 10, 2022 at 10:21 PM Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > That is a shock. Thanks for letting us know, Matteo. > > Iwanami Hall was a groundbreaking cinema, often discussed as a precursor > to the mini theater and crucial in screening art films other theaters would > not touch. It was Iwanami that screened the rediscovered print of > Kinugasa?s Page of Madness (about which I wrote a book). > > Crucial in its history is Takano Etsuko, who ran it for much of its > history. > > Aaron Gerow > A. Whitney Griswold Professor of East Asian Languages and Literatures and > Film and Media Studies > Chair, East Asian Languages and Literatures > Yale University > 320 York Street, Room 108 > PO Box 208201 > New Haven, CT 06520-8201 > USA > Phone: 1-203-432-7082 > Fax: 1-203-432-6729 > e-mail: aaron.gerow at yale.edu > website: www.aarongerow.com > > > > > > > > > > > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From jtj53213 at gmail.com Tue Jan 11 08:46:57 2022 From: jtj53213 at gmail.com (John Junkerman) Date: Tue, 11 Jan 2022 22:46:57 +0900 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: Yes, "drastic downturn in attendance because of Ovid." John On Tue, Jan 11, 2022 at 10:44 PM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Incredible. Has anyone heard if it's Covid related? > > 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 Mon, Jan 10, 2022 at 10:21 PM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> That is a shock. Thanks for letting us know, Matteo. >> >> Iwanami Hall was a groundbreaking cinema, often discussed as a precursor >> to the mini theater and crucial in screening art films other theaters would >> not touch. It was Iwanami that screened the rediscovered print of >> Kinugasa?s Page of Madness (about which I wrote a book). >> >> Crucial in its history is Takano Etsuko, who ran it for much of its >> history. >> >> Aaron Gerow >> A. Whitney Griswold Professor of East Asian Languages and Literatures and >> Film and Media Studies >> Chair, East Asian Languages and Literatures >> Yale University >> 320 York Street, Room 108 >> PO Box 208201 >> New Haven, CT 06520-8201 >> USA >> Phone: 1-203-432-7082 >> Fax: 1-203-432-6729 >> e-mail: aaron.gerow at yale.edu >> website: www.aarongerow.com >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- John Junkerman jtj53213 at gmail.com 2-18-6 Ehara-cho, Nakano Tokyo 165-0023 -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Tue Jan 11 08:55:05 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Tue, 11 Jan 2022 22:55:05 +0900 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: the decision is related to the pandemic, you can read the official statement here: https://www.iwanami-hall.com/topics/news/5024 On Tue, 11 Jan 2022, 22:44 Markus Nornes via KineJapan, < kinejapan at mailman.yale.edu> wrote: > Incredible. Has anyone heard if it's Covid related? > > 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 Mon, Jan 10, 2022 at 10:21 PM Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> That is a shock. Thanks for letting us know, Matteo. >> >> Iwanami Hall was a groundbreaking cinema, often discussed as a precursor >> to the mini theater and crucial in screening art films other theaters would >> not touch. It was Iwanami that screened the rediscovered print of >> Kinugasa?s Page of Madness (about which I wrote a book). >> >> Crucial in its history is Takano Etsuko, who ran it for much of its >> history. >> >> Aaron Gerow >> A. Whitney Griswold Professor of East Asian Languages and Literatures and >> Film and Media Studies >> Chair, East Asian Languages and Literatures >> Yale University >> 320 York Street, Room 108 >> PO Box 208201 >> New Haven, CT 06520-8201 >> USA >> Phone: 1-203-432-7082 >> Fax: 1-203-432-6729 >> e-mail: aaron.gerow at yale.edu >> website: www.aarongerow.com >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Tue Jan 11 08:57:30 2022 From: earljac at gmail.com (Earl Jackson) Date: Tue, 11 Jan 2022 21:57:30 +0800 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: Apparently it is covid-related. On Tue, Jan 11, 2022, 21:56 matteoB via KineJapan < kinejapan at mailman.yale.edu> wrote: > the decision is related to the pandemic, you can read the official > statement here: > https://www.iwanami-hall.com/topics/news/5024 > > On Tue, 11 Jan 2022, 22:44 Markus Nornes via KineJapan, < > kinejapan at mailman.yale.edu> wrote: > >> Incredible. Has anyone heard if it's Covid related? >> >> 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 Mon, Jan 10, 2022 at 10:21 PM Gerow Aaron via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> That is a shock. Thanks for letting us know, Matteo. >>> >>> Iwanami Hall was a groundbreaking cinema, often discussed as a precursor >>> to the mini theater and crucial in screening art films other theaters would >>> not touch. It was Iwanami that screened the rediscovered print of >>> Kinugasa?s Page of Madness (about which I wrote a book). >>> >>> Crucial in its history is Takano Etsuko, who ran it for much of its >>> history. >>> >>> Aaron Gerow >>> A. Whitney Griswold Professor of East Asian Languages and Literatures >>> and Film and Media Studies >>> Chair, East Asian Languages and Literatures >>> Yale University >>> 320 York Street, Room 108 >>> PO Box 208201 >>> New Haven, CT 06520-8201 >>> USA >>> Phone: 1-203-432-7082 >>> Fax: 1-203-432-6729 >>> e-mail: aaron.gerow at yale.edu >>> website: www.aarongerow.com >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> >>> _______________________________________________ >>> KineJapan mailing list >>> KineJapan at mailman.yale.edu >>> https://mailman.yale.edu/mailman/listinfo/kinejapan >>> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue Jan 11 10:50:56 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 11 Jan 2022 10:50:56 -0500 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: Yes, this was not a closing that was foreseen beforehand. The Hall actually did a significant internal renovation last year. Aaron From alexanderjacoby at brookes.ac.uk Wed Jan 12 13:56:59 2022 From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby) Date: Wed, 12 Jan 2022 18:56:59 +0000 Subject: [KineJapan] Contact for Ryosuke Hashiguchi Message-ID: Dear all, I was contacted out of the blue by a Colorado-based production assistant who is looking to contact Ryosuke Hashiguchi in connection with a filming opportunity related to a pride campaign. The lady in question told me she knew it was a long shot, and indeed, I wasn't able to oblige, but I thought someone on this list might have a contact for Hashiguchi or a production assistant? I and she will be grateful for any leads! Best wishes, ALEX JACOBY Senior Lecturer in Japanese Studies Oxford Brookes University -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed Jan 12 21:25:44 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 12 Jan 2022 21:25:44 -0500 Subject: [KineJapan] Contact for Ryosuke Hashiguchi In-Reply-To: References: Message-ID: Last year I actually contacted him via Facebook and he did respond. Aaron Gerow > 1/12/22 ??1:56?Alexander Jacoby via KineJapan ????: > > Dear all, > > I was contacted out of the blue by a Colorado-based production assistant who is looking to contact Ryosuke Hashiguchi in connection with a filming opportunity related to a pride campaign. The lady in question told me she knew it was a long shot, and indeed, I wasn't able to oblige, but I thought someone on this list might have a contact for Hashiguchi or a production assistant? I and she will be grateful for any leads! > > Best wishes, > > > ALEX JACOBY > Senior Lecturer in Japanese Studies > Oxford Brookes University > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan From jeremyharley at gmail.com Sat Jan 15 11:01:52 2022 From: jeremyharley at gmail.com (Jeremy Harley) Date: Sun, 16 Jan 2022 01:01:52 +0900 Subject: [KineJapan] =?utf-8?q?NHK_doc_about_Kawase_Naomi=E2=80=99s_Olymp?= =?utf-8?q?ic_doc?= In-Reply-To: References: Message-ID: Just following up, NHK in Osaka has apologized for the wayward title, but it doesn?t seem like that gets at the root of the problem by any stretch. As Yang Yonghi writes , (paraphrasing): one can?t help but suspect they planned to shape the story with such a title from the beginning. A lot more going around on this topic, including criticism of Kawase, but I thought I?d just pass on the basics, especially since I haven?t seen the doc myself and I don?t have a clear sense of her connection or involvement yet. Jeremy Harley Mabashi Movie Festival On Tue, Jan 4, 2022 at 4:49 PM Jeremy Harley wrote: > Happy New Year, Kine Japanners! > > > I was wondering if anyone watched the NHK doc on Kawase Naomi?s Olympic doc > ???????????????by any chance? Apparently it aired on Dec 26 > . Not > her doc yet, it's a doc about her doc. > > > I missed it and am curious about this dubious scene > of a man > purported to have been paid to participate in anti-Olympic protests. The > clip declares that he was paid - a very inflammatory assertion - by making > it seem like he is admitting to it, but in fact the central detail about > getting paid is only in the titles. > > > It's not her filming, and it would seem irrelevant to her documentary, so > I was curious how it was framed........... just in case anyone happened to > catch it? > > > peace, > > Jeremy > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sat Jan 15 13:41:33 2022 From: nornes at umich.edu (Markus Nornes) Date: Sat, 15 Jan 2022 13:41:33 -0500 Subject: [KineJapan] =?utf-8?q?NHK_doc_about_Kawase_Naomi=E2=80=99s_Olymp?= =?utf-8?q?ic_doc?= In-Reply-To: References: Message-ID: I know Michael Arnold has seen it. Mike, can you tell us more? 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 Sat, Jan 15, 2022 at 11:05 AM Jeremy Harley via KineJapan < kinejapan at mailman.yale.edu> wrote: > Just following up, NHK in Osaka has apologized > for the wayward > title, but it doesn?t seem like that gets at the root of the problem by any > stretch. > > > > As Yang Yonghi writes > , > (paraphrasing): one can?t help but suspect they planned to shape the story > with such a title from the beginning. > > > > A lot more going around on this topic, including criticism of Kawase, but > I thought I?d just pass on the basics, especially since I haven?t seen the > doc myself and I don?t have a clear sense of her connection or involvement > yet. > > > > > > Jeremy Harley > > > Mabashi Movie Festival > > On Tue, Jan 4, 2022 at 4:49 PM Jeremy Harley > wrote: > >> Happy New Year, Kine Japanners! >> >> >> I was wondering if anyone watched the NHK doc on Kawase Naomi?s Olympic >> doc???????????????by any chance? Apparently it aired on Dec 26 >> . Not >> her doc yet, it's a doc about her doc. >> >> >> I missed it and am curious about this dubious scene >> of a man >> purported to have been paid to participate in anti-Olympic protests. The >> clip declares that he was paid - a very inflammatory assertion - by making >> it seem like he is admitting to it, but in fact the central detail about >> getting paid is only in the titles. >> >> >> It's not her filming, and it would seem irrelevant to her documentary, so >> I was curious how it was framed........... just in case anyone happened to >> catch it? >> >> >> peace, >> >> Jeremy >> > _______________________________________________ > 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 Sat Jan 15 15:42:18 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 15 Jan 2022 15:42:18 -0500 Subject: [KineJapan] =?utf-8?q?NHK_doc_about_Kawase_Naomi=E2=80=99s_Olymp?= =?utf-8?q?ic_doc?= In-Reply-To: References: Message-ID: <89F3EC94-8015-4C19-BFD0-DC14AB5DC625@yale.edu> I have been following this, but have not seen the documentary itself. As not just Yang-san, but other documentary filmmakers like Soda-san who have done work for NHK can testify, there is no way that NHK did not check and clear this for broadcast. Many suspect that this was a deliberate attempt by some at NHK to sully the reputation of the anti-Olympics protesters. At the same time, there has been a lot of blowback against Kawase-san, some of it unjustified. Some have simply mistaken the NHK doc as her work, or the footage as coming from her B-crew, but that is not the case. Others have said that Kawase would have to have seen the doc before it was broadcast. Such suspicions are not unjustified, given the incident over a decade ago where a NHK doc on a movement to put on a war crimes trial for crimes against women in WWII was reedited at the last minute due to pressure from LDP politicians. But many say it is unlikely that NHK would show it before broadcast to someone like Kawase. Kawase-san herself has commented on the incident, denying these were images from her doc on the Olympics or that she knew about that scene or checked it before broadcast: https://news.livedoor.com/article/detail/21489510/ That said, there is still a lot of criticism of Kawase for her comments in the NHK doc, which echo her previous public comments that state that ?we? (i.e., all Japanese) invited the Olympics and thus should all be happy it was being held in Japan and should support the athletes. As many have pointed out: 1) Japan?s successful bid was based in part on lies and bribery; 2) the Olympics ignored many suffering from 311 victims to Covid patients to those blocked from entering Japan because of the pandemic; 3) the Olympics primarily benefitted a small number of corporate, media, and political interests and will place a burden of debt on Japanese taxpayers for decades. Given her unconscious use of the national ?we?, many worry that Kawase?s documentary will essentially stand on the side of the organizers?though camouflaged as standing on the side of the athletes?and ignore the real critique of such national and media spectacles. Whether that is true will have to be seen when the film is released in June. Aaron Gerow A. Whitney Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Jan 16 11:53:48 2022 From: nornes at umich.edu (Markus Nornes) Date: Sun, 16 Jan 2022 11:53:48 -0500 Subject: [KineJapan] =?utf-8?q?NHK_doc_about_Kawase_Naomi=E2=80=99s_Olymp?= =?utf-8?q?ic_doc?= In-Reply-To: <89F3EC94-8015-4C19-BFD0-DC14AB5DC625@yale.edu> References: <89F3EC94-8015-4C19-BFD0-DC14AB5DC625@yale.edu> Message-ID: Aaron wrote: > Given her unconscious use of the national ?we?, many worry that Kawase?s > documentary will essentially stand on the side of the organizers?though > camouflaged as standing on the side of the athletes?and ignore the real > critique of such national and media spectacles. I haven't been paying attention to the media conversation about this, but I've heard that Leni Reifenstahl's name is often invoked in connection with this project. It's probably safe to assume the starting point of the comparison is gender, but as with all things Leni it's complicated. Back in 1991 when I programmed a huge event on the 50th anniversary of Pearl Harbor for Yamagata, LR's autobiography had just come out in translation. She kept popping up in on and off stage conversations, then and for the next decade or so as a slew of books came out. I recall argument after argument over beers pivoting around the usual question: great artist or Nazi? The number of smart people that blithely sidestep LR's contributions to fascism always amazed me (it reminds me of recent conversations with Japanese friends about Clint Eastwood?lol). If anyone is tuned into these comparisons, I'd love to hear more. Has Kawase ever talked about LR??? As for Kawase, I look forward to seeing the final film and how she navigates this. Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Mon Jan 17 22:18:12 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 17 Jan 2022 22:18:12 -0500 Subject: [KineJapan] Made in Japan: Yamagata 1989-2021 Message-ID: As some of you know, the Yamagata International Documentary Film Festival is teaming up with DAFilms to screen online 10 select Japanese documentaries from the 30+ years of the festival, including work by Kawase Naomi, Sato Makoto, Hamaguchi Ryusuke, Oda Kaori, Yang Yonghi, and others. The series starts January 17 and is available for everyone outside of Japan. The first week is free. The description is below. Along with the series, Markus Nornes is writing a post on each film that can be read on the YIDFF feed on Facebook: https://www.facebook.com/yidff There will also be some videos featuring those involved with the festival discussing its history and various aspects. One featuring Oda Kaori and Dwi Sujanti Nugraheni is already up, and the one I did with my partner Ono Seiko will be uploaded soon. Hope you can check some of these out! Aaron Gerow ++10 Japanese documentaries streaming online worldwide! ++ YIDFF partners with streaming service DAFilms, the VOD platform of the festival association Doc Alliance, for an online program available free for one week and on SVOD and TVOD for a further two weeks. The selection by YIDFF programmers highlights key works from the festival?s more than three decades in existence. This exclusive focus features documentaries by Kawase Naomi, Hamaguchi Ryusuke, and Ogawa Productions, among many others. The complete selection will be available entirely for free on DAFilms.com from January 17 - 23 at this link: https://dafilms.com/.../1126-made-in-japan-yamagata-1989... The ten films in Made in Japan, Yamagata 1989 - 2021 trace a curious and inspiring pathway through the history of one of Asia?s most celebrated film festivals. The program is bookended by a cinematic record of the inaugural YIDFF in 1989, produced by Ogawa Shinsuke?s Ogawa Pro (A Movie Capital), and a 2021 documentary about the pandemic-induced closure of a traditional pickle shop, itself a memorable and important social space for the attendees of Yamagata every two years (Pickles and Komian Club). Between these twin poles from 1989 and 2021, audiences will be able to discover a further 8 titles drawn mostly from the festival?s International Competition and New Asian Currents sections. For these two closely curated festival sections, only a small number of Japanese films have been invited over the 17 editions of the biennial festival, a sign of the significance of those featured. Together, Made in Japan, Yamagata 1989 - 2021 gives a true sense of the depth of Yamagata?s curatorial vision, ranging from crucial early works by now celebrated auteurs ?including The Weald by Kawase Naomi, in the year she completes her epic film about the 2020 Tokyo Olympics, and Storytellers co-directed by Hamaguchi Ryusuke, in a moment where his work has received truly boundless acclaim by critics, festival programmers, and audiences alike ? to lesser known or older titles that as an ensemble suggest a richness of tone and subject that few documentary festivals can boast. Program Coordinator and YIDFF board member Fujioka Asako says, ?This is the first time Yamagata is presenting any online film program on a world-wide scale. Audiences are in for a treat as important rediscoveries (A Movie Capital and Living on the River Agano) have been digitized with renewed English subtitles. This will give documentary fans around the world a real flavor of what Yamagata is all about.? ?Few festivals in the world carry with them the sheer cinephile prestige of an institution like YIDFF,? says Christopher Small, head curator of DAFilms.com. ?We are delighted to collaborate with Yamagata?s team on a program that spans the length and breadth of their three-decade history, synthesising so many of the most crucial themes and forms of experimentation into a unified selection of truly remarkable Japanese documentary cinema." Made in Japan, Yamagata 1989 - 2021 Available on dafilms.com from January 17 - February 6 Free for registered users for the first week ? A Movie Capital // IIZUKA Toshio // 1991 ? Living on the River Agano // SATO Makoto // 1992 // Award of Excellence YIDFF '93 ? The Weald // KAWASE Naomi // 1997 ? The New God // TSUCHIYA Yutaka // 1999 ? A2 // MORI Tatsuya // 2001 // Special Prize, Citizens? Prize YIDFF 2001 ? The Cheese and the Worms // KATO Haruyo // 2005 // Ogawa Shinsuke Prize, FIPRESCI Prize YIDFF2005 ? Dear Pyongyang // YANG Yonghee // 2005 // Special Prize, YIDFF 2005 ? Storytellers // SAKAI Ko, HAMAGUCHI Ryusuke // 2013 // SkyPerfectTV IDEHA Prize, YIDFF 2013 ? Cenote // ODA Kaori // 2019 ? Komian and Pickles // SATO Koichi // 2021 Commissioned by the Agency for Cultural Affairs, Government of Japan -------------- next part -------------- An HTML attachment was scrubbed... URL: From jasper_sharp at hotmail.com Tue Jan 18 04:08:17 2022 From: jasper_sharp at hotmail.com (Jasper Sharp) Date: Tue, 18 Jan 2022 09:08:17 +0000 Subject: [KineJapan] Made in Japan: Yamagata 1989-2021 In-Reply-To: References: Message-ID: And on the subject of this great initiative, I wrote a piece for the BFI directing people to the programme with my top picks: https://www.bfi.org.uk/features/japanese-documentaries-from-yamagata-festival-now-streaming-free-online Jasper Sharp 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 Gerow Aaron via KineJapan Sent: 18 January 2022 03:18 To: Japanese Cinema Discussion Forum Cc: Gerow Aaron Subject: [KineJapan] Made in Japan: Yamagata 1989-2021 As some of you know, the Yamagata International Documentary Film Festival is teaming up with DAFilms to screen online 10 select Japanese documentaries from the 30+ years of the festival, including work by Kawase Naomi, Sato Makoto, Hamaguchi Ryusuke, Oda Kaori, Yang Yonghi, and others. The series starts January 17 and is available for everyone outside of Japan. The first week is free. The description is below. Along with the series, Markus Nornes is writing a post on each film that can be read on the YIDFF feed on Facebook: https://www.facebook.com/yidff There will also be some videos featuring those involved with the festival discussing its history and various aspects. One featuring Oda Kaori and Dwi Sujanti Nugraheni is already up, and the one I did with my partner Ono Seiko will be uploaded soon. Hope you can check some of these out! Aaron Gerow ++10 Japanese documentaries streaming online worldwide! ++ YIDFF partners with streaming service DAFilms, the VOD platform of the festival association Doc Alliance, for an online program available free for one week and on SVOD and TVOD for a further two weeks. The selection by YIDFF programmers highlights key works from the festival?s more than three decades in existence. This exclusive focus features documentaries by Kawase Naomi, Hamaguchi Ryusuke, and Ogawa Productions, among many others. The complete selection will be available entirely for free on DAFilms.com from January 17 - 23 at this link: https://dafilms.com/.../1126-made-in-japan-yamagata-1989... The ten films in Made in Japan, Yamagata 1989 - 2021 trace a curious and inspiring pathway through the history of one of Asia?s most celebrated film festivals. The program is bookended by a cinematic record of the inaugural YIDFF in 1989, produced by Ogawa Shinsuke?s Ogawa Pro (A Movie Capital), and a 2021 documentary about the pandemic-induced closure of a traditional pickle shop, itself a memorable and important social space for the attendees of Yamagata every two years (Pickles and Komian Club). Between these twin poles from 1989 and 2021, audiences will be able to discover a further 8 titles drawn mostly from the festival?s International Competition and New Asian Currents sections. For these two closely curated festival sections, only a small number of Japanese films have been invited over the 17 editions of the biennial festival, a sign of the significance of those featured. Together, Made in Japan, Yamagata 1989 - 2021 gives a true sense of the depth of Yamagata?s curatorial vision, ranging from crucial early works by now celebrated auteurs ?including The Weald by Kawase Naomi, in the year she completes her epic film about the 2020 Tokyo Olympics, and Storytellers co-directed by Hamaguchi Ryusuke, in a moment where his work has received truly boundless acclaim by critics, festival programmers, and audiences alike ? to lesser known or older titles that as an ensemble suggest a richness of tone and subject that few documentary festivals can boast. Program Coordinator and YIDFF board member Fujioka Asako says, ?This is the first time Yamagata is presenting any online film program on a world-wide scale. Audiences are in for a treat as important rediscoveries (A Movie Capital and Living on the River Agano) have been digitized with renewed English subtitles. This will give documentary fans around the world a real flavor of what Yamagata is all about.? ?Few festivals in the world carry with them the sheer cinephile prestige of an institution like YIDFF,? says Christopher Small, head curator of DAFilms.com. ?We are delighted to collaborate with Yamagata?s team on a program that spans the length and breadth of their three-decade history, synthesising so many of the most crucial themes and forms of experimentation into a unified selection of truly remarkable Japanese documentary cinema." Made in Japan, Yamagata 1989 - 2021 Available on dafilms.com from January 17 - February 6 Free for registered users for the first week ? A Movie Capital // IIZUKA Toshio // 1991 ? Living on the River Agano // SATO Makoto // 1992 // Award of Excellence YIDFF '93 ? The Weald // KAWASE Naomi // 1997 ? The New God // TSUCHIYA Yutaka // 1999 ? A2 // MORI Tatsuya // 2001 // Special Prize, Citizens? Prize YIDFF 2001 ? The Cheese and the Worms // KATO Haruyo // 2005 // Ogawa Shinsuke Prize, FIPRESCI Prize YIDFF2005 ? Dear Pyongyang // YANG Yonghee // 2005 // Special Prize, YIDFF 2005 ? Storytellers // SAKAI Ko, HAMAGUCHI Ryusuke // 2013 // SkyPerfectTV IDEHA Prize, YIDFF 2013 ? Cenote // ODA Kaori // 2019 ? Komian and Pickles // SATO Koichi // 2021 Commissioned by the Agency for Cultural Affairs, Government of Japan -------------- next part -------------- An HTML attachment was scrubbed... URL: From jlong at jjtranslation.com Tue Jan 18 04:35:37 2022 From: jlong at jjtranslation.com (JLong JJT) Date: Tue, 18 Jan 2022 20:35:37 +1100 Subject: [KineJapan] Made in Japan: Yamagata 1989-2021 In-Reply-To: References: Message-ID: <4B033C8A-7865-4D50-A2C0-36E6B356B0C6@jjtranslation.com> Enjoy! Mind you, it?s cooler and wet here today. A guide to the YIDFF content was added below: > On 18 Jan 2022, at 8:10 pm, Jasper Sharp via KineJapan wrote: > > And on the subject of this great initiative, I wrote a piece for the BFI directing people to the programme with my top picks: > https://www.bfi.org.uk/features/japanese-documentaries-from-yamagata-festival-now-streaming-free-online > > Jasper Sharp > > > 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: From aaron.gerow at yale.edu Wed Jan 19 20:32:25 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 19 Jan 2022 20:32:25 -0500 Subject: [KineJapan] Mainichi Film Awards Message-ID: <56749FA3-681F-44CA-9488-16BC1B26EE34@yale.edu> In one of the first big Japanese film awards to be announced, the Mainichi Film Award for best film was given to Drive My Car, directed by Hamaguchi Ryusuke. Nishikawa Miwa?s Under the Open Sky got the runner up award. Hamaguchi also got best director, but it was Miwa?s film that got more awards, including best supporting actor, cinematography, and music. Zeze Takahisa?s In the Wake got best actor and best supporting actress, while Ishii Yuya?s Madder Red won best actress, and the two best newcomer awards. Best documentary went to Hara Kazuo?s Minamata Mandala, and best animation went to The House of the Lost on the Cape. The Tanaka Kinuyo award went to Miyamoto Nobuko. https://mainichi.jp/articles/20220119/k00/00m/200/130000c Aaron Gerow A. Whitney Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From ferranidus at gmail.com Thu Jan 27 09:32:39 2022 From: ferranidus at gmail.com (Ferran de Vargas) Date: Thu, 27 Jan 2022 15:32:39 +0100 Subject: [KineJapan] Special issue "Japanese cinema in the 1960s" Message-ID: Dear colleagues, This is Ferran de Vargas from the Open University of Catalonia. Me and my colleague Dr Blai Guarn? from the Autonomous University of Barcelona are happy to announce the publication of the special issue *The Japanese cinema in the 1960s *(https://www.tandfonline.com/toc/rsix20/current) in the journal *The Sixties*. We hope you enjoy it. With best wishes, Ferran & Blai -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Jan 29 21:57:43 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 29 Jan 2022 21:57:43 -0500 Subject: [KineJapan] Fwd: Theorizing Colonial Cinema edited by Nayoung Aimee Kwon, Takushi Odagiri & Moonim Baek References: <49309D10-3DF7-40FD-9294-3CEC34684AA6@combinedacademic.co.uk> Message-ID: For those who are interested: A discount for a book to be published next month to which I contributed. Aaron Gerow > > We would like to announce a new publication from Indiana University Press, which we hope will be of interest. > > Theorizing Colonial Cinema > Reframing Production, Circulation, and Consumption of Film in Asia > Edited by Nayoung Aimee Kwon, Takushi Odagiri & Moonim Baek > > > https://www.combinedacademic.co.uk/9780253059758/theorizing-colonial-cinema/ > > Receive a 20% discount online*: > CSLF2021 > *Valid until 11:59 GMT, 30th June 2022. Discount only applies to the CAP website. > > Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film?s global inception to contemporary legacies in and of Asia. > The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe?s imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. > This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past. > Contributors: Nadine Chan, Aaron Gerow, Jane Marie Gaines, Zhen Zhang, Thomas A. C. Barker, Nikki J. Y. Lee, Jos? B. Capino, Yiman Wang > Nayoung Aimee Kwon is Professor in the Department of Asian & Middle Eastern Studies and Program in Cinematic Arts Duke University. She is the Founding Director of Duke?s Asian American & Diaspora Studies Program and Co-Director of the Andrew Mellon Games & Culture Humanities Lab. Her most recent monograph is Intimate Empire. > Takushi Odagiri is Associate Professor of Ethics and Philosophy in the Institute of Liberal Arts and Science and in the School of Social Innovation Studies at Kanazawa University. His publications appear in positions: asia critique, boundary 2, Journal of Religion, and Tetsugaku, among other venues. > Moonim Baek is a Professor of Korean Language & Literature at Yonsei University. She is the author of Chum A-ut: Hankuk Y?nghwa ?i Ch?ngch?ihak (Zoom-Out: Politics of Korean Cinema), Hy?ng?n: Munhakkwa y?nghwa ?i w?nk?np?p (Figural Images: Perspectives on Literature and Film), W?lha ?i Y?koks?ng: Y?kwiro Pon?n Hankuk Kongpoy?nghwasa (Scream under the Moon: Korean Horror Film History through Female Ghosts), and Im Hwa ?i Y?nghwa (Im Hwa?s Cinema). > With all best wishes, > > Combined Academic Publishers > > > > Indiana University Press | New Directions in National Cinemas | February 2022 | 328pp | 9780253059758 | PB | ?18.99* > *Price subject to change. > From macyroger at yahoo.co.uk Sun Jan 30 03:49:20 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 30 Jan 2022 08:49:20 +0000 (UTC) Subject: [KineJapan] Fwd: Theorizing Colonial Cinema edited by Nayoung Aimee Kwon, Takushi Odagiri & Moonim Baek In-Reply-To: References: <49309D10-3DF7-40FD-9294-3CEC34684AA6@combinedacademic.co.uk> Message-ID: <471997776.5633921.1643532560438@mail.yahoo.com> What a nice price! As usual, after shipping, it's cheaper to get it direct from a bookseller on Abe than use the discount but, at that price, I have no complaints.Roger On Sunday, 30 January 2022, 02:57:49 GMT, Gerow Aaron via KineJapan wrote: For those who are interested: A discount for a book to be published next month to which I contributed. Aaron Gerow > > We would like to announce a new publication from Indiana University Press, which we hope will be of interest. > > Theorizing Colonial Cinema > Reframing Production, Circulation, and Consumption of Film in Asia > Edited by Nayoung Aimee Kwon, Takushi Odagiri & Moonim Baek > > > https://www.combinedacademic.co.uk/9780253059758/theorizing-colonial-cinema/ > > Receive a 20% discount online*: > CSLF2021 > *Valid until 11:59 GMT, 30th June 2022. Discount only applies to the CAP website. > > Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film?s global inception to contemporary legacies in and of Asia. > The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe?s imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. > This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past. > Contributors: Nadine Chan, Aaron Gerow, Jane Marie Gaines, Zhen Zhang, Thomas A. C. Barker, Nikki J. Y. Lee, Jos? B. Capino, Yiman Wang > Nayoung Aimee Kwon is Professor in the Department of Asian & Middle Eastern Studies and Program in Cinematic Arts Duke University. She is the Founding Director of Duke?s Asian American & Diaspora Studies Program and Co-Director of the Andrew Mellon Games & Culture Humanities Lab. Her most recent monograph is Intimate Empire. > Takushi Odagiri is Associate Professor of Ethics and Philosophy in the Institute of Liberal Arts and Science and in the School of Social Innovation Studies at Kanazawa University. His publications appear in positions: asia critique, boundary 2, Journal of Religion, and Tetsugaku, among other venues. > Moonim Baek is a Professor of Korean Language & Literature at Yonsei University. She is the author of Chum A-ut: Hankuk Y?nghwa ?i Ch?ngch?ihak (Zoom-Out: Politics of Korean Cinema), Hy?ng?n: Munhakkwa y?nghwa ?i w?nk?np?p (Figural Images: Perspectives on Literature and Film), W?lha ?i Y?koks?ng: Y?kwiro Pon?n Hankuk Kongpoy?nghwasa (Scream under the Moon: Korean Horror Film History through Female Ghosts), and Im Hwa ?i Y?nghwa (Im Hwa?s Cinema). > With all best wishes, > > Combined Academic Publishers > > > > Indiana University Press | New Directions in National Cinemas | February 2022 | 328pp | 9780253059758 | PB | ?18.99* > *Price subject to change. > _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Sun Jan 30 11:12:13 2022 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Sun, 30 Jan 2022 18:12:13 +0200 Subject: [KineJapan] Fwd: Theorizing Colonial Cinema edited by Nayoung Aimee Kwon, Takushi Odagiri & Moonim Baek In-Reply-To: <471997776.5633921.1643532560438@mail.yahoo.com> References: <49309D10-3DF7-40FD-9294-3CEC34684AA6@combinedacademic.co.uk> <471997776.5633921.1643532560438@mail.yahoo.com> Message-ID: Too bad it ships from outside of EU. Meaning we in EU have to make customs declaration and perhaps pay something for it. This rule since July1, 2021. Or are books exempt from it? Eija su 30. tammik. 2022 klo 10.52 Roger Macy via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > What a nice price! > > As usual, after shipping, it's cheaper to get it direct from a bookseller > on Abe than use the discount but, at that price, I have no complaints. > Roger > > On Sunday, 30 January 2022, 02:57:49 GMT, Gerow Aaron via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > For those who are interested: > > A discount for a book to be published next month to which I contributed. > > Aaron Gerow > > > > > We would like to announce a new publication from Indiana University > Press, which we hope will be of interest. > > > > Theorizing Colonial Cinema > > Reframing Production, Circulation, and Consumption of Film in Asia > > Edited by Nayoung Aimee Kwon, Takushi Odagiri & Moonim Baek > > > > > > > https://www.combinedacademic.co.uk/9780253059758/theorizing-colonial-cinema/ > > > > Receive a 20% discount online*: > > CSLF2021 > > *Valid until 11:59 GMT, 30th June 2022. Discount only applies to the CAP > website. > > > > Theorizing Colonial Cinema is a millennial retrospective on the > entangled intimacy between film and colonialism from film?s global > inception to contemporary legacies in and of Asia. > > The volume engages new perspectives by asking how prior discussions on > film form, theory, history, and ideology may be challenged by centering the > colonial question rather than relegating it to the periphery. To that end, > contributors begin by excavating little-known archives and perspectives > from the colonies as a departure from a prevailing focus on Europe?s > imperial histories and archives about the colonies. The collection > pinpoints various forms of devaluation and misrecognition both in and > beyond the region that continue to relegate local voices to the margins. > > This pathbreaking study on global film history advances prior > scholarship by bringing together an array of established and new > interdisciplinary voices from film studies, Asian studies, and postcolonial > studies to consider how the present is continually haunted by the colonial > past. > > Contributors: Nadine Chan, Aaron Gerow, Jane Marie Gaines, Zhen Zhang, > Thomas A. C. Barker, Nikki J. Y. Lee, Jos? B. Capino, Yiman Wang > > Nayoung Aimee Kwon is Professor in the Department of Asian & Middle > Eastern Studies and Program in Cinematic Arts Duke University. She is the > Founding Director of Duke?s Asian American & Diaspora Studies Program and > Co-Director of the Andrew Mellon Games & Culture Humanities Lab. Her most > recent monograph is Intimate Empire. > > Takushi Odagiri is Associate Professor of Ethics and Philosophy in the > Institute of Liberal Arts and Science and in the School of Social > Innovation Studies at Kanazawa University. His publications appear in > positions: asia critique, boundary 2, Journal of Religion, and Tetsugaku, > among other venues. > > Moonim Baek is a Professor of Korean Language & Literature at Yonsei > University. She is the author of Chum A-ut: Hankuk Y?nghwa ?i Ch?ngch?ihak > (Zoom-Out: Politics of Korean Cinema), Hy?ng?n: Munhakkwa y?nghwa ?i > w?nk?np?p (Figural Images: Perspectives on Literature and Film), W?lha ?i > Y?koks?ng: Y?kwiro Pon?n Hankuk Kongpoy?nghwasa (Scream under the Moon: > Korean Horror Film History through Female Ghosts), and Im Hwa ?i Y?nghwa > (Im Hwa?s Cinema). > > With all best wishes, > > > > Combined Academic Publishers > > > > > > > > Indiana University Press | New Directions in National Cinemas | February > 2022 | 328pp | 9780253059758 | PB | ?18.99* > > *Price subject to change. > > > > _______________________________________________ > 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 nornes at umich.edu Sun Jan 30 15:16:18 2022 From: nornes at umich.edu (Markus Nornes) Date: Sun, 30 Jan 2022 15:16:18 -0500 Subject: [KineJapan] Special issue "Japanese cinema in the 1960s" In-Reply-To: References: Message-ID: These are some pretty fascinating articles. Thank you! I found Patrick's piece on Oe and Martin's essay on Terayama particularly eye-opening. Patrick's essay answered so many questions I've had about Oe over the years. But all the essays are fine. Definitely check out the whole special issue. 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 Thu, Jan 27, 2022 at 9:34 AM Ferran de Vargas via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear colleagues, > > This is Ferran de Vargas from the Open University of Catalonia. Me and my > colleague Dr Blai Guarn? from the Autonomous University of Barcelona are > happy to announce the publication of the special issue *The Japanese > cinema in the 1960s *(https://www.tandfonline.com/toc/rsix20/current) in > the journal *The Sixties*. We hope you enjoy it. > > With best wishes, > > Ferran & Blai > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: