From reionder at gmail.com Fri Jul 1 12:22:51 2022 From: reionder at gmail.com (Henrique Quadros) Date: Fri, 1 Jul 2022 13:22:51 -0300 Subject: [KineJapan] Introduction + Inquiries about Prokino and Pre-WWII cinema Message-ID: Hello everyone, I'm sorry if this is not properly formatted, or if I'm not sending this email correctly, this is my first time participating in an e-mail list. I hope this is correctly addressed. First of all, I'd like to introduce myself. My name is Henrique Quadros, I live in Rio de Janeiro, Brazil. I studied Cinema in college from 2018 to 2020, and currently I'm working on a completely independent (not associated with any university or organization) research project on pre-WWII cinema, more specifically the left-leaning cinema of the 3 countries of the Axis from before their respective fascist governments united in the Tripartite Pact in 1940. This, of course, involves the cinema of Japan before the war and mostly before the middle to late 1930s. My research involved learning about the "keiko-eiga" genre of films, some of the jidaigeki of directors like Daisuke Ito, and the films from the Proletarian Film League of Japan (Prokino), the latter of which have become my main area of interest currently. I've been contacting some scholars in the field of studies of pre-war Japanese cinema, like Professor Markus Nornes and Professor Aaron Gerow, but I didn't consider contacting the KineJapan list for a broader response that could help me get more info on the topic. So here I am. I'll lay out my general inquiries and some more specific ones, if you have any way of assisting me in any of these aspects, I'd be deeply thankful for your help. *First*, I'd like to ask what are some good English texts on Daisuke Ito, keiko-eiga and Prokino that I can easily find online (either through stores like Amazon or via pdf download, for example) that would give me information on the history and, specifically, how these films were perceived by the Japanese public and authorities. *Second*, if you think there are specific films that I should research that were left-leaning in nature (or perhaps perceived as such) and generated some sort of controversy and censorship in the pre-war years, can you point them out please? Part of my research involves creating a chronological list of the films that fit the criteria. *Third*, this is a more specific one, do you know who directed the individual Prokino films that are extant today (like the ones in the Purokino Sakuhinshu collection)? I want to add the Prokino films to the TMDB database so that it's easier to find information about each production, but I wasn't able to find much information about the production crew. If you know who made each film or if you know where to find this specific information, please let me know. That is it for now. I hope this e-mail reaches you properly and that I've done this correctly. I'd like to thank Professor Markus Nornes for recommending this list, and also I'd like to preemptively thank everyone for their time and patience in reading this and trying to help. Have a great Friday, a great weekend, and a great July. Yours truly, Henrique -------------- next part -------------- An HTML attachment was scrubbed... URL: From dlewis24 at wustl.edu Fri Jul 1 18:20:20 2022 From: dlewis24 at wustl.edu (Diane Lewis) Date: Fri, 1 Jul 2022 18:20:20 -0400 Subject: [KineJapan] Introduction + Inquiries about Prokino and Pre-WWII cinema In-Reply-To: References: Message-ID: Hi Henrique, Thanks for your introduction. This sounds like a great project! Here's some general information about the extant Prokino films: *Prokino sakuhinsh?* *Yamamoto Senji's Farewell Ceremony *(1929)* - *Tokyo branch, shot by Okada S?z? *Yamamoto Senji Watanabe Matsunosuke Worker-Farmer Funeral *(1929) - Kyoto branch According to Namiki Shinsaku, other Prokino members involved in the Tokyo production included Nakajima Shin and Sasa Genj?, and participating Kyoto members included Matsuzaki Keiji, Ueda Isamu, Kitagawa Tetsuo, and others. According to Kitagawa Tetsuo, it was NAPF member Tamura Takao's idea to film the funeral in Kyoto. *The 12th Tokyo May Day *(1931) - The production was overseen by Iwasaki Akira and shot by Okada S?z? *Earth *(1931) - Written and directed by K? Sh?kichi, shot by Oka Hideo *Sports *(1932) - Waseda University Student Film Circle and Tokyo branch *All Lines *(1932) - Written and directed by Furukawa Ry?, assistant director Matsukawa Rei, shot by Oka Hideo and Arashi Genkai (aka Inoue Kan / Lee Byoung-woo) *Animated film* *Chimney Sweep Per?* (1930) - Made at D?eisha, directed by Tanaka Yoshitsugu Some English-language sources on Prokino include: - Jonathan Clements, *Anime: A History *(for Prokino's animated films) - Hikari Hori, *Promiscuous Media: Film and Visual Culture in Imperial Japan, 1926-1945* - Diane Lewis, "Home Movies of the Revolution: Proletarian Filmmaking and Counter-Mobilization in Interwar Japan," in *Routledge Handbook of Japanese Cinema, *edited by Joanne Bernardi and Shota Ogawa - *In Praise of Film Studies: Essays in Honor of Makino Mamoru,* edited by Markus Nornes and Aaron Gerow - Markus Nornes, *Japanese Documentary Film: The Meiji Era through Hiroshima* - Yamagata International Documentary Film Festival website, which includes relevant interviews , filmography, and commentary Best, Diane On Fri, Jul 1, 2022 at 12:23 PM Henrique Quadros via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hello everyone, > > I'm sorry if this is not properly formatted, or if I'm not sending this > email correctly, this is my first time participating in an e-mail list. I > hope this is correctly addressed. First of all, I'd like to introduce > myself. My name is Henrique Quadros, I live in Rio de Janeiro, Brazil. I > studied Cinema in college from 2018 to 2020, and currently I'm working on a > completely independent (not associated with any university or organization) > research project on pre-WWII cinema, more specifically the left-leaning > cinema of the 3 countries of the Axis from before their respective fascist > governments united in the Tripartite Pact in 1940. This, of course, > involves the cinema of Japan before the war and mostly before the middle to > late 1930s. My research involved learning about the "keiko-eiga" genre of > films, some of the jidaigeki of directors like Daisuke Ito, and the films > from the Proletarian Film League of Japan (Prokino), the latter of which > have become my main area of interest currently. > > I've been contacting some scholars in the field of studies of pre-war > Japanese cinema, like Professor Markus Nornes and Professor Aaron Gerow, > but I didn't consider contacting the KineJapan list for a broader response > that could help me get more info on the topic. So here I am. I'll lay out > my general inquiries and some more specific ones, if you have any way of > assisting me in any of these aspects, I'd be deeply thankful for your help. > > *First*, I'd like to ask what are some good English texts on Daisuke Ito, > keiko-eiga and Prokino that I can easily find online (either through stores > like Amazon or via pdf download, for example) that would give me > information on the history and, specifically, how these films were > perceived by the Japanese public and authorities. *Second*, if you think > there are specific films that I should research that were left-leaning in > nature (or perhaps perceived as such) and generated some sort of > controversy and censorship in the pre-war years, can you point them out > please? Part of my research involves creating a chronological list of the > films that fit the criteria. *Third*, this is a more specific one, do you > know who directed the individual Prokino films that are extant today (like > the ones in the Purokino Sakuhinshu collection)? I want to add the Prokino > films to the TMDB database so that it's easier to find information about > each production, but I wasn't able to find much information about the > production crew. If you know who made each film or if you know where to > find this specific information, please let me know. > > That is it for now. I hope this e-mail reaches you properly and that I've > done this correctly. I'd like to thank Professor Markus Nornes for > recommending this list, and also I'd like to preemptively thank everyone > for their time and patience in reading this and trying to help. Have a > great Friday, a great weekend, and a great July. > > Yours truly, > Henrique > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Diane Wei Lewis Associate Professor, Film & Media Studies Washington University in St. Louis -------------- next part -------------- An HTML attachment was scrubbed... URL: From reionder at gmail.com Fri Jul 1 22:01:57 2022 From: reionder at gmail.com (Henrique Quadros) Date: Fri, 1 Jul 2022 23:01:57 -0300 Subject: [KineJapan] Introduction + Inquiries about Prokino and Pre-WWII cinema In-Reply-To: References: Message-ID: Hello Diane, Thank you so much for your help! This is exactly what I was looking for. The books will be extremely helpful for my research. For now, this is all the help I'll need, if I need anything else I'll make sure to let you all know by sending another email. Either way, when the research is done, I'll turn the results into a blog post and I'll make sure to send a link to this email list, in case any of you are interested in reading it. As of now, I thank you and wish you all the best Yours, Henrique Em sex., 1 de jul. de 2022 ?s 19:20, Diane Lewis via KineJapan < kinejapan at mailman.yale.edu> escreveu: > Hi Henrique, > > Thanks for your introduction. This sounds like a great project! > > Here's some general information about the extant Prokino films: > > *Prokino sakuhinsh?* > *Yamamoto Senji's Farewell Ceremony *(1929)* - *Tokyo branch, shot by > Okada S?z? > *Yamamoto Senji Watanabe Matsunosuke Worker-Farmer Funeral *(1929) - > Kyoto branch > > According to Namiki Shinsaku, other Prokino members involved in the Tokyo > production included Nakajima Shin and Sasa Genj?, and participating Kyoto > members included Matsuzaki Keiji, Ueda Isamu, Kitagawa Tetsuo, and others. > According to Kitagawa Tetsuo, it was NAPF member Tamura Takao's idea to > film the funeral in Kyoto. > > *The 12th Tokyo May Day *(1931) - The production was overseen by Iwasaki > Akira and shot by Okada S?z? > *Earth *(1931) - Written and directed by K? Sh?kichi, shot by Oka Hideo > *Sports *(1932) - Waseda University Student Film Circle and Tokyo branch > *All Lines *(1932) - Written and directed by Furukawa Ry?, assistant > director Matsukawa Rei, shot by Oka Hideo and Arashi Genkai (aka Inoue Kan > / Lee Byoung-woo) > > *Animated film* > *Chimney Sweep Per?* (1930) - Made at D?eisha, directed by Tanaka > Yoshitsugu > > Some English-language sources on Prokino include: > > - Jonathan Clements, *Anime: A History *(for Prokino's animated films) > - Hikari Hori, *Promiscuous Media: Film and Visual Culture in Imperial > Japan, 1926-1945* > - Diane Lewis, "Home Movies of the Revolution: Proletarian Filmmaking > and Counter-Mobilization in Interwar Japan," in *Routledge Handbook of > Japanese Cinema, *edited by Joanne Bernardi and Shota Ogawa > - *In Praise of Film Studies: Essays in Honor of Makino Mamoru,* > edited by Markus Nornes and Aaron Gerow > - Markus Nornes, *Japanese Documentary Film: The Meiji Era through > Hiroshima* > - Yamagata International Documentary Film Festival website, which > includes relevant interviews > , filmography, and > commentary > > Best, > Diane > > On Fri, Jul 1, 2022 at 12:23 PM Henrique Quadros via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Hello everyone, >> >> I'm sorry if this is not properly formatted, or if I'm not sending this >> email correctly, this is my first time participating in an e-mail list. I >> hope this is correctly addressed. First of all, I'd like to introduce >> myself. My name is Henrique Quadros, I live in Rio de Janeiro, Brazil. I >> studied Cinema in college from 2018 to 2020, and currently I'm working on a >> completely independent (not associated with any university or organization) >> research project on pre-WWII cinema, more specifically the left-leaning >> cinema of the 3 countries of the Axis from before their respective fascist >> governments united in the Tripartite Pact in 1940. This, of course, >> involves the cinema of Japan before the war and mostly before the middle to >> late 1930s. My research involved learning about the "keiko-eiga" genre of >> films, some of the jidaigeki of directors like Daisuke Ito, and the films >> from the Proletarian Film League of Japan (Prokino), the latter of which >> have become my main area of interest currently. >> >> I've been contacting some scholars in the field of studies of pre-war >> Japanese cinema, like Professor Markus Nornes and Professor Aaron Gerow, >> but I didn't consider contacting the KineJapan list for a broader response >> that could help me get more info on the topic. So here I am. I'll lay out >> my general inquiries and some more specific ones, if you have any way of >> assisting me in any of these aspects, I'd be deeply thankful for your help. >> >> *First*, I'd like to ask what are some good English texts on Daisuke >> Ito, keiko-eiga and Prokino that I can easily find online (either through >> stores like Amazon or via pdf download, for example) that would give me >> information on the history and, specifically, how these films were >> perceived by the Japanese public and authorities. *Second*, if you think >> there are specific films that I should research that were left-leaning in >> nature (or perhaps perceived as such) and generated some sort of >> controversy and censorship in the pre-war years, can you point them out >> please? Part of my research involves creating a chronological list of the >> films that fit the criteria. *Third*, this is a more specific one, do >> you know who directed the individual Prokino films that are extant today >> (like the ones in the Purokino Sakuhinshu collection)? I want to add the >> Prokino films to the TMDB database so that it's easier to find information >> about each production, but I wasn't able to find much information about the >> production crew. If you know who made each film or if you know where to >> find this specific information, please let me know. >> >> That is it for now. I hope this e-mail reaches you properly and that I've >> done this correctly. I'd like to thank Professor Markus Nornes for >> recommending this list, and also I'd like to preemptively thank everyone >> for their time and patience in reading this and trying to help. Have a >> great Friday, a great weekend, and a great July. >> >> Yours truly, >> Henrique >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > Diane Wei Lewis > Associate Professor, Film & Media Studies > Washington University in St. Louis > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From percysun at gmail.com Sat Jul 2 11:23:19 2022 From: percysun at gmail.com (Nina Cornyetz) Date: Sat, 2 Jul 2022 11:23:19 -0400 Subject: [KineJapan] permission to reproduce movie stills Message-ID: Good morning, I'm looking for where to turn to get permission to use a film still for an article in a volume about Japanese arts; Also, where to turn for photos of writers and staged dramas? thanks for any help on this. I'm clueless. Nina Cornyetz -------------- next part -------------- An HTML attachment was scrubbed... URL: From elofgren at bucknell.edu Sat Jul 2 12:23:02 2022 From: elofgren at bucknell.edu (Erik R. Lofgren) Date: Sat, 2 Jul 2022 12:23:02 -0400 Subject: [KineJapan] permission to reproduce movie stills In-Reply-To: References: Message-ID: Dear Nina, If it is a published still, the following will be little to no help, I suspect. If it is a screen capture, then it may be, although you may already be aware of it, in that case. I wished to include a couple of screen captures for a recent article and the journal, as we might expect, asked whether I had permission. I referred them to the Society for Cinema and Media Studies guide from 1992 (which, as the colleague in film studies who alerted me to this document noted, has not been updated since then as there's not been a single case of litigation over film stills since this guide was issued) and said that I was following this reasoning. Therefore, I did not have formal permission (because I thought my use fell under the "fair use" guidelines outlined in the guide). I said that if the journal was comfortable with accepting the rationale I shared with them, great, and if not, I would withdraw the images. They decided to accept the rationale and published the article with the images. Best, Erik On Sat, Jul 2, 2022 at 11:23 AM Nina Cornyetz via KineJapan < kinejapan at mailman.yale.edu> wrote: > Good morning, > I'm looking for where to turn to get permission to use a film still for an > article in a volume about Japanese arts; Also, where to turn for photos of > writers and staged dramas? > thanks for any help on this. I'm clueless. > Nina Cornyetz > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Erik R. Lofgren Associate Professor and Chair East Asian Studies Department ---------- * ---------- * ---------- * ---------- * ---------- Bucknell University Lewisburg, PA 17837 Tel: 570-577-1765 ---------- * ---------- * ---------- * ---------- * ---------- -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Sun Jul 3 19:35:50 2022 From: nornes at umich.edu (Markus Nornes) Date: Mon, 4 Jul 2022 08:35:50 +0900 Subject: [KineJapan] permission to reproduce movie stills In-Reply-To: References: Message-ID: I thought I'd follow up on Erik's useful post. If you want more nuance than that, search the KineJapan archives for some involved explanations of this issue. In short, for materials still under copyright period, you need permission?except for frame grabs, which are treated like "quotations" of a larger work. As Erik notes, there is wiggle room. But it's room publishers need to take. Some editors are gun-shy and want to play by the book. Others see how there has not been litigation, so are willing to look the other way to varying degrees. I've been publishing with University of Michigan Press?and am director of the CJS pubs program?and they are forward leaning on this issue. Frame grabs are fine. Publicity stills and posters should be cleared. However, sometimes the copyright owner is hard to determine, or simply unresponsive after multiple attempts. If the author/editor can provide a clutch of correspondence showing due diligence to clear copyright, we'll usually go forward and use the images. Personally, I think that's a sweet spot and respect the press for taking this position. Other presses will be more careful. It's something to ask about when approaching a press in the first place. I'll end this with a plug for Center for Japanese Studies Publication Program at Michigan. We like images and well-designed books, have good copy-editing, release in hard and soft cover versions, and at prices you can actually afford. *We are always looking for good books from any field in Japan Studies. Contact me, please! * 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 Sun, Jul 3, 2022 at 1:23 AM Erik R. Lofgren via KineJapan < kinejapan at mailman.yale.edu> wrote: > Dear Nina, > > If it is a published still, the following will be little to no help, I > suspect. If it is a screen capture, then it may be, although you may > already be aware of it, in that case. > > I wished to include a couple of screen captures for a recent article and > the journal, as we might expect, asked whether I had permission. I > referred them to the Society for Cinema and Media Studies guide from 1992 > > (which, as the colleague in film studies who alerted me to this document > noted, has not been updated since then as there's not been a single case of > litigation over film stills since this guide was issued) and said that I > was following this reasoning. Therefore, I did not have formal > permission (because I thought my use fell under the "fair use" guidelines > outlined in the guide). I said that if the journal was comfortable with > accepting the rationale I shared with them, great, and if not, I would > withdraw the images. They decided to accept the rationale and published > the article with the images. > > Best, > > Erik > > On Sat, Jul 2, 2022 at 11:23 AM Nina Cornyetz via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Good morning, >> I'm looking for where to turn to get permission to use a film still for >> an article in a volume about Japanese arts; Also, where to turn for photos >> of writers and staged dramas? >> thanks for any help on this. I'm clueless. >> Nina Cornyetz >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > > Erik R. Lofgren > Associate Professor and Chair > East Asian Studies Department > > ---------- * ---------- * ---------- * ---------- * ---------- > Bucknell University > Lewisburg, PA 17837 Tel: 570-577-1765 > ---------- * ---------- * ---------- * ---------- * ---------- > _______________________________________________ > 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 Sun Jul 3 19:44:49 2022 From: earljac at gmail.com (Earl Jackson) Date: Mon, 4 Jul 2022 07:44:49 +0800 Subject: [KineJapan] permission to reproduce movie stills In-Reply-To: References: Message-ID: Dear Markus Thank you for this clarification. I had a terrible time with an editor of a special issue of a journal a couple years ago. I had a screen grab that was a detail of a single shot of a film 61 years old but the editor insisted on asking Toho if we could include it and they said no, while adding they had forgotten they even had made that film. I still get annoyed thinking about it. I'm so glad your publication program is rational. best 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, Jul 4, 2022 at 7:36 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > I thought I'd follow up on Erik's useful post. > > If you want more nuance than that, search the KineJapan archives for some > involved explanations of this issue. > > In short, for materials still under copyright period, you need > permission?except for frame grabs, which are treated like "quotations" of a > larger work. > > As Erik notes, there is wiggle room. But it's room publishers need to > take. Some editors are gun-shy and want to play by the book. Others see how > there has not been litigation, so are willing to look the other way to > varying degrees. > > I've been publishing with University of Michigan Press?and am director of > the CJS pubs program?and they are forward leaning on this issue. Frame > grabs are fine. Publicity stills and posters should be cleared. However, > sometimes the copyright owner is hard to determine, or simply unresponsive > after multiple attempts. If the author/editor can provide a clutch of > correspondence showing due diligence to clear copyright, we'll usually go > forward and use the images. > > Personally, I think that's a sweet spot and respect the press for taking > this position. Other presses will be more careful. It's something to ask > about when approaching a press in the first place. > > I'll end this with a plug for Center for Japanese Studies Publication > Program at Michigan. We like images and well-designed books, have good > copy-editing, release in hard and soft cover versions, and at prices you > can actually afford. *We are always looking for good books from any field > in Japan Studies. Contact me, please! * > > 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 Sun, Jul 3, 2022 at 1:23 AM Erik R. Lofgren via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Dear Nina, >> >> If it is a published still, the following will be little to no help, I >> suspect. If it is a screen capture, then it may be, although you may >> already be aware of it, in that case. >> >> I wished to include a couple of screen captures for a recent article and >> the journal, as we might expect, asked whether I had permission. I >> referred them to the Society for Cinema and Media Studies guide from 1992 >> >> (which, as the colleague in film studies who alerted me to this document >> noted, has not been updated since then as there's not been a single case of >> litigation over film stills since this guide was issued) and said that I >> was following this reasoning. Therefore, I did not have formal >> permission (because I thought my use fell under the "fair use" guidelines >> outlined in the guide). I said that if the journal was comfortable with >> accepting the rationale I shared with them, great, and if not, I would >> withdraw the images. They decided to accept the rationale and published >> the article with the images. >> >> Best, >> >> Erik >> >> On Sat, Jul 2, 2022 at 11:23 AM Nina Cornyetz via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> Good morning, >>> I'm looking for where to turn to get permission to use a film still for >>> an article in a volume about Japanese arts; Also, where to turn for photos >>> of writers and staged dramas? >>> thanks for any help on this. I'm clueless. >>> Nina Cornyetz >>> _______________________________________________ >>> KineJapan mailing list >>> KineJapan at mailman.yale.edu >>> https://mailman.yale.edu/mailman/listinfo/kinejapan >>> >> >> >> -- >> >> Erik R. Lofgren >> Associate Professor and Chair >> East Asian Studies Department >> >> ---------- * ---------- * ---------- * ---------- * ---------- >> Bucknell University >> Lewisburg, PA 17837 Tel: 570-577-1765 >> ---------- * ---------- * ---------- * ---------- * ---------- >> _______________________________________________ >> 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 Jul 3 21:47:09 2022 From: nornes at umich.edu (Markus Nornes) Date: Mon, 4 Jul 2022 10:47:09 +0900 Subject: [KineJapan] Olympics Films: Side A, B & + In-Reply-To: References: <941356AA-79FA-48D7-AB1C-B499BD83D2FF@yale.edu> Message-ID: Kore-eda's new Baby Broker has a notable scene featuring breastfeeding. Quite the contrary to Kawase's affective identification of breastfeeding with motherhood, Kore-eda presents it as a threat. Good movie, BTW. Call it *Shoplifters, Side B. * Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From annekmcknight at gmail.com Sun Jul 3 22:53:54 2022 From: annekmcknight at gmail.com (Anne McKnight) Date: Sun, 3 Jul 2022 19:53:54 -0700 Subject: [KineJapan] Macaroni westerns--the name and the claim Message-ID: <559BD6DB-A9A5-4863-9FB3-77F84C672EE4@gmail.com> Hi everyone~ I?m looking for some context for the term ?macaroni western.? I think many people know that it is the way that the discussions of ?Spaghetti westerns? were localized into Japan. I have read in various places that the phrase was coined somewhere in a discussion between popular film critic/editor Yodogawa Nagaharu (????) and the seibu-geki critic Fukazawa Tetsuya (????), around 1965. I think they were a bit offended at the ripoff of Kurosawa?s Yojimbo even in the (Japanese) title of ???????? and thought of the "macaroni" bit as a way to be a bit pointed about that critique. (Perhaps someone older than me, who knew Tokyo in the 60s can confirm, but I think spaghetti was not generally known, and as an insult ?spaghetti? didn?t have a shomin-teki punch, whereas macaroni had the advantage of being an actual referent, having a presence in the deli delight of the macaroni salad.) To complicate matters more, Yogodawa is also reported saying ??????????????????, which I think is a crack about the thinness and general minginess of spaghetti, and also about the derivative nature of Leone's ripoff of Yojimbo, resulting in the claim against Leone. (Not long after, the macaroni western boom would happen on tv, but Fukuzawa/Yodogawa?s opinion, as much as the genre name, remains interesting to me?) I?m trying to track the history/travels of this phrase, along with the cultural politics of macaroni versus spaghetti. When I think of a story like ?American Hijiki,? which came out in 1967, the cultural politics on nutrition, nationalism, theft etc. are intriguing... I think typically the switch to ?macaroni" is interpreted as ?in Japanese it is easier to pronounce macaroni, so that?s why,? but I am not sure. Nagahara, of course, had a very long televisual career?so I wonder if this conversation took place on TV, on the show he regularly hosted, ????????or another show. I am not finding anything in print. And Yodogawa was HUGE on tv (you can see a bunch of his clips on YouTube). Has anyone run across discussion of a broadcast date or taidan venue and date in which macaroni westerns feature? Anyway, further attempts to overthink along with me this conceptual translation of B-kyu cuisine and genre film into the macaroni western would be much appreciated?! Thanks! Anne -------------- next part -------------- An HTML attachment was scrubbed... URL: From percysun at gmail.com Mon Jul 4 10:18:43 2022 From: percysun at gmail.com (Nina Cornyetz) Date: Mon, 4 Jul 2022 10:18:43 -0400 Subject: [KineJapan] film stills Message-ID: Thanks Marcus and Erik, This is for a six volume collection called A Cultural History of East Asia, published by Bloomsbury. I'm writing the entry for twentieth-century Japanese literature and performance, and under the performance section I'm focusing on film. If I do a screen grab from my computer is the quality good enough? Earl that sounds really irritating! Nina -------------- next part -------------- An HTML attachment was scrubbed... URL: From mauvaischat77 at gmail.com Tue Jul 5 16:50:38 2022 From: mauvaischat77 at gmail.com (Ryan Cook) Date: Tue, 5 Jul 2022 16:50:38 -0400 Subject: [KineJapan] Japanese Studies Directory Survey (Yanai Initiative/JPP) Message-ID: Dear all, My apologies if you've received this from me in more than one place. Please consider taking a survey (links in both English and Japanese below): [?????????????????????????] Dear colleagues, On behalf of *Japan Past & Present (JPP)*, a collaborative project of UCLA and Waseda University, we write to share a survey gathering input for a proposed global scholars directory/profile platform. *JPP*, currently under development, will serve as a centralized digital hub for interdisciplinary and international research in Japanese humanities, bringing together wide-ranging resources and facilitating communication among scholars from around the world. *We are interested in learning from you what practices and design features might make a user-driven scholars platform successful.* By receiving your thoughts and input, we will be able to better understand ways to shape this directory to optimally and equitably serve Japanese Studies scholars. [Please click here to take the survey] The survey will close on *July 16, 2022*. It will take approximately 15 minutes to complete and your responses will remain anonymous. We thank you for your time and participation. Please also spread the word to your colleagues and graduate students! *Consent* This survey is being administered by the *Japan Past & Present *Global Scholars Directory Team. The information collected from these interviews will be compiled for the purposes of a proposal report to* JPP *administrators. Your participation is voluntary and you may withdraw at any time. No personally identifying information will be gathered for purposes of the report, though you will have the option to provide contact information if you desire updates about the project. Responses from the survey may be used or reproduced in presentations or written products that result from this study. By clicking ?Submit? on the final page of the survey, you are consenting to participate. --- ?? UCLA??????????????????JapanPast?Present?JPP???????????????/??????????????????????????????????????JPP?????????????????????????????????????????????????????????????????????????????? ???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ?????????????????????????? ?????*2022?7?16?*????????15?????????????????????????? ????????????????????????????????????????????????? *??* ??????JPP?????????????????????????????????????????????JPP???????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? ???????????????????????????? Sincerely, Ryan Cook (Coordinator, Global Scholars Directory Planning Team) On behalf of: Paula R. Curtis (Operations Leader, Japan Past & Present) Sarah Rebecca Schmid (Global Scholars Directory Planning Team) Kristen Luck (Global Scholars Directory Planning Team) -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Jul 7 11:18:53 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 8 Jul 2022 00:18:53 +0900 Subject: [KineJapan] Noriaki Tsuchimoto Research Grant Message-ID: Noriaki Tsuchimoto Research Grant 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 collection description is as follows: The collection comprises the papers of Noriaki Tsuchimoto, a Japanese documentary film director, who directed films on various topics, including environmental issues, student activism, Minamata disease, nuclear power, corporate history (PR films), and Afghanistan. The collection includes manuscripts and documents about his films, including annotated scripts, production notes, shot, and budget sheets; research materials of various topics, including documents on the science of mercury poisoning; location and on-the-set photos; publicity materials; and film stills. It also contains Tsuchimoto?s correspondence with colleagues, as well as decades worth of his datebooks. The topics in his papers vary and include items ranging from labor union newsletters to court documents on cases involving colleagues. https://archives.yale.edu/repositories/12/resources/11735 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. Costs for computers or software are not eligible. Holders of a Ph.D. or the equivalent are eligible to apply, as are graduate students who have completed all requirements for the doctorate except the dissertation. 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. Yale University faculty, staff, and students may not apply. 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. All applications must be submitted electronically by attachment to eastasian.studies at yale.edu with ?Noriaki Tsuchimoto Research Grant? in the subject line. Applications must include a curriculum vitae and a two-to-three-page description (double-spaced) of the research project. Applicants should attach a list of some of the boxes that will be consulted using the Finding Aid of the collection: https://archives.yale.edu/repositories/12/resources/11735/collection_organization Applications from graduate students must be accompanied by a letter from the main faculty advisor attesting to the significance of the dissertation project and to the student?s completion of all other degree requirements. Within a month of their campus visit, award recipients should submit a 2-3 page (double spaced) summary of some of their research achievements, which may be posted on a Yale website. Award recipients may also be invited to participate in a symposium at Yale on Tsuchimoto and his era in the 2024-2025 academic year. Aaron Gerow Alfred W. 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 aaron.gerow at yale.edu Fri Jul 8 10:10:14 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 8 Jul 2022 23:10:14 +0900 Subject: [KineJapan] Noriaki Tsuchimoto Research Grant Message-ID: <1A36AAEE-9B5B-4BDC-B6CA-849B5953C19C@yale.edu> Here?s the announcement of grant money to fund use of the Tsuchimoto Papers at Yale. Feel free to write me if you have any questions. Aaron Gerow Noriaki Tsuchimoto Research Grant 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 collection description is as follows: The collection comprises the papers of Noriaki Tsuchimoto, a Japanese documentary film director, who directed films on various topics, including environmental issues, student activism, Minamata disease, nuclear power, corporate history (PR films), and Afghanistan. The collection includes manuscripts and documents about his films, including annotated scripts, production notes, shot, and budget sheets; research materials of various topics, including documents on the science of mercury poisoning; location and on-the-set photos; publicity materials; and film stills. It also contains Tsuchimoto?s correspondence with colleagues, as well as decades worth of his datebooks. The topics in his papers vary and include items ranging from labor union newsletters to court documents on cases involving colleagues. https://archives.yale.edu/repositories/12/resources/11735 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. Costs for computers or software are not eligible. Holders of a Ph.D. or the equivalent are eligible to apply, as are graduate students who have completed all requirements for the doctorate except the dissertation. 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. Yale University faculty, staff, and students may not apply. 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. All applications must be submitted electronically by attachment to eastasian.studies at yale.edu with ?Noriaki Tsuchimoto Research Grant? in the subject line. Applications must include a curriculum vitae and a two-to-three-page description (double-spaced) of the research project. Applicants should attach a list of some of the boxes that will be consulted using the Finding Aid of the collection: https://archives.yale.edu/repositories/12/resources/11735/collection_organization Applications from graduate students must be accompanied by a letter from the main faculty advisor attesting to the significance of the dissertation project and to the student?s completion of all other degree requirements. Within a month of their campus visit, award recipients should submit a 2-3 page (double spaced) summary of some of their research achievements, which may be posted on a Yale website. Award recipients may also be invited to participate in a symposium at Yale on Tsuchimoto and his era in the 2024-2025 academic year. Aaron Gerow Alfred W. 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 m.centeno at bbk.ac.uk Mon Jul 11 06:24:44 2022 From: m.centeno at bbk.ac.uk (Marcos Pablo Centeno Martin) Date: Mon, 11 Jul 2022 10:24:44 +0000 Subject: [KineJapan] Noriaki Tsuchimoto Research Grant In-Reply-To: <1A36AAEE-9B5B-4BDC-B6CA-849B5953C19C@yale.edu> References: <1A36AAEE-9B5B-4BDC-B6CA-849B5953C19C@yale.edu> Message-ID: Dear Aaron, It would be exciting to research on the Tsuchimoto?s papers. I am currently working with my PhD candidate Ricardo Matos on a on a prospective retrospective on Tsuchimoto in London -he is a film curator who is behind the European retrospectives on Haneda Sumiko that were organised after the series I organised at SOAS, and the retrospectives on Ogawa Shinsuke in Paris and London several years ago). Hence, it sounds like a perfect timing to visit Yale?s archive and I am considering sending a proposal, but before that, would you be able to confirm whether the archive would be open over the Summer (10th July - 15th Sept 2023)? All the best, Marcos --- Marcos Centeno, PhD, FHEA Birkbeck University of London. https://www.bbk.ac.uk/our-staff/profile/9168600/marcos-centeno Recent publications: -"The Ainu in Documentary Films: Promiscuous Iconography and the Absent Image?. In David Desser (ed.) Companion to Japanese Cinema. Malden, Mass.: Blackwell, 2022, pp. 271- 293 -?1968 And Rural Japan as A Site of Struggle. Approaches to rural landscapes in the history of Japanese documentary film?, The Sixties.A Journal of History, Politics and Culture (edited by Guarn?, B. & de Vargas, F.) 2021, vol. 14, issue2, pp. 151-168. -Developments in the Japanese Documentary Mode. Basel: MDPI, 2021 (co-edited with Michael Raine) ________________________________ From: KineJapan on behalf of Gerow Aaron via KineJapan Sent: 08 July 2022 15:10 To: Japanese Cinema Discussion Forum Cc: Gerow Aaron Subject: [KineJapan] Noriaki Tsuchimoto Research Grant Here?s the announcement of grant money to fund use of the Tsuchimoto Papers at Yale. Feel free to write me if you have any questions. Aaron Gerow Noriaki Tsuchimoto Research Grant 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 collection description is as follows: The collection comprises the papers of Noriaki Tsuchimoto, a Japanese documentary film director, who directed films on various topics, including environmental issues, student activism, Minamata disease, nuclear power, corporate history (PR films), and Afghanistan. The collection includes manuscripts and documents about his films, including annotated scripts, production notes, shot, and budget sheets; research materials of various topics, including documents on the science of mercury poisoning; location and on-the-set photos; publicity materials; and film stills. It also contains Tsuchimoto?s correspondence with colleagues, as well as decades worth of his datebooks. The topics in his papers vary and include items ranging from labor union newsletters to court documents on cases involving colleagues. https://archives.yale.edu/repositories/12/resources/11735 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. Costs for computers or software are not eligible. Holders of a Ph.D. or the equivalent are eligible to apply, as are graduate students who have completed all requirements for the doctorate except the dissertation. 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. Yale University faculty, staff, and students may not apply. 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. All applications must be submitted electronically by attachment to eastasian.studies at yale.edu with ?Noriaki Tsuchimoto Research Grant? in the subject line. Applications must include a curriculum vitae and a two-to-three-page description (double-spaced) of the research project. Applicants should attach a list of some of the boxes that will be consulted using the Finding Aid of the collection: https://archives.yale.edu/repositories/12/resources/11735/collection_organization Applications from graduate students must be accompanied by a letter from the main faculty advisor attesting to the significance of the dissertation project and to the student?s completion of all other degree requirements. Within a month of their campus visit, award recipients should submit a 2-3 page (double spaced) summary of some of their research achievements, which may be posted on a Yale website. Award recipients may also be invited to participate in a symposium at Yale on Tsuchimoto and his era in the 2024-2025 academic year. Aaron Gerow Alfred W. 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 t112x at yahoo.com Tue Jul 12 14:33:42 2022 From: t112x at yahoo.com (Thomas Ball) Date: Tue, 12 Jul 2022 18:33:42 +0000 (UTC) Subject: [KineJapan] Orochi References: <215567406.578660.1657650822120.ref@mail.yahoo.com> Message-ID: <215567406.578660.1657650822120@mail.yahoo.com> Buntar? Futagawa's 1925 film is a deserved classic of Japanese silent cinema. IMDB's thumbnail description of it states, "The story of a decent samurai who is widely considered a scum and a criminal. His bad luck and numerous misunderstandings drag him down the social ladder straight to the gutter." This Youtube version of the film https://www.youtube.com/watch?v=LC2mWJfd6vA&t=222s has wonderful Benshi narration to go along with the English subtitles. The voiceover intonations greatly clarify the latent meaning of the action. Even in translation, the subtitles are stark in their depiction of Orochi's predicament, "Fair or not, this is a world of classes. If you don't toe the line, they will crush you...There's nothing wrong with me. Even if I did what I was told not to do, it was a matter of honor...Is there no justice in this world?? It makes no sense at all...One day you'll know the real me." A biblical interpretaion of Orochi's sense of injustice would typify it as a manifestation of the "Matthew Effect", the Gospel parable summarizable as "the rich get richer, the poor get poorer." Related to the Matthew Effect is psychologist Edward Thorndike's 1920 paper about the halo effect, "the name given to the phenomenon whereby evaluators tend to be influenced by their previous judgments of performance or personality.? The halo effect, which has a counterfactual in the 'devil effect', is one of the few law-like regularities posited by the psychological sciences that has been replicated so often, many today aren't even aware of its origins in Thorndike's work. https://en.wikipedia.org/wiki/Halo_effect? More recent behavioral scientists might classify Orochi's predicament based on heuristics and biases such as anchoring, the bandwagon effect or confirmation bias. https://en.wikipedia.org/wiki/List_of_cognitive_biases? While a modern economist such as Thomas Piketty might describe it as a variant of wealth inequality. https://www.hup.harvard.edu/catalog.php?isbn=9780674273559 However, these are all Western descriptions of what is clearly a cross-cultural, trans-temporal constellation of human behaviors and phenomena. Is there an original Japanese concept analogous to, but predating these Western frameworks? -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun Jul 24 18:29:56 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 24 Jul 2022 22:29:56 +0000 (UTC) Subject: [KineJapan] Orochi In-Reply-To: <215567406.578660.1657650822120@mail.yahoo.com> References: <215567406.578660.1657650822120.ref@mail.yahoo.com> <215567406.578660.1657650822120@mail.yahoo.com> Message-ID: <2088476029.2166245.1658701796179@mail.yahoo.com> Sorry for the delay in our responding, Thomas; perhaps youhave had some responses off-line.? I?veonly just had a chance to look at the film thru the link you gave ? something Iwanted to do, as my only viewing of the film had been a fairly disastrous onein Paris with french subtitles,japanese benshi and a grand piano with open top that drowned half of it out. Yes, it is a wonderful benshi narration on the Youtube recording, by awholly uncredited SAWATO Midori. Since the uploader has blatantly uplifted therecording from ?Talking Silents 3?, complete with Matsuda?s and DigitalMeme?s logos at start and finish, the least they could have done was creditthe benshi. She is really good, with incomparable voice-colouring. Speaking of?colouring?, I wonder whether the film would originally have been tinted, tosignify less ambiguously night and day. You focus on cognitive biases and ask whether there are analogousJapanese concepts that predate them. Given that cognitive biases are generallyculturally neutral, and that psychology as a discipline was in its infancy inthe 1920s, - and given the silence from the list ? I think it unlikely.? I have not checked whether the authors of allthose biases are all, say, American, or all German, but it should not nationalizethem, whether or not any of the authors were Japanese. In particular, you pick up the words of the narration at the verybeginning and end of the film, about the rich and powerful accumulating morewealth and power. The phrase, ?Matthew Effect? does indeed have considerablecurrency. The problem with that name, I contend, is that it?s not the message areader of Matthew?s Gospel would be likely to summarise that work as a whole;and the Parable of the Talents, which triggered it, appears in several sourcesand is usually used to make a quite different message about husbandry. At anyrate, I would definitely not call it a ?biblical interpretation?. Still,preferential attachment is an undeniable social phenomenon and is heavilylarded into the framing commentary of Orochi, as noted. But a point I think worth noting isthat it is only ?in thecommentary. Alexander JACOBY, in his Handbook, thought it ?lacked It??s depth ofpolitical implication, the hero?s sufferings being more the result of hard luckthan of social injustice,? I would go further ? if you found yourself in theunplanned experiment in Paris that I was thrown into, only having the visualnarrative of the film to go on, youmight see the same account of a self-destructive loser with anger managementproblems. So, the scriptwriter, SUSUKITA Rokuhei (???????), failed to visualize, or BAND? Tsumasabur?rode roughshod over, the intention to portray class exploitation. Susukita wasa much-admired and prolific scriptwriter of this period and as Cl?ment RAUGER,of La Cin?math?que fran?aise, in the page in the book of the Paris programme, 100 ans de cin?majaponais, says, he wasoriented on the extreme left. So, the conceptual origin of the attack on classexploitation in Orochi may owe more to Marx than Matthew. It looks as ifSusukita hasn?t really been ?done?. I hope you can take away something from this, which is all I can offer. Roger On Tuesday, 12 July 2022 at 19:33:54 BST, Thomas Ball via KineJapan wrote: Buntar? Futagawa's 1925 film is a deserved classic of Japanese silent cinema. IMDB's thumbnail description of it states, "The story of a decent samurai who is widely considered a scum and a criminal. His bad luck and numerous misunderstandings drag him down the social ladder straight to the gutter." This Youtube version of the film https://www.youtube.com/watch?v=LC2mWJfd6vA&t=222s has wonderful Benshi narration to go along with the English subtitles. The voiceover intonations greatly clarify the latent meaning of the action. Even in translation, the subtitles are stark in their depiction of Orochi's predicament, "Fair or not, this is a world of classes. If you don't toe the line, they will crush you...There's nothing wrong with me. Even if I did what I was told not to do, it was a matter of honor...Is there no justice in this world?? It makes no sense at all...One day you'll know the real me." A biblical interpretaion of Orochi's sense of injustice would typify it as a manifestation of the "Matthew Effect", the Gospel parable summarizable as "the rich get richer, the poor get poorer." Related to the Matthew Effect is psychologist Edward Thorndike's 1920 paper about the halo effect, "the name given to the phenomenon whereby evaluators tend to be influenced by their previous judgments of performance or personality.? The halo effect, which has a counterfactual in the 'devil effect', is one of the few law-like regularities posited by the psychological sciences that has been replicated so often, many today aren't even aware of its origins in Thorndike's work. https://en.wikipedia.org/wiki/Halo_effect? More recent behavioral scientists might classify Orochi's predicament based on heuristics and biases such as anchoring, the bandwagon effect or confirmation bias. https://en.wikipedia.org/wiki/List_of_cognitive_biases? While a modern economist such as Thomas Piketty might describe it as a variant of wealth inequality. https://www.hup.harvard.edu/catalog.php?isbn=9780674273559 However, these are all Western descriptions of what is clearly a cross-cultural, trans-temporal constellation of human behaviors and phenomena. Is there an original Japanese concept analogous to, but predating these Western frameworks? _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From wnakane at usc.edu Tue Jul 26 01:56:36 2022 From: wnakane at usc.edu (Wakae Nakane) Date: Tue, 26 Jul 2022 14:56:36 +0900 Subject: [KineJapan] Japanese Film Project Survey Result--International Reach? Message-ID: Dear KineJapan subscribers, I hope everyone is well. I am writing with the hope of hearing some advice from you for effective ways of publicizing the activities of an NPO organization, the Japanese Film Project (JFP, https://jfproject.org/en/). JFP is an organization that researches and makes proposals in order to examine and resolve issues surrounding gender inequalities, labor conditions, and the lack of young talent in the Japanese film industry. The organization was launched last year, and I?ve been helping them as a non-member. One of the organization?s activities is to publish an annual survey on gender inequality in the Japanese film industry, and it held a press conference in Tokyo last month, which was covered by multiple Japanese media, including the following ones. Huffpost https://www.huffingtonpost.jp/entry/story_jp_62c2ab5fe4b014f50a345850 Asahi Shimbun https://www.asahi.com/articles/ASQ7D6D54Q7DUCVL00P.html This is the link to the surveyed materials (https://bit.ly/3osGXjx) we would like to circulate outside Japan. These materials are not yet shared publicly, so please refrain from circulating the materials at this point. As the organization has gradually gained recognition domestically, we have started to think of effective ways to reach wider attention internationally. Do you have any ideas to achieve a wider distribution of the survey results in the international press or academia? I?d appreciate your advice and suggestions. Thank you! Sincerely, Wakae NAKANE PhD Candidate Division of Cinema and Media Studies School of Cinematic Arts University of Southern California wnakane at usc.edu From azahlten at fas.harvard.edu Tue Jul 26 07:54:48 2022 From: azahlten at fas.harvard.edu (Zahlten, Alexander) Date: Tue, 26 Jul 2022 11:54:48 +0000 Subject: [KineJapan] New J-Flicks Episode In-Reply-To: References: Message-ID: Hello Everyone, This is just to point out that a new episode of J-Flicks is still streaming until July 31. You can find the episode here: https://www3.nhk.or.jp/nhkworld/en/ondemand/video/2036075/?autoplay Florian H?hr of Nippon Connection and myself are guests on the episode, discussing films that showed at Cannes and Nippon Connection this year (among them Hayakawa Chie?s Plan 75, or Sakamoto Junji?s epically strange My Brother, the Android and Me). All best, Alex -------------- next part -------------- An HTML attachment was scrubbed... URL: From t112x at yahoo.com Tue Jul 26 08:26:32 2022 From: t112x at yahoo.com (Thomas Ball) Date: Tue, 26 Jul 2022 12:26:32 +0000 (UTC) Subject: [KineJapan] Orochi In-Reply-To: <2088476029.2166245.1658701796179@mail.yahoo.com> References: <215567406.578660.1657650822120.ref@mail.yahoo.com> <215567406.578660.1657650822120@mail.yahoo.com> <2088476029.2166245.1658701796179@mail.yahoo.com> Message-ID: <198941926.2271058.1658838392100@mail.yahoo.com> Roger, no worries about any delay in responding! Your notes are an excellent, highly insightful coda to my discursive query, especially nailing the source of the Youtube vid -- the 'talking silents' videos from Digital Meme -- and the Benshi narrator. I hope to access and view them via interlibrary loan. Thank you, too, for underscoring the critical distinction between class struggles and biblical parables as depicted (or not) in Orochi. I would question Jacoby's observation about any 'lack' of political implications in the script, that's a question of authorial intentionality which is very difficult to nail down with confidence. I may be missing something but Orochi is a samurai who is disgraced, therefore, the 'social injustices' he experiences cannot result from class differences, exploitation or struggle. This suggests more diffuse, apolitical social processes at work. My reference to the Matthew Effect comes from a paper by the late Columbia sociologist Robert Merton, The Matthew Effect in Science, first published in 1968 in Science magazine. Merton was concerned with describing cumulative advantage in the diffusion of scientific citations. Merton's paper originated in the work of the late, great Yale historian of science, Derek de Solla Price, work which has been extended in recent decades by network scientists such as Alberto Barabasi, which you correctly identify as preferential attachment. To risk another cognitive bias, Merton's paper may have 'anchored' me too narrowly on that single parable. Your comments widened the aperture into other frameworks which seem just as relevant. The question that continues to interest me concerns originary East Asian cultural analogues which predate these Western biblical parables and constructs, Orochi the film is just a foil or point of reference for that query. For example, does karma have relevance here? Or is it a question of honor and Orochi's fall from that? another socially defined process of great significance for Asian cultures. In any case, thank you so much for these very helpful suggestions and thoughts! Best regards, Thomas On Sunday, July 24, 2022 at 06:31:36 PM EDT, Roger Macy via KineJapan wrote: Sorry for the delay in our responding, Thomas; perhaps youhave had some responses off-line.? I?veonly just had a chance to look at the film thru the link you gave ? something Iwanted to do, as my only viewing of the film had been a fairly disastrous onein Paris with french subtitles,japanese benshi and a grand piano with open top that drowned half of it out. Yes, it is a wonderful benshi narration on the Youtube recording, by awholly uncredited SAWATO Midori. Since the uploader has blatantly uplifted therecording from ?Talking Silents 3?, complete with Matsuda?s and DigitalMeme?s logos at start and finish, the least they could have done was creditthe benshi. She is really good, with incomparable voice-colouring. Speaking of?colouring?, I wonder whether the film would originally have been tinted, tosignify less ambiguously night and day. You focus on cognitive biases and ask whether there are analogousJapanese concepts that predate them. Given that cognitive biases are generallyculturally neutral, and that psychology as a discipline was in its infancy inthe 1920s, - and given the silence from the list ? I think it unlikely.? I have not checked whether the authors of allthose biases are all, say, American, or all German, but it should not nationalizethem, whether or not any of the authors were Japanese. In particular, you pick up the words of the narration at the verybeginning and end of the film, about the rich and powerful accumulating morewealth and power. The phrase, ?Matthew Effect? does indeed have considerablecurrency. The problem with that name, I contend, is that it?s not the message areader of Matthew?s Gospel would be likely to summarise that work as a whole;and the Parable of the Talents, which triggered it, appears in several sourcesand is usually used to make a quite different message about husbandry. At anyrate, I would definitely not call it a ?biblical interpretation?. Still,preferential attachment is an undeniable social phenomenon and is heavilylarded into the framing commentary of Orochi, as noted. But a point I think worth noting isthat it is only ?in thecommentary. Alexander JACOBY, in his Handbook, thought it ?lacked It??s depth ofpolitical implication, the hero?s sufferings being more the result of hard luckthan of social injustice,? I would go further ? if you found yourself in theunplanned experiment in Paris that I was thrown into, only having the visualnarrative of the film to go on, youmight see the same account of a self-destructive loser with anger managementproblems. So, the scriptwriter, SUSUKITA Rokuhei (???????), failed to visualize, or BAND? Tsumasabur?rode roughshod over, the intention to portray class exploitation. Susukita wasa much-admired and prolific scriptwriter of this period and as Cl?ment RAUGER,of La Cin?math?que fran?aise, in the page in the book of the Paris programme, 100 ans de cin?majaponais, says, he wasoriented on the extreme left. So, the conceptual origin of the attack on classexploitation in Orochi may owe more to Marx than Matthew. It looks as ifSusukita hasn?t really been ?done?. I hope you can take away something from this, which is all I can offer. Roger On Tuesday, 12 July 2022 at 19:33:54 BST, Thomas Ball via KineJapan wrote: Buntar? Futagawa's 1925 film is a deserved classic of Japanese silent cinema. IMDB's thumbnail description of it states, "The story of a decent samurai who is widely considered a scum and a criminal. His bad luck and numerous misunderstandings drag him down the social ladder straight to the gutter." This Youtube version of the film https://www.youtube.com/watch?v=LC2mWJfd6vA&t=222s has wonderful Benshi narration to go along with the English subtitles. The voiceover intonations greatly clarify the latent meaning of the action. Even in translation, the subtitles are stark in their depiction of Orochi's predicament, "Fair or not, this is a world of classes. If you don't toe the line, they will crush you...There's nothing wrong with me. Even if I did what I was told not to do, it was a matter of honor...Is there no justice in this world?? It makes no sense at all...One day you'll know the real me." A biblical interpretaion of Orochi's sense of injustice would typify it as a manifestation of the "Matthew Effect", the Gospel parable summarizable as "the rich get richer, the poor get poorer." Related to the Matthew Effect is psychologist Edward Thorndike's 1920 paper about the halo effect, "the name given to the phenomenon whereby evaluators tend to be influenced by their previous judgments of performance or personality.? The halo effect, which has a counterfactual in the 'devil effect', is one of the few law-like regularities posited by the psychological sciences that has been replicated so often, many today aren't even aware of its origins in Thorndike's work. https://en.wikipedia.org/wiki/Halo_effect? More recent behavioral scientists might classify Orochi's predicament based on heuristics and biases such as anchoring, the bandwagon effect or confirmation bias. https://en.wikipedia.org/wiki/List_of_cognitive_biases? While a modern economist such as Thomas Piketty might describe it as a variant of wealth inequality. https://www.hup.harvard.edu/catalog.php?isbn=9780674273559 However, these are all Western descriptions of what is clearly a cross-cultural, trans-temporal constellation of human behaviors and phenomena. Is there an original Japanese concept analogous to, but predating these Western frameworks? _______________________________________________ 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 macyroger at yahoo.co.uk Tue Jul 26 09:36:29 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Tue, 26 Jul 2022 13:36:29 +0000 (UTC) Subject: [KineJapan] Orochi In-Reply-To: <198941926.2271058.1658838392100@mail.yahoo.com> References: <215567406.578660.1657650822120.ref@mail.yahoo.com> <215567406.578660.1657650822120@mail.yahoo.com> <2088476029.2166245.1658701796179@mail.yahoo.com> <198941926.2271058.1658838392100@mail.yahoo.com> Message-ID: <941203316.3382441.1658842589984@mail.yahoo.com> Thank you for your kind words, Thomas. I?m only coming back to say that, had I cited Alexander Jacoby?s book infull, as I should: A Critical Handbookof Japanese Film Directors,JACOBY, Alexander, 2008, then it would have been more obvious that Alexwas talking about the film as directed, and not in any way about the script. Otherwise, I will leave it for any one else who cares to chip in ... Roger On Tuesday, 26 July 2022 at 13:26:45 BST, Thomas Ball via KineJapan wrote: Roger, no worries about any delay in responding! Your notes are an excellent, highly insightful coda to my discursive query, especially nailing the source of the Youtube vid -- the 'talking silents' videos from Digital Meme -- and the Benshi narrator. I hope to access and view them via interlibrary loan. Thank you, too, for underscoring the critical distinction between class struggles and biblical parables as depicted (or not) in Orochi. I would question Jacoby's observation about any 'lack' of political implications in the script, that's a question of authorial intentionality which is very difficult to nail down with confidence. I may be missing something but Orochi is a samurai who is disgraced, therefore, the 'social injustices' he experiences cannot result from class differences, exploitation or struggle. This suggests more diffuse, apolitical social processes at work. My reference to the Matthew Effect comes from a paper by the late Columbia sociologist Robert Merton, The Matthew Effect in Science, first published in 1968 in Science magazine. Merton was concerned with describing cumulative advantage in the diffusion of scientific citations. Merton's paper originated in the work of the late, great Yale historian of science, Derek de Solla Price, work which has been extended in recent decades by network scientists such as Alberto Barabasi, which you correctly identify as preferential attachment. To risk another cognitive bias, Merton's paper may have 'anchored' me too narrowly on that single parable. Your comments widened the aperture into other frameworks which seem just as relevant. The question that continues to interest me concerns originary East Asian cultural analogues which predate these Western biblical parables and constructs, Orochi the film is just a foil or point of reference for that query. For example, does karma have relevance here? Or is it a question of honor and Orochi's fall from that? another socially defined process of great significance for Asian cultures. In any case, thank you so much for these very helpful suggestions and thoughts! Best regards, Thomas On Sunday, July 24, 2022 at 06:31:36 PM EDT, Roger Macy via KineJapan wrote: Sorry for the delay in our responding, Thomas; perhaps youhave had some responses off-line.? I?veonly just had a chance to look at the film thru the link you gave ? something Iwanted to do, as my only viewing of the film had been a fairly disastrous onein Paris with french subtitles,japanese benshi and a grand piano with open top that drowned half of it out. Yes, it is a wonderful benshi narration on the Youtube recording, by awholly uncredited SAWATO Midori. Since the uploader has blatantly uplifted therecording from ?Talking Silents 3?, complete with Matsuda?s and DigitalMeme?s logos at start and finish, the least they could have done was creditthe benshi. She is really good, with incomparable voice-colouring. Speaking of?colouring?, I wonder whether the film would originally have been tinted, tosignify less ambiguously night and day. You focus on cognitive biases and ask whether there are analogousJapanese concepts that predate them. Given that cognitive biases are generallyculturally neutral, and that psychology as a discipline was in its infancy inthe 1920s, - and given the silence from the list ? I think it unlikely.? I have not checked whether the authors of allthose biases are all, say, American, or all German, but it should not nationalizethem, whether or not any of the authors were Japanese. In particular, you pick up the words of the narration at the verybeginning and end of the film, about the rich and powerful accumulating morewealth and power. The phrase, ?Matthew Effect? does indeed have considerablecurrency. The problem with that name, I contend, is that it?s not the message areader of Matthew?s Gospel would be likely to summarise that work as a whole;and the Parable of the Talents, which triggered it, appears in several sourcesand is usually used to make a quite different message about husbandry. At anyrate, I would definitely not call it a ?biblical interpretation?. Still,preferential attachment is an undeniable social phenomenon and is heavilylarded into the framing commentary of Orochi, as noted. But a point I think worth noting isthat it is only ?in thecommentary. Alexander JACOBY, in his Handbook, thought it ?lacked It??s depth ofpolitical implication, the hero?s sufferings being more the result of hard luckthan of social injustice,? I would go further ? if you found yourself in theunplanned experiment in Paris that I was thrown into, only having the visualnarrative of the film to go on, youmight see the same account of a self-destructive loser with anger managementproblems. So, the scriptwriter, SUSUKITA Rokuhei (???????), failed to visualize, or BAND? Tsumasabur?rode roughshod over, the intention to portray class exploitation. Susukita wasa much-admired and prolific scriptwriter of this period and as Cl?ment RAUGER,of La Cin?math?que fran?aise, in the page in the book of the Paris programme, 100 ans de cin?majaponais, says, he wasoriented on the extreme left. So, the conceptual origin of the attack on classexploitation in Orochi may owe more to Marx than Matthew. It looks as ifSusukita hasn?t really been ?done?. I hope you can take away something from this, which is all I can offer. Roger On Tuesday, 12 July 2022 at 19:33:54 BST, Thomas Ball via KineJapan wrote: Buntar? Futagawa's 1925 film is a deserved classic of Japanese silent cinema. IMDB's thumbnail description of it states, "The story of a decent samurai who is widely considered a scum and a criminal. His bad luck and numerous misunderstandings drag him down the social ladder straight to the gutter." This Youtube version of the film https://www.youtube.com/watch?v=LC2mWJfd6vA&t=222s has wonderful Benshi narration to go along with the English subtitles. The voiceover intonations greatly clarify the latent meaning of the action. Even in translation, the subtitles are stark in their depiction of Orochi's predicament, "Fair or not, this is a world of classes. If you don't toe the line, they will crush you...There's nothing wrong with me. Even if I did what I was told not to do, it was a matter of honor...Is there no justice in this world?? It makes no sense at all...One day you'll know the real me." A biblical interpretaion of Orochi's sense of injustice would typify it as a manifestation of the "Matthew Effect", the Gospel parable summarizable as "the rich get richer, the poor get poorer." Related to the Matthew Effect is psychologist Edward Thorndike's 1920 paper about the halo effect, "the name given to the phenomenon whereby evaluators tend to be influenced by their previous judgments of performance or personality.? The halo effect, which has a counterfactual in the 'devil effect', is one of the few law-like regularities posited by the psychological sciences that has been replicated so often, many today aren't even aware of its origins in Thorndike's work. https://en.wikipedia.org/wiki/Halo_effect? More recent behavioral scientists might classify Orochi's predicament based on heuristics and biases such as anchoring, the bandwagon effect or confirmation bias. https://en.wikipedia.org/wiki/List_of_cognitive_biases? While a modern economist such as Thomas Piketty might describe it as a variant of wealth inequality. https://www.hup.harvard.edu/catalog.php?isbn=9780674273559 However, these are all Western descriptions of what is clearly a cross-cultural, trans-temporal constellation of human behaviors and phenomena. Is there an original Japanese concept analogous to, but predating these Western frameworks? _______________________________________________ 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 macyroger at yahoo.co.uk Wed Jul 27 04:23:10 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 27 Jul 2022 08:23:10 +0000 (UTC) Subject: [KineJapan] Senses of Cinema reports References: <173896682.3834065.1658910190060.ref@mail.yahoo.com> Message-ID: <173896682.3834065.1658910190060@mail.yahoo.com> Dear KineJapaners, May I be so bold as to flag up my review of Nippon Connection thisyear on Senses 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. Idescribed the costume chosen by Wada Emi in Aru send? hanashi as ?deepmagenta?.? That came from the one thing Iknew on that, which was the colour was named after the battle of Magenta, so Ithink of dried blood. But the colour charts have magenta as closer to purple. I?dbe happy for suggestions on that. Only those with at least two X-chromosomesneed respond ... Also out is my report on Cinema Ritrovato, which includes asection on the films of MISUMI Kenji. https://www.sensesofcinema.com/2022/festival-reports/the-22nd-nippon-connection-refuses-to-age/#fnref-44789-5 Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Wed Jul 27 04:53:35 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 27 Jul 2022 08:53:35 +0000 (UTC) Subject: [KineJapan] Senses of Cinema reports In-Reply-To: <173896682.3834065.1658910190060@mail.yahoo.com> References: <173896682.3834065.1658910190060.ref@mail.yahoo.com> <173896682.3834065.1658910190060@mail.yahoo.com> Message-ID: <874209902.3884380.1658912015769@mail.yahoo.com> 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 wrote: Dear KineJapaners, May I be so bold as to flag up my review of Nippon Connection thisyear on Senses 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. Idescribed the costume chosen by Wada Emi in Aru send? hanashi as ?deepmagenta?.? That came from the one thing Iknew on that, which was the colour was named after the battle of Magenta, so Ithink of dried blood. But the colour charts have magenta as closer to purple. I?dbe happy for suggestions on that. Only those with at least two X-chromosomesneed respond ... Also out is my report on Cinema Ritrovato, which includes asection on the films of MISUMI Kenji. The 22nd Nippon Connection Refuses to Age ? Senses of Cinema | | | | | | | | | | | The 22nd Nippon Connection Refuses to Age ? Senses of Cinema | | | Roger _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From desser at illinois.edu Wed Jul 27 10:18:41 2022 From: desser at illinois.edu (Desser, David M) Date: Wed, 27 Jul 2022 14:18:41 +0000 Subject: [KineJapan] Senses of Cinema reports In-Reply-To: <874209902.3884380.1658912015769@mail.yahoo.com> References: <173896682.3834065.1658910190060.ref@mail.yahoo.com> <173896682.3834065.1658910190060@mail.yahoo.com> <874209902.3884380.1658912015769@mail.yahoo.com> Message-ID: <513BA953-7092-4869-990A-473E4210B858@illinois.edu> Sorry, Roger. Link still doesn?t work. David Sent from my iPhone On Jul 27, 2022, at 4:53 AM, Roger Macy via KineJapan 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 wrote: Dear KineJapaners, May I be so bold as to flag up my review of Nippon Connection this year on Senses 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 in Aru 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 The 22nd Nippon Connection Refuses to Age ? Senses of Cinema Roger _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!5Kxv0wlov2tMwONoOOHpx5HUiLDkheAmZ3q5BpgiDnvcfzlWgzfqBqjL_rjjy168JyW9MhGTKgiqR0YH5yNGPcIy0fk$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Wed Jul 27 10:26:29 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 27 Jul 2022 14:26:29 +0000 (UTC) Subject: [KineJapan] Senses of Cinema reports In-Reply-To: <513BA953-7092-4869-990A-473E4210B858@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> Message-ID: <1370631227.4182315.1658931989427@mail.yahoo.com> 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 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 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 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 | | | | | | | | | | | The 22nd Nippon Connection Refuses to Age ? Senses of Cinema | | | Roger _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!5Kxv0wlov2tMwONoOOHpx5HUiLDkheAmZ3q5BpgiDnvcfzlWgzfqBqjL_rjjy168JyW9MhGTKgiqR0YH5yNGPcIy0fk$ _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From desser at illinois.edu Wed Jul 27 10:28:51 2022 From: desser at illinois.edu (Desser, David M) Date: Wed, 27 Jul 2022 14:28:51 +0000 Subject: [KineJapan] Senses of Cinema reports In-Reply-To: <1370631227.4182315.1658931989427@mail.yahoo.com> 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> Message-ID: <19D1C915-D5E0-4BF7-95ED-B1E244130136@illinois.edu> 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 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 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 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 wrote: Dear KineJapaners, May I be so bold as to flag up my review of Nippon Connection this year on Senses 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 in Aru 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 The 22nd Nippon Connection Refuses to Age ? Senses of Cinema Roger _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!5Kxv0wlov2tMwONoOOHpx5HUiLDkheAmZ3q5BpgiDnvcfzlWgzfqBqjL_rjjy168JyW9MhGTKgiqR0YH5yNGPcIy0fk$ _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://urldefense.com/v3/__https://mailman.yale.edu/mailman/listinfo/kinejapan__;!!DZ3fjg!_Kskv0GcHTwN7H4WYDDZ5oZzX78qw6PVA2RV-yLzPTOfIjHFyH7F8IEn4dvV_FubXOy51RDNiR9so1qhI_NMakMuCiY$ -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Wed Jul 27 20:07:25 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 28 Jul 2022 00:07:25 +0000 (UTC) Subject: [KineJapan] Tsuchimoto in London, September References: <858109172.1528227.1658966845554.ref@mail.yahoo.com> Message-ID: <858109172.1528227.1658966845554@mail.yahoo.com> Dear KineJapaners, The season on TSUCHIMOTO Noriaki in September in Londonhas been announced, as part of the Open City Documentary Festival https://opencitylondon.com/events/tsuchimoto-noriaki-film-is-a-work-of-living-beings/ The schedule includes several films I have not been able to watch before,and there is also a study day at Birkbeck on Friday 9th Septemberwhen some more screenings are promised. ISHIZAKI Kenji, of the Japan Institute of the Moving Image will take partin that and will introduce some of the films. He has also written a shortintroductory piece at the page linked above. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Wed Jul 27 20:29:18 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 28 Jul 2022 09:29:18 +0900 Subject: [KineJapan] Tsuchimoto in London, September In-Reply-To: <858109172.1528227.1658966845554@mail.yahoo.com> References: <858109172.1528227.1658966845554.ref@mail.yahoo.com> <858109172.1528227.1658966845554@mail.yahoo.com> Message-ID: Thanks Roger for introducing this. If things go well, I should be there in person to give a talk as well. Aaron Gerow > 7/28/22 ??9:07?Roger Macy via KineJapan ????: > > Dear KineJapaners, > > The season on TSUCHIMOTO Noriaki in September in London has been announced, as part of the Open City Documentary Festival https://opencitylondon.com/events/tsuchimoto-noriaki-film-is-a-work-of-living-beings/ > The schedule includes several films I have not been able to watch before, and there is also a study day at Birkbeck on Friday 9th September when some more screenings are promised. > > ISHIZAKI Kenji, of the Japan Institute of the Moving Image will take part in that and will introduce some of the films. He has also written a short introductory piece at the page linked above. > > Roger > > > _______________________________________________ > 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 Thu Jul 28 04:42:58 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Thu, 28 Jul 2022 17:42:58 +0900 Subject: [KineJapan] Iwanami Hall closing In-Reply-To: References: Message-ID: Dear all, Tomorrow, Friday 29th, is the last day for Iwanami Hall, I was hoping to be there, but the pandemic changed my plans... If someone from the list will be there, it would be nice to have a report of sorts. Here is a last message by the current manager, Iwanami Ritsuko: https://youtu.be/OChj-9ikmwI regards Matteo On Wed, 12 Jan 2022, 00:51 Gerow Aaron via KineJapan, < kinejapan at mailman.yale.edu> wrote: > Yes, this was not a closing that was foreseen beforehand. The Hall > actually did a significant internal renovation last year. > > Aaron > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: