From aaron.gerow at yale.edu Tue Mar 1 20:38:29 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 1 Mar 2022 20:38:29 -0500 Subject: [KineJapan] Bunka eiga kenkyu Message-ID: <94D7E2C3-E28D-4D16-B2D0-7CE1CC4C3D6F@yale.edu> I finally found some time to write up an introduction to the publication last fall of the third in my series of reprints of prewar Japanese film theory/criticism journals at Yumani Shobo. This time the journal was Bunka Eiga Kenkyu, one of the primary venues for discussing documentary--and film realism--in the late 1930s. Do get your library to order it if you can. http://aarongerow.com/news/bunka-eiga-kenkyu-prewar.html Many thanks to Sato Yo and Morita Noriko for penning commentaries for the reprint (I penned one myself). The Yumani page for this reprint is here: https://www.yumani.co.jp/np/isbn/9784843360934 Aaron Gerow A. Whitney Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Chair, East Asian Languages and Literatures Yale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Mar 3 12:13:32 2022 From: nornes at umich.edu (Markus Nornes) Date: Thu, 3 Mar 2022 09:13:32 -0800 Subject: [KineJapan] Earl on Hamaguchi Message-ID: Earl Jackson gives us a splendid reading of Drive My Car?s narrative complexities. His close textual analysis in part 2 of the essay is a powerful observation of what Hamaguchi is up to. Markus *?*Drive My Car?, in fact, obviates the question of convention and innovation because, like Hamaguchi?s previous works, the movie constitutes an act of concentration so committed to its process that even the distractions it admits become oracular, whether or not the oracle divulges its message- as we have seen in the communication workshop in *?*Happy Hour *?* (2015), Torii Baku?s (Masahiro Higashide ) late reappearance in ?Asako I and II? [???????] (2018) or in the scene in *?*Drive My Car *?* when Yusuke Kafuku (Hidetoshi Nishijima ) closes his laptop on the video close-up of a lamprey?s ravenous maw (Fig. 1). https://asianmoviepulse.com/2022/02/stage-whispers-reflections-on-theater-in-film-inspired-by-drive-my-car-part-1/ https://asianmoviepulse.com/2022/03/stage-whispers-reflections-on-theater-in-film-inspired-by-drive-my-car-part-2/ -- --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Thu Mar 3 16:28:14 2022 From: earljac at gmail.com (Earl Jackson) Date: Fri, 4 Mar 2022 05:28:14 +0800 Subject: [KineJapan] Earl on Hamaguchi In-Reply-To: References: Message-ID: Thank you so much, Markus I really appreciate this. 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 Fri, Mar 4, 2022 at 1:13 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Earl Jackson gives us a splendid reading of Drive My Car?s narrative > complexities. His close textual analysis in part 2 of the essay is a > powerful observation of what Hamaguchi is up to. > > Markus > > *?*Drive My Car?, in fact, obviates the question of convention and > innovation because, like Hamaguchi?s previous works, the movie constitutes > an act of concentration so committed to its process that even the > distractions it admits become oracular, whether or not the oracle divulges > its message- as we have seen in the communication workshop in *?*Happy > Hour *?* (2015), Torii > Baku?s (Masahiro Higashide > ) late reappearance > in ?Asako I and II? [???????] (2018) or in the scene in *?*Drive My Car > *?* when Yusuke Kafuku (Hidetoshi > Nishijima ) closes > his laptop on the video close-up of a lamprey?s ravenous maw (Fig. 1). > > > > https://asianmoviepulse.com/2022/02/stage-whispers-reflections-on-theater-in-film-inspired-by-drive-my-car-part-1/ > > > https://asianmoviepulse.com/2022/03/stage-whispers-reflections-on-theater-in-film-inspired-by-drive-my-car-part-2/ > > -- > --- > > *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* > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Fri Mar 4 10:17:22 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 4 Mar 2022 10:17:22 -0500 Subject: [KineJapan] Toho antitrust prosecution Message-ID: TOHO Cinemas is under investigation for violating antitrust laws for pressuring distributors to not distribute films at other theater chains. This scheme is probably not news to anyone who knows the Japanese film industry, but now prosecutors are interested in a practice wherein TOHO Cinemas, the exhibition arm of Toho, threatened distributors, saying that they should contract with or privilege TOHO Cinemas when distributing films, or else TOHO, which takes up a major portion of the exhibition market, would refuse to exhibit any of the distributors films. https://www.asahi.com/articles/ASQ346D7VQ34UTIL043.html 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 nornes at umich.edu Tue Mar 15 10:05:15 2022 From: nornes at umich.edu (Markus Nornes) Date: Tue, 15 Mar 2022 10:05:15 -0400 Subject: [KineJapan] So I wrote a book review... Message-ID: Hello all, I wrote a book review. I jotted down my thoughts about the recent slew of handbooks on Japanese cinema. I couldn't help thinking about my first encounter with Japanese cinema scholarship, so it begins... Thirty-five years ago I was browsing through the stacks of a used bookstore > in Boulder, Colorado, when I stumbled on a cache of Japanese cinema books. > Having just discovered Mizoguchi and Kurosawa, I impulsively bought the > lot. In an instant, I had acquired most of the English-language literature > on this national cinema that had been published over various years, which > now sit at the corner of a shelf in my office. Today I am amazed by the > fact that a slew of newly released Japanese cinema anthologies take up > roughly the same amount of space....That they all arrive more or less at > once suggests they are symptomatic of an important moment?of an inflection > point, a bottleneck, or even a crisis. If you want to read more, head to your library. If your library doesn't have FQ, drop me a line off stage and I'll help. I must apologize to Daisuke, Julian and Nikki. I initially pitched a review that would include the Oxford handbook and the Routledge 4-volume set retrospective of the field. However, FQ wouldn't let me because they were "too old." I hope everyone reads them all. There are some 111 essays between all these new handbooks. It's rather astounding that there's basically no overlapping or redundancies. Japanese cinema presents that rich a topic, and you folks are just so impressive. Markus =================================== The Japanese Cinema Book , edited by Hideaki Fujiki and Alastair Phillips Routledge Handbook of Japanese Cinema , edited by Joanne Bernardi and Shota T. Ogawa A Companion to Japanese Cinema , edited by David Desser Markus Nornes BOOK DATA Hideaki Fujiki and Alastair Phillips, eds., The Japanese Cinema Book. London: Bloomsbury/BFI, 2020. $121.50 cloth, $44.95 paper, $40.45 e-book. 624 pages. Joanne Bernardi and Shota T. Ogawa, eds., Routledge Handbook of Japanese Cinema. New York: Routledge, 2020. $250 cloth. 382 pages. David Desser, ed., A Companion to Japanese Cinema. Hoboken, NJ: Wiley Blackwell, 2022. $185 cloth. 736 pages. Film Quarterly (2022) 75 (3): 89?92. https://doi.org/10.1525/fq.2022.75.3.89 --- *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* -------------- next part -------------- An HTML attachment was scrubbed... URL: From dmiyao at ucsd.edu Tue Mar 15 12:41:18 2022 From: dmiyao at ucsd.edu (Miyao, Daisuke) Date: Tue, 15 Mar 2022 16:41:18 +0000 Subject: [KineJapan] So I wrote a book review... In-Reply-To: References: Message-ID: Dear Markus, Thank you for sharing your book review with us. No need to apologize! I am also thrilled to see these new volumes! Best, Daisuke Daisuke Miyao Professor and Hajime Mori Chair in Japanese Language and Literature Director of Film Studies University of California, San Diego ________________________________ From: KineJapan on behalf of Markus Nornes via KineJapan Sent: Tuesday, March 15, 2022 7:05 AM To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: [KineJapan] So I wrote a book review... Hello all, I wrote a book review. I jotted down my thoughts about the recent slew of handbooks on Japanese cinema. I couldn't help thinking about my first encounter with Japanese cinema scholarship, so it begins... Thirty-five years ago I was browsing through the stacks of a used bookstore in Boulder, Colorado, when I stumbled on a cache of Japanese cinema books. Having just discovered Mizoguchi and Kurosawa, I impulsively bought the lot. In an instant, I had acquired most of the English-language literature on this national cinema that had been published over various years, which now sit at the corner of a shelf in my office. Today I am amazed by the fact that a slew of newly released Japanese cinema anthologies take up roughly the same amount of space....That they all arrive more or less at once suggests they are symptomatic of an important moment?of an inflection point, a bottleneck, or even a crisis. If you want to read more, head to your library. If your library doesn't have FQ, drop me a line off stage and I'll help. I must apologize to Daisuke, Julian and Nikki. I initially pitched a review that would include the Oxford handbook and the Routledge 4-volume set retrospective of the field. However, FQ wouldn't let me because they were "too old." I hope everyone reads them all. There are some 111 essays between all these new handbooks. It's rather astounding that there's basically no overlapping or redundancies. Japanese cinema presents that rich a topic, and you folks are just so impressive. Markus =================================== The Japanese Cinema Book , edited by Hideaki Fujiki and Alastair Phillips Routledge Handbook of Japanese Cinema , edited by Joanne Bernardi and Shota T. Ogawa A Companion to Japanese Cinema , edited by David Desser Markus Nornes BOOK DATA Hideaki Fujiki and Alastair Phillips, eds., The Japanese Cinema Book. London: Bloomsbury/BFI, 2020. $121.50 cloth, $44.95 paper, $40.45 e-book. 624 pages. Joanne Bernardi and Shota T. Ogawa, eds., Routledge Handbook of Japanese Cinema. New York: Routledge, 2020. $250 cloth. 382 pages. David Desser, ed., A Companion to Japanese Cinema. Hoboken, NJ: Wiley Blackwell, 2022. $185 cloth. 736 pages. Film Quarterly (2022) 75 (3): 89?92. https://doi.org/10.1525/fq.2022.75.3.89 --- [https://docs.google.com/uc?export=download&id=1YYQZdrswh1HD_xCKXSzMs3lLalKxLVgs&revid=0By9QGX7UmiKRSEdLZ0xoVDNEM2xLclB3R0pDbk93ek8yeEtVPQ] Markus Nornes Professor of Asian Cinema Interim Chair, Dept. of Asian Languages and Culture Department of Film, Television and Media, Department of Asian Languages and Cultures, Penny Stamps School of Art & Design Homepage: http://www-personal.umich.edu/~nornes/ Department of Film, Television and Media 6348 North Quad 105 S. State Street Ann Arbor, MI 48109-1285 -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Wed Mar 16 05:45:01 2022 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Wed, 16 Mar 2022 11:45:01 +0200 Subject: [KineJapan] Drive My Car In-Reply-To: References: <598934507.7271140.1643740449203@mail.yahoo.com> Message-ID: Hi! I saw it for the 2nd time yesterday - this time on big screen for a press screening in Helsinki. I wonder what you make of the last scene happening in Korea? Or was there some Korean funding involved, which demanded some location shooting in South Korea? Eia ke 2. helmik. 2022 klo 4.20 Goddard, Timothy via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > For those of you who were interested in tonight?s webinar but were unable > to attend, an edited recording will be available here: > > > > https://www.japanhousela.com/happenings/events/ > > > > ?Tug > > > > ? > > Dr. Timothy Unverzagt Goddard ??? > > Lecturer, Department of East Asian Languages and Literatures > > Yale University > > 320 York Street, Room 112 > > New Haven, CT 06511 > > https://eall.yale.edu/people/timothy-unverzagt-goddard > > > > > > *From: *KineJapan on behalf of > Miryam Sas via KineJapan > *Date: *Tuesday, February 1, 2022 at 4:04 PM > *To: *Japanese Cinema Discussion Forum > *Cc: *Miryam Sas > *Subject: *Re: [KineJapan] Drive My Car > > It looks like the series of talks is being recorded--at least from what I > can gather from the recordings of the previous symposia in the series. > > > > On Tue, Feb 1, 2022 at 10:37 AM Roger Macy via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > I agree that the audition scenes are striking, particularly that of the > signing mute character, but my memory is that Hamaguchi allowed himself > some medium close-ups there. I?m pretty sure I would have walked out of > the (diegetically) ?real? theatre performance if confronted with an > enormous screen for the surtitles with two very small actors at the bottom > of it, who weren?t ?speaking? a common language. > > 5 pm PST is pretty late in old Europe but I?d be interested whether > Hamaguchi felt a detachment, or commitment, to that style of theatre > direction. > > Roger > > > > > > On Tuesday, 1 February 2022, 17:28:25 GMT, Goddard, Timothy via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > > > > Dear Marcus, > > > > Glad to hear that you liked the film so much. I saw it at Lincoln Center > in New York back in early December, and it had a similar effect on me. > > > > Hamaguchi will be participating in a webinar organized by Japan House Los > Angeles this evening that might be of interest to you and other KineJapan > members: > > > > https://www.japanhousela.com/events/ma-in-japanese-film/ > > > > > He?ll be joined in conversation by Hitoshi Abe of UCLA and Ken Tadashi > Oshima of UW. > > > > ?Tug > > > > ? > > Dr. Timothy Unverzagt Goddard ??? > > Lecturer, Department of East Asian Languages and Literatures > > Yale University > > 320 York Street, Room 112 > > New Haven, CT 06511 > > https://eall.yale.edu/people/timothy-unverzagt-goddard > > > > *From: *KineJapan on behalf of > Markus Nornes via KineJapan > *Date: *Tuesday, February 1, 2022 at 12:11 PM > *To: *Japanese Cinema Discussion Forum > *Cc: *Markus Nornes > *Subject: *[KineJapan] Drive My Car > > I finally saw Drive My Car the other day. It's one of those films that > dwells inside you long afterwards. Loved it. > > > > The rhythm and pace of the film is really special. Actors deliver lines in > a slightly flat tone and regular cadence. They break into "acting" when > they audition, in advanced rehearsal or on stage, which is probably what > makes those scenes so striking. I have to admit I hate films-about-theater, > and one reason is the style of performance comes off as so stilted and > wrong (have yet to see Hamaguchi's Intimacies, but I'd probably dislike > it). But this was one film-about-theater that quite mysteriously _worked_. > > > > Hamaguchi builds a curious self-reflexivity into *Drive My Car.* The > weird style of rehearsal built into the narrative was also what he > subjected his actors to in preproduction. And, judging from comments by a > couple of them, they really didn't know what to make of it (the actors are > disciplined if they deliver lines with any degree of emoting). > > > > There is a key line delivered by a mute character to the theater director > that goes something like, "Unlike the others, I always have to struggle > with words and communicating meaning, so I understand how what matters is > not always in the words. I understand what you are doing." This is > definitely what's going on in this film; at the same time, I couldn't help > noticing the climax is ultimately...wordy. > > > > So this got me wondering. *Drive My Car* would seem to embody the legacy > of what Aaron called the "detached style" of 90s/turn of the century > Japanese film?films like *Eureka,* another quiet film about trauma, > memory, and healing. I won't rehearse Aaron's argument here (if you haven't > encountered it, here is a nice gloss > ) > But I suspect Aaron has something to say about this? > > > > I'm very curious about how other people are experiencing this film. > > > > Fun Fact: I drove that very car back in the late 80s, and sold it to none > other than Darrell Davis. > > > > 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* > > > > _______________________________________________ > 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 > > > > > -- > > *Miryam Sas* > Professor, Comparative Literature, Film & Media, Japanese Arts > > University of California, Berkeley > > > > *Feeling Media: Potentiality and the Afterlife of Art *(Duke University > Press, forthcoming Fall 2022 ) > > > > > > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Wed Mar 16 05:52:04 2022 From: earljac at gmail.com (Earl Jackson) Date: Wed, 16 Mar 2022 17:52:04 +0800 Subject: [KineJapan] Drive My Car In-Reply-To: References: <598934507.7271140.1643740449203@mail.yahoo.com> Message-ID: I suspect the interior of the supermarket was one in shinokubo. They did change the license plate to a Korean one so the intention is to set the scene in Korea for sure. 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 Wed, Mar 16, 2022 at 5:45 PM Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi! > I saw it for the 2nd time yesterday - this time on big screen for a press > screening in Helsinki. I wonder what you make of the last scene happening > in Korea? Or was there some Korean funding involved, which demanded some > location shooting in South Korea? > Eia > > ke 2. helmik. 2022 klo 4.20 Goddard, Timothy via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > >> For those of you who were interested in tonight?s webinar but were unable >> to attend, an edited recording will be available here: >> >> >> >> https://www.japanhousela.com/happenings/events/ >> >> >> >> ?Tug >> >> >> >> ? >> >> Dr. Timothy Unverzagt Goddard ??? >> >> Lecturer, Department of East Asian Languages and Literatures >> >> Yale University >> >> 320 York Street, Room 112 >> >> New Haven, CT 06511 >> >> https://eall.yale.edu/people/timothy-unverzagt-goddard >> >> >> >> >> >> *From: *KineJapan on behalf of >> Miryam Sas via KineJapan >> *Date: *Tuesday, February 1, 2022 at 4:04 PM >> *To: *Japanese Cinema Discussion Forum >> *Cc: *Miryam Sas >> *Subject: *Re: [KineJapan] Drive My Car >> >> It looks like the series of talks is being recorded--at least from what I >> can gather from the recordings of the previous symposia in the series. >> >> >> >> On Tue, Feb 1, 2022 at 10:37 AM Roger Macy via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >> I agree that the audition scenes are striking, particularly that of the >> signing mute character, but my memory is that Hamaguchi allowed himself >> some medium close-ups there. I?m pretty sure I would have walked out of >> the (diegetically) ?real? theatre performance if confronted with an >> enormous screen for the surtitles with two very small actors at the bottom >> of it, who weren?t ?speaking? a common language. >> >> 5 pm PST is pretty late in old Europe but I?d be interested whether >> Hamaguchi felt a detachment, or commitment, to that style of theatre >> direction. >> >> Roger >> >> >> >> >> >> On Tuesday, 1 February 2022, 17:28:25 GMT, Goddard, Timothy via KineJapan >> wrote: >> >> >> >> >> >> Dear Marcus, >> >> >> >> Glad to hear that you liked the film so much. I saw it at Lincoln Center >> in New York back in early December, and it had a similar effect on me. >> >> >> >> Hamaguchi will be participating in a webinar organized by Japan House Los >> Angeles this evening that might be of interest to you and other KineJapan >> members: >> >> >> >> https://www.japanhousela.com/events/ma-in-japanese-film/ >> >> >> >> >> He?ll be joined in conversation by Hitoshi Abe of UCLA and Ken Tadashi >> Oshima of UW. >> >> >> >> ?Tug >> >> >> >> ? >> >> Dr. Timothy Unverzagt Goddard ??? >> >> Lecturer, Department of East Asian Languages and Literatures >> >> Yale University >> >> 320 York Street, Room 112 >> >> New Haven, CT 06511 >> >> https://eall.yale.edu/people/timothy-unverzagt-goddard >> >> >> >> *From: *KineJapan on behalf of >> Markus Nornes via KineJapan >> *Date: *Tuesday, February 1, 2022 at 12:11 PM >> *To: *Japanese Cinema Discussion Forum >> *Cc: *Markus Nornes >> *Subject: *[KineJapan] Drive My Car >> >> I finally saw Drive My Car the other day. It's one of those films that >> dwells inside you long afterwards. Loved it. >> >> >> >> The rhythm and pace of the film is really special. Actors deliver lines >> in a slightly flat tone and regular cadence. They break into "acting" when >> they audition, in advanced rehearsal or on stage, which is probably what >> makes those scenes so striking. I have to admit I hate films-about-theater, >> and one reason is the style of performance comes off as so stilted and >> wrong (have yet to see Hamaguchi's Intimacies, but I'd probably dislike >> it). But this was one film-about-theater that quite mysteriously _worked_. >> >> >> >> Hamaguchi builds a curious self-reflexivity into *Drive My Car.* The >> weird style of rehearsal built into the narrative was also what he >> subjected his actors to in preproduction. And, judging from comments by a >> couple of them, they really didn't know what to make of it (the actors are >> disciplined if they deliver lines with any degree of emoting). >> >> >> >> There is a key line delivered by a mute character to the theater director >> that goes something like, "Unlike the others, I always have to struggle >> with words and communicating meaning, so I understand how what matters is >> not always in the words. I understand what you are doing." This is >> definitely what's going on in this film; at the same time, I couldn't help >> noticing the climax is ultimately...wordy. >> >> >> >> So this got me wondering. *Drive My Car* would seem to embody the legacy >> of what Aaron called the "detached style" of 90s/turn of the century >> Japanese film?films like *Eureka,* another quiet film about trauma, >> memory, and healing. I won't rehearse Aaron's argument here (if you haven't >> encountered it, here is a nice gloss >> ) >> But I suspect Aaron has something to say about this? >> >> >> >> I'm very curious about how other people are experiencing this film. >> >> >> >> Fun Fact: I drove that very car back in the late 80s, and sold it to none >> other than Darrell Davis. >> >> >> >> 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* >> >> >> >> _______________________________________________ >> 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 >> >> >> >> >> -- >> >> *Miryam Sas* >> Professor, Comparative Literature, Film & Media, Japanese Arts >> >> University of California, Berkeley >> >> >> >> *Feeling Media: Potentiality and the Afterlife of Art *(Duke University >> Press, forthcoming Fall 2022 ) >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > Eija Niskanen > Programming director > Helsinki Cine Aasia, March 12.-15.2020 > www.helsinkicineaasia.fi > +358-50-355 3189 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From keungyoonbae at gmail.com Wed Mar 16 07:44:05 2022 From: keungyoonbae at gmail.com (Keung Yoon "Becky" Bae) Date: Wed, 16 Mar 2022 07:44:05 -0400 Subject: [KineJapan] Drive My Car In-Reply-To: References: <598934507.7271140.1643740449203@mail.yahoo.com> Message-ID: I?ve read in interviews that Hamaguchi Ryusuke originally intended to shoot the entire film in Busan, with some Korean staff and actors, but the plans went awry because of a COVID spike. The interview mentioned he had been interested in a collaboration since his school, Tokyo Geidai and the Korean Academy of Film had had some coproductions. On Wed, Mar 16, 2022 at 05:45 Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi! > I saw it for the 2nd time yesterday - this time on big screen for a press > screening in Helsinki. I wonder what you make of the last scene happening > in Korea? Or was there some Korean funding involved, which demanded some > location shooting in South Korea? > Eia > > ke 2. helmik. 2022 klo 4.20 Goddard, Timothy via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > >> For those of you who were interested in tonight?s webinar but were unable >> to attend, an edited recording will be available here: >> >> >> >> https://www.japanhousela.com/happenings/events/ >> >> >> >> ?Tug >> >> >> >> ? >> >> Dr. Timothy Unverzagt Goddard ??? >> >> Lecturer, Department of East Asian Languages and Literatures >> >> Yale University >> >> 320 York Street, Room 112 >> >> >> >> >> New Haven, CT 06511 >> >> >> https://eall.yale.edu/people/timothy-unverzagt-goddard >> >> >> >> >> >> *From: *KineJapan on behalf of >> Miryam Sas via KineJapan >> *Date: *Tuesday, February 1, 2022 at 4:04 PM >> *To: *Japanese Cinema Discussion Forum >> *Cc: *Miryam Sas >> *Subject: *Re: [KineJapan] Drive My Car >> >> It looks like the series of talks is being recorded--at least from what I >> can gather from the recordings of the previous symposia in the series. >> >> >> >> On Tue, Feb 1, 2022 at 10:37 AM Roger Macy via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >> I agree that the audition scenes are striking, particularly that of the >> signing mute character, but my memory is that Hamaguchi allowed himself >> some medium close-ups there. I?m pretty sure I would have walked out of >> the (diegetically) ?real? theatre performance if confronted with an >> enormous screen for the surtitles with two very small actors at the bottom >> of it, who weren?t ?speaking? a common language. >> >> 5 pm PST is pretty late in old Europe but I?d be interested whether >> Hamaguchi felt a detachment, or commitment, to that style of theatre >> direction. >> >> Roger >> >> >> >> >> >> On Tuesday, 1 February 2022, 17:28:25 GMT, Goddard, Timothy via KineJapan >> wrote: >> >> >> >> >> >> Dear Marcus, >> >> >> >> Glad to hear that you liked the film so much. I saw it at Lincoln Center >> in New York back in early December, and it had a similar effect on me. >> >> >> >> Hamaguchi will be participating in a webinar organized by Japan House Los >> Angeles this evening that might be of interest to you and other KineJapan >> members: >> >> >> >> https://www.japanhousela.com/events/ma-in-japanese-film/ >> >> >> >> >> He?ll be joined in conversation by Hitoshi Abe of UCLA and Ken Tadashi >> Oshima of UW. >> >> >> >> ?Tug >> >> >> >> ? >> >> Dr. Timothy Unverzagt Goddard ??? >> >> Lecturer, Department of East Asian Languages and Literatures >> >> Yale University >> >> 320 York Street, Room 112 >> >> >> >> >> New Haven, CT 06511 >> >> >> https://eall.yale.edu/people/timothy-unverzagt-goddard >> >> >> >> *From: *KineJapan on behalf of >> Markus Nornes via KineJapan >> *Date: *Tuesday, February 1, 2022 at 12:11 PM >> *To: *Japanese Cinema Discussion Forum >> *Cc: *Markus Nornes >> *Subject: *[KineJapan] Drive My Car >> >> I finally saw Drive My Car the other day. It's one of those films that >> dwells inside you long afterwards. Loved it. >> >> >> >> The rhythm and pace of the film is really special. Actors deliver lines >> in a slightly flat tone and regular cadence. They break into "acting" when >> they audition, in advanced rehearsal or on stage, which is probably what >> makes those scenes so striking. I have to admit I hate films-about-theater, >> and one reason is the style of performance comes off as so stilted and >> wrong (have yet to see Hamaguchi's Intimacies, but I'd probably dislike >> it). But this was one film-about-theater that quite mysteriously _worked_. >> >> >> >> Hamaguchi builds a curious self-reflexivity into *Drive My Car.* The >> weird style of rehearsal built into the narrative was also what he >> subjected his actors to in preproduction. And, judging from comments by a >> couple of them, they really didn't know what to make of it (the actors are >> disciplined if they deliver lines with any degree of emoting). >> >> >> >> There is a key line delivered by a mute character to the theater director >> that goes something like, "Unlike the others, I always have to struggle >> with words and communicating meaning, so I understand how what matters is >> not always in the words. I understand what you are doing." This is >> definitely what's going on in this film; at the same time, I couldn't help >> noticing the climax is ultimately...wordy. >> >> >> >> So this got me wondering. *Drive My Car* would seem to embody the legacy >> of what Aaron called the "detached style" of 90s/turn of the century >> Japanese film?films like *Eureka,* another quiet film about trauma, >> memory, and healing. I won't rehearse Aaron's argument here (if you haven't >> encountered it, here is a nice gloss >> ) >> But I suspect Aaron has something to say about this? >> >> >> >> I'm very curious about how other people are experiencing this film. >> >> >> >> Fun Fact: I drove that very car back in the late 80s, and sold it to none >> other than Darrell Davis. >> >> >> >> 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 >> * >> >> >> >> _______________________________________________ >> 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 >> >> >> >> >> -- >> >> *Miryam Sas* >> Professor, Comparative Literature, Film & Media, Japanese Arts >> >> University of California, Berkeley >> >> >> >> *Feeling Media: Potentiality and the Afterlife of Art *(Duke University >> Press, forthcoming Fall 2022 ) >> >> >> >> >> >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan > > >> > > -- > Eija Niskanen > Programming director > Helsinki Cine Aasia, March 12.-15.2020 > www.helsinkicineaasia.fi > +358-50-355 3189 > > _______________________________________________ > 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 Mar 16 08:12:36 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Wed, 16 Mar 2022 12:12:36 +0000 (UTC) Subject: [KineJapan] Drive My Car In-Reply-To: References: <598934507.7271140.1643740449203@mail.yahoo.com> Message-ID: <455428259.955465.1647432756795@mail.yahoo.com> I heard that the film was originally to be set in Korea but that Covid put an end to that plan. So the coda seems to be a nod to that.Roger On Wednesday, 16 March 2022, 09:52:28 GMT, Earl Jackson via KineJapan wrote: I suspect the interior of the supermarket was one in shinokubo. They did change the license plate to a Korean one so the intention is to set the scene in Korea for sure. Earl JacksonChair ProfessorForeign Languages and LiteraturesAsia UniversityProfessor EmeritusNational Chiao Tung UniversityAssociate Professor EmeritusUniversity of California, Santa Cruz On Wed, Mar 16, 2022 at 5:45 PM Eija Niskanen via KineJapan wrote: Hi!I saw it for the 2nd time yesterday? - this time on big screen for a press screening in Helsinki. I wonder what you make of the last scene happening in Korea? Or was there some Korean funding involved, which demanded some location shooting in South Korea?Eia ke 2. helmik. 2022 klo 4.20 Goddard, Timothy via KineJapan (kinejapan at mailman.yale.edu) kirjoitti: For those of you who were interested in tonight?s webinar but were unable to attend, an edited recording will be available here: ? https://www.japanhousela.com/happenings/events/ ? ?Tug ? ?? Dr. Timothy Unverzagt Goddard???? Lecturer, Department of East Asian Languages and Literatures Yale University 320 York Street, Room 112 New Haven, CT 06511 https://eall.yale.edu/people/timothy-unverzagt-goddard ? ? From:KineJapan on behalf of Miryam Sas via KineJapan Date: Tuesday, February 1, 2022 at 4:04 PM To: Japanese Cinema Discussion Forum Cc: Miryam Sas Subject: Re: [KineJapan] Drive My Car It looks like the series of talks is being recorded--at least from what I can gather from the recordings of the previous symposia in the series. ? On Tue, Feb 1, 2022 at 10:37 AM Roger Macy via KineJapan wrote: I agree that the audition scenes are striking, particularly that of the signing mute character, but my memory is that Hamaguchi allowed himself some medium close-ups there.? I?m pretty sure I would have walked out of the (diegetically) ?real? theatre performance if confronted with an enormous screen for the surtitles with two very small actors at the bottom of it, who weren?t ?speaking? a common language. 5 pm PST is pretty late in old Europe but I?d be interested whether Hamaguchi felt a detachment, or commitment, to that style of theatre direction. Roger ? ? On Tuesday, 1 February 2022, 17:28:25 GMT, Goddard, Timothy via KineJapan wrote: ? ? Dear Marcus, ? Glad to hear that you liked the film so much. I saw it at Lincoln Center in New York back in early December, and it had a similar effect on me. ? Hamaguchi will be participating in a webinar organized by Japan House Los Angeles this evening that might be of interest to you and other KineJapan members: ? https://www.japanhousela.com/events/ma-in-japanese-film/ ? He?ll be joined in conversation by Hitoshi Abe of UCLA and Ken Tadashi Oshima of UW. ? ?Tug ? ? Dr. Timothy Unverzagt Goddard??? Lecturer, Department of East Asian Languages and Literatures Yale University 320 York Street, Room 112 New Haven, CT 06511 https://eall.yale.edu/people/timothy-unverzagt-goddard ? From:KineJapan on behalf of Markus Nornes via KineJapan Date: Tuesday, February 1, 2022 at 12:11 PM To: Japanese Cinema Discussion Forum Cc: Markus Nornes Subject: [KineJapan] Drive My Car I finally saw Drive My Car the other day. It's one of those films that dwells inside you long afterwards. Loved it. ? The rhythm and pace of the film is really special. Actors deliver lines in a slightly flat tone and regular cadence. They break into "acting" when they audition, in advanced rehearsal or on stage, which is probably what makes those scenes so striking. I have to admit I hate films-about-theater, and one reason is the style of performance comes off as so stilted and wrong (have yet to see Hamaguchi's?Intimacies, but I'd probably dislike it). But this was one film-about-theater that quite mysteriously _worked_.? ? Hamaguchi builds?a curious self-reflexivity intoDrive My Car.?The weird style of rehearsal built into the narrative was also what he subjected his actors to in preproduction. And, judging from comments by a couple of them, they really didn't know what to make of it (the actors are disciplined if they deliver lines with any degree of emoting).? ? There is a key line delivered by a mute character to the theater director that goes something like, "Unlike the others, I always have to struggle with words and communicating meaning, so I understand how what matters is not always in the words. I understand what you are doing." This is definitely what's going on in this film; at the same time, I couldn't help noticing the climax is ultimately...wordy.? ? So this got me wondering.Drive My Car?would seem to embody the legacy of what Aaron called the "detached style" of 90s/turn of the century Japanese film?films likeEureka,?another quiet film about trauma, memory, and healing. I won't rehearse Aaron's argument here (if you haven't encountered it,here is a nice gloss) ? But I suspect Aaron has something to say about this?? ? I'm very curious about how other people are experiencing this film.? ? Fun Fact: I drove that very car back in the late 80s, and sold it to none other than Darrell Davis.? ? 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 ? _______________________________________________ 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 ? -- Miryam Sas Professor, Comparative Literature, Film & Media, Japanese Arts University of California, Berkeley ? Feeling Media: Potentiality and the Afterlife of Art(Duke University Press, forthcoming?Fall 2022?) ? ? ? ? _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -- Eija NiskanenProgramming directorHelsinki Cine Aasia, March 12.-15.2020www.helsinkicineaasia.fi +358-50-355 3189 _______________________________________________ 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 seanoreilly at aiu.ac.jp Wed Mar 16 11:07:55 2022 From: seanoreilly at aiu.ac.jp (Sean O'REILLY) Date: Wed, 16 Mar 2022 11:07:55 -0400 Subject: [KineJapan] Call for contributors to a new volume on 1930s Japanese Cinema Message-ID: Hello everyone, In light of the just-released, and quite intriguing, review by Markus of the recent slew of Handbooks of Japanese Cinema, mentioned a few issues ago in the digest, it's with some trepidation that I make this announcement, but I'm currently gathering contributors for--you guessed it--a handbook on the topic of Japanese cinema. This handbook is focused relatively narrowly, on the single decade of the 1930s. While this topic will doubtless immediately call to mind the 2020 AUP book edited by Michael Raine and Johan Nordstrom, which I and I think many of us read with great interest and enthusiasm, I am optimistic that the strict chronological focus on the 1930s and the relatively large number of contributors/voices I am seeking (around 20) may serve to give the new volume its own unique identity. Anyone with an interesting idea or angle on 1930s cinema (broadly defined) in Japan (also potentially broadly defined!) is welcome to contact me and begin discussing the possibility of contributing, up to and including the scholars who worked on the AUP book if they have any interest in taking up a relatively similar topic once more. I'm happy and grateful indeed to report that some of the people in this community have already graciously committed to contributing a chapter to this upcoming volume, as have a few Japanese scholars who may not necessarily be reading these English-language digests but are nonetheless very much part of our community. That said, there is still space in the volume for several more contributions, which is why I am reaching out today. In the volume, I am aiming for relatively short contributions of about 8000 words each (though this is negotiable), with rough drafts of chapters due by the very end of 2022 (also potentially negotiable to some extent), with 2023 given over to peer review and revision, and a firm (i.e., signed) commitment by the publisher to release the volume in March 2024. I would be more than happy to discuss any and all other details with prospective contributors either by email or via Zoom (or equivalent). Please reach out to me at seanoreilly at aiu.ac.jp at any time, and I will gladly share with you the formal call for contributors with all the relevant dates and so forth. It is a very exciting time to be involved in researching Japanese cinema, I must say, and I am both honored and proud to be a member of Kinema Club! Thanks very much for your time. Best, Sean (O'Reilly) -------------- next part -------------- An HTML attachment was scrubbed... URL: From mekerpan2 at gmail.com Wed Mar 16 13:07:40 2022 From: mekerpan2 at gmail.com (Michael Kerpan) Date: Wed, 16 Mar 2022 13:07:40 -0400 Subject: [KineJapan] Call for contributors to a new volume on 1930s Japanese Cinema In-Reply-To: References: Message-ID: Sean -- Best wishes on this project -- as I might just love the 1930s cinema of Japan most of all. Three of my (only) four semi-important mini-essays (from long ago now) dealt with films of this period. I wish I could contribute -- but I am not a professional and am "out of the loop". My dream project (which I will never actually do, at this point) would have been "Ozu After Dark". ;-) But there is so much that is wonderful in that era -- not just Ozu and Naruse and Shimizu -- but Yamanaka and Shimazu and Uchida and Gosho. I want to see more (but I probably never will see more than what I have seen) and read more (on which I will count on your book). Michael Kerpan Boston, MA On Wed, Mar 16, 2022 at 11:08 AM Sean O'REILLY via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hello everyone, > > In light of the just-released, and quite intriguing, review by Markus of > the recent slew of Handbooks of Japanese Cinema, mentioned a few issues ago > in the digest, it's with some trepidation that I make this announcement, > but I'm currently gathering contributors for--you guessed it--a handbook on > the topic of Japanese cinema. This handbook is focused relatively > narrowly, on the single decade of the 1930s. > > While this topic will doubtless immediately call to mind the 2020 AUP book > edited by Michael Raine and Johan Nordstrom, which I and I think many of us > read with great interest and enthusiasm, I am optimistic that the strict > chronological focus on the 1930s and the relatively large number of > contributors/voices I am seeking (around 20) may serve to give the new > volume its own unique identity. Anyone with an interesting idea or angle on > 1930s cinema (broadly defined) in Japan (also potentially broadly defined!) > is welcome to contact me and begin discussing the possibility of > contributing, up to and including the scholars who worked on the AUP book > if they have any interest in taking up a relatively similar topic once more. > > I'm happy and grateful indeed to report that some of the people in this > community have already graciously committed to contributing a chapter to > this upcoming volume, as have a few Japanese scholars who may not > necessarily be reading these English-language digests but are nonetheless > very much part of our community. That said, there is still space in the > volume for several more contributions, which is why I am reaching out today. > > In the volume, I am aiming for relatively short contributions of about > 8000 words each (though this is negotiable), with rough drafts of chapters > due by the very end of 2022 (also potentially negotiable to some extent), > with 2023 given over to peer review and revision, and a firm (i.e., signed) > commitment by the publisher to release the volume in March 2024. I would be > more than happy to discuss any and all other details with prospective > contributors either by email or via Zoom (or equivalent). Please reach out > to me at seanoreilly at aiu.ac.jp at any time, and I will gladly share with > you the formal call for contributors with all the relevant dates and so > forth. > > It is a very exciting time to be involved in researching Japanese cinema, > I must say, and I am both honored and proud to be a member of Kinema Club! > Thanks very much for your time. > > Best, > Sean (O'Reilly) > _______________________________________________ > 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 Wed Mar 16 16:46:02 2022 From: earljac at gmail.com (Earl Jackson) Date: Thu, 17 Mar 2022 04:46:02 +0800 Subject: [KineJapan] Call for contributors to a new volume on 1930s Japanese Cinema In-Reply-To: References: Message-ID: thank you, Sean for the heads-up. It sounds like a great project. 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 Wed, Mar 16, 2022 at 11:08 PM Sean O'REILLY via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hello everyone, > > In light of the just-released, and quite intriguing, review by Markus of > the recent slew of Handbooks of Japanese Cinema, mentioned a few issues ago > in the digest, it's with some trepidation that I make this announcement, > but I'm currently gathering contributors for--you guessed it--a handbook on > the topic of Japanese cinema. This handbook is focused relatively > narrowly, on the single decade of the 1930s. > > While this topic will doubtless immediately call to mind the 2020 AUP book > edited by Michael Raine and Johan Nordstrom, which I and I think many of us > read with great interest and enthusiasm, I am optimistic that the strict > chronological focus on the 1930s and the relatively large number of > contributors/voices I am seeking (around 20) may serve to give the new > volume its own unique identity. Anyone with an interesting idea or angle on > 1930s cinema (broadly defined) in Japan (also potentially broadly defined!) > is welcome to contact me and begin discussing the possibility of > contributing, up to and including the scholars who worked on the AUP book > if they have any interest in taking up a relatively similar topic once more. > > I'm happy and grateful indeed to report that some of the people in this > community have already graciously committed to contributing a chapter to > this upcoming volume, as have a few Japanese scholars who may not > necessarily be reading these English-language digests but are nonetheless > very much part of our community. That said, there is still space in the > volume for several more contributions, which is why I am reaching out today. > > In the volume, I am aiming for relatively short contributions of about > 8000 words each (though this is negotiable), with rough drafts of chapters > due by the very end of 2022 (also potentially negotiable to some extent), > with 2023 given over to peer review and revision, and a firm (i.e., signed) > commitment by the publisher to release the volume in March 2024. I would be > more than happy to discuss any and all other details with prospective > contributors either by email or via Zoom (or equivalent). Please reach out > to me at seanoreilly at aiu.ac.jp at any time, and I will gladly share with > you the formal call for contributors with all the relevant dates and so > forth. > > It is a very exciting time to be involved in researching Japanese cinema, > I must say, and I am both honored and proud to be a member of Kinema Club! > Thanks very much for your time. > > Best, > Sean (O'Reilly) > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Thu Mar 17 19:56:47 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 17 Mar 2022 19:56:47 -0400 Subject: [KineJapan] Takarada Akira Message-ID: <60884C7F-3521-4853-887E-2A56183502C3@yale.edu> It was announced that Takarada Akira, star of Godzilla and many Toho films, died on March 16 at the age of 87. Takarada debuted as a Toho New Face in 1953 and made a mark the next year with his appearance as Ogata, who with Serizawa uses the Oxygen Destroyer against Godzilla. He appeared in other films in the series, but he also appeared in many musicals, both in film and on stage, as well as entertaining action films like 100-patsu 100-chu (1965). Born in colonial Korea and living in Harbin at the end of the war, his experiences of struggling to return to Japan led him to be publicly anti-war, and opposed to changing the Constitution. His last film, Yo no naka ni taete sakura no nakariseba, had him co-starring with Iwamoto Renka of Nogizaka 48. He appeared in press conference for the completion of the film on March 10. https://www.nikkansports.com/entertainment/news/202203170001306.html 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 wnakane at usc.edu Fri Mar 18 17:21:14 2022 From: wnakane at usc.edu (Wakae Nakane) Date: Fri, 18 Mar 2022 14:21:14 -0700 Subject: [KineJapan] =?utf-8?q?Online_Screening=3A_Anarchic_Visions_of_Ev?= =?utf-8?q?eryday=3A_Women=E2=80=99s_Cinematic_Experiments_in_the_1990s?= Message-ID: <9D0BA5FE-0DEF-432E-BEE5-20D3B6F797F2@usc.edu> Dear KineJapan members, I wanted to share the information on the online screening event that I co-curated with Miryam Sas on Collaborative Cataloging Japan that features five fascinating experimental works by female filmmakers in 1990s Japan. This program includes rarely-seen works by Asano Yuko, Saito Yukie, Saiki Hiromi, Terashima Mari, and Koguchi Utako, and the program is streamed on CCJ?s platform from March 18th through the 27th. Please check out the website for more detailed information! https://www.collabjapan.org/events/2021/12/9/anarchic-visions-of-everyday Sincerely, Wakae NAKANE PhD Student Division of Cinema and Media Studies School of Cinematic Arts University of Southern California wnakane at usc.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Sat Mar 19 01:01:22 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sat, 19 Mar 2022 01:01:22 -0400 Subject: [KineJapan] Sexual harassment in the Japanese media world Message-ID: <86E0CA4A-66D7-4713-A3FF-00F5990A250C@yale.edu> As some of you have seen, the film director and actor Sakaki Hideo, whose film about domestic sexual abuse was due to be released soon, has himself been accused of "casting couch" sexual harassment by a number of female actors. https://www.nikkansports.com/entertainment/news/202203090001188.html The widespread media reports about the incident have brought the issue of sexual harassment in the Japanese media world to the fore, a problem that some believe is quite pervasive. There have been some #MeToo successes in Japan, especially the successful lawsuit by Ito Shiori, but just a couple of years ago an accusation by a female tarento against prominent comedians resulted in only her losing work. Several groups have issued statements prompted by the Sakaki case, urging the industry to deal seriously with sexual harassment. Reports have also emerged of many other forms of power harassment. The film directors Koreeda, Suwa, Sode, Nishikawa, Fukada, and Funahashi have posted a statement against all forms of violence employed by film directors: https://action4cinema.theletter.jp/posts/877aa260-a60c-11ec-a1bd-3d3b3c9fc3bd And the Japanese Film Project, which is an advocacy group fighting against gender discrimination and other labor issues, has also made public a statement: https://note.com/jpfilm_project/n/neb60f3a95b17 Let us hope there is some change. 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 Mon Mar 21 09:57:55 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 21 Mar 2022 09:57:55 -0400 Subject: [KineJapan] Sato Tadao Message-ID: <21BBE8B8-6019-442C-9D79-9027A6E2C288@yale.edu> I was sad to see the announcement by Ishizaka Kenji this morning, that Sato Tadao had died on March 17, 2022. Here is the official announcement in English put out by the Japan Institute of the Moving Image, where he was Professor Emeritus. https://www.eiga.ac.jp/news/sato-tadao-obituary.html Sato was one of the greatest and most influential film critics and scholars in Japan. He was always a bit different from other critics and academics, in part because he never went to college. As he always said, to him cinema was his school. He was born in 1930, and his real name is Iiri Tadao. While working at various jobs, including at national rail and an electronics factory, he began writing film reviews and got involved at Shiso no kagaku, which helped define his life-long focus on the popular dimensions of modern entertainment. Working as an editor at Eiga hyoron and other publications, Sato became an extremely prolific writer, publishing over a hundred books on topics not just centered on film, but including manga, education, theater, democracy, war, literature, etc. He also wrote books for younger readers. With his wife, Sato Hisako, he founded the film historiographical journal Eigashi kenkyu in 1973, and as a historian, eventually published a monumental four volume history of Japanese film. As an educator, he began teaching at Imamura Shohei?s film school, which later became the Japan Institute of the Moving Image. Sato eventually became president of that institution. Sato actively engaged with foreign cinema and critics, attending film festivals and conferences abroad, and serving as director of the Focus on Asia film festival in Fukuoka, helping introduce other Asian cinemas to Japan. He received numerous awards, including the Person of Cultural Merit from the Japanese government in 2019. He is the Japanese film critic who has arguably been translated the most into English. Sato-sensei was one of my introductions to Japanese cinema, especially in Japanese. When I first spent a summer in Japan, I wrote to him (perhaps my first formal letter in Japanese!), asking him to recommend books for the Iowa library. I got to meet him that summer at a silent film screening at Kinokuniya with Sawato Midori. The first book I read in full in Japanese was his Nihon eiga to Nihon bunka (1987), which I read in fourth year Japanese when the instructor decided to work with us individually to help us read books of our choice. I later became a colleague of Sato-sensei?s, as we both ended up serving on the board and on various committees at the Japan Society of Image Arts and Sciences. In recent years, his book Nihon eiga rironshi?the only historical introduction to Japanese film theory in Japanese?has been central to my research on Japanese film theory (even if I can be critical of its stance), and I made sure to include a translation of the book?s introduction in a special journal issue I did on Japanese film theory. https://www.jstor.org/stable/42800636 Sato-sensei was always thrilled that I was using that book, since apparently it was one of his least read works, but one he thought to be important. I also recorded an interview with him about a decade ago on film theory, which, now that he has passed, I should return to. I remember it was quite excellent. There is much more to say, especially in terms of a critical appraisal of his work. He pursued a unique stance, avoiding many of the major trends in Japanese film criticism from the 60s to the 90s, while still maintaining a left-wing commitment to a cinema of the people. His influence on Japanese film studies is immense. 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 Mar 25 12:03:18 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Fri, 25 Mar 2022 09:03:18 -0700 Subject: [KineJapan] Aoyama Shinji Message-ID: <2A147C0C-AC20-4267-8800-D35A2355A0E1@yale.edu> It is with deep sorrow that I learned of the death of Aoyama Shinji, who died on March 21 of cancer. He was only 57 (which is my age). Aoyama-san and I go back a long ways, first meeting at Athenee in 1996, and developing a good friendship after that (to him, I was Jero-kichi). I penned an auteurist analysis of his career, translated his film theory, and invited him to Yale. One highlight was a tour of New England with him and Shinozaki Makoto about when my son was born. My family still remembers having him over to our house and me trying to cook lobster--and Ian crying over the thought of boiling over them, which Aoyama often jokingly brought up. Aoyama was born in Kitakyushu of school teacher parents and studied English literature at Rikkyo (Faulkner was a favorite), where he took classes under Hasumi Shigehiko and made 8mm films as part of the Rikkyo lineage that included Kurosawa Kiyoshi, Manda Kunihiko, Shiota Akihiko, and Shinozaki Makoto. He AD's for Kurosawa and others before making his theatrical debut with Helpless in 1996. Eureka (2000) was his most celebrated film, winning several awards at Cannes, but Aoyama was also a theorist, penning what I think are some of the crucial texts for thinking about cinema of the time. As a novelist, he won the Mishima Yukio Prize for his novelization of Eureka. He was married Toyota Maho, who starred in his Desert Moon. But Aoyama-san's health was not great in the last decade or so, and his last film was Living in the Sky (2020). His passing is a great shock to me, since both in age and in length of friendship, he was the film director I was closest to. We often talked about when to bring him to Yale again. Here?s my piece on Aoyama-san: https://works.bepress.com/aarongerow/21/ Here?s my translation of his New Wave Manifesto: http://www.aarongerow.com/news/aoyama-shinjis-nouvelle.html 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 alexanderjacoby at brookes.ac.uk Fri Mar 25 12:33:04 2022 From: alexanderjacoby at brookes.ac.uk (Alexander Jacoby) Date: Fri, 25 Mar 2022 16:33:04 +0000 Subject: [KineJapan] Aoyama Shinji In-Reply-To: <2A147C0C-AC20-4267-8800-D35A2355A0E1@yale.edu> References: <2A147C0C-AC20-4267-8800-D35A2355A0E1@yale.edu> Message-ID: Dear Aaron, A very sad loss for Japanese cinema. And my condolences too for your personal loss. Best wishes, ALEX On Fri, 25 Mar 2022 at 16:03, Gerow Aaron via KineJapan < kinejapan at mailman.yale.edu> wrote: > It is with deep sorrow that I learned of the death of Aoyama Shinji, who > died on March 21 of cancer. He was only 57 (which is my age). Aoyama-san > and I go back a long ways, first meeting at Athenee in 1996, and developing > a good friendship after that (to him, I was Jero-kichi). I penned an > auteurist analysis of his career, translated his film theory, and invited > him to Yale. One highlight was a tour of New England with him and Shinozaki > Makoto about when my son was born. My family still remembers having him > over to our house and me trying to cook lobster--and Ian crying over the > thought of boiling over them, which Aoyama often jokingly brought up. > Aoyama was born in Kitakyushu of school teacher parents and studied English > literature at Rikkyo (Faulkner was a favorite), where he took classes under > Hasumi Shigehiko and made 8mm films as part of the Rikkyo lineage that > included Kurosawa Kiyoshi, Manda Kunihiko, Shiota Akihiko, and Shinozaki > Makoto. He AD's for Kurosawa and others before making his theatrical debut > with Helpless in 1996. Eureka (2000) was his most celebrated film, winning > several awards at Cannes, but Aoyama was also a theorist, penning what I > think are some of the crucial texts for thinking about cinema of the time. > As a novelist, he won the Mishima Yukio Prize for his novelization of > Eureka. He was married Toyota Maho, who starred in his Desert Moon. But > Aoyama-san's health was not great in the last decade or so, and his last > film was Living in the Sky (2020). His passing is a great shock to me, > since both in age and in length of friendship, he was the film director I > was closest to. We often talked about when to bring him to Yale again. > > Here?s my piece on Aoyama-san: > > https://works.bepress.com/aarongerow/21/ > > Here?s my translation of his New Wave Manifesto: > > http://www.aarongerow.com/news/aoyama-shinjis-nouvelle.html > > > > 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 > > > > > > > > > > > > > > > > > > > > > > _______________________________________________ > 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 Sun Mar 27 03:58:34 2022 From: wnakane at usc.edu (Wakae Nakane) Date: Sun, 27 Mar 2022 00:58:34 -0700 Subject: [KineJapan] =?utf-8?q?Online_Screening=3A_Anarchic_Visions_of_Ev?= =?utf-8?q?eryday=3A_Women=E2=80=99s_Cinematic_Experiments_in_the_1990s?= In-Reply-To: <9D0BA5FE-0DEF-432E-BEE5-20D3B6F797F2@usc.edu> References: <9D0BA5FE-0DEF-432E-BEE5-20D3B6F797F2@usc.edu> Message-ID: <5B235C18-3CAB-4C1C-97C7-D454B1659D43@usc.edu> Dear KineJapan members, The streaming of the program, ?Anarchic Visions of Everyday: Women?s Cinematic Experiments in the 1990s? is available for one more day until the 27th by 11pm (EDT). https://www.collabjapan.org/events/2021/12/9/anarchic-visions-of-everyday If you are interested in the program, please check out the interview article in which Miryam and I talk about the original program we had at the Pacific Film Archive last fall. https://repcinemas.substack.com/p/interview-wakae-nakane-and-miryam?s=r We?ve also published the article accompanying this online screening program, where I delved into some of the thematic concerns and feminist polemics of the works on display. https://www.collabjapan.org/meaner/2022/3/24/weve-got-to-find-the-next-step-womens-cinematic-experiments-in-1990s-japan Sincerely, Wakae NAKANE PhD Student Division of Cinema and Media Studies School of Cinematic Arts University of Southern California wnakane at usc.edu > On Mar 18, 2022, at 2:21 PM, Wakae Nakane wrote: > > Dear KineJapan members, > > I wanted to share the information on the online screening event that I co-curated with Miryam Sas on Collaborative Cataloging Japan that features five fascinating experimental works by female filmmakers in 1990s Japan. This program includes rarely-seen works by Asano Yuko, Saito Yukie, Saiki Hiromi, Terashima Mari, and Koguchi Utako, and the program is streamed on CCJ?s platform from March 18th through the 27th. > > Please check out the website for more detailed information! > > https://www.collabjapan.org/events/2021/12/9/anarchic-visions-of-everyday > > > Sincerely, > Wakae NAKANE > > PhD Student > Division of Cinema and Media Studies > School of Cinematic Arts > University of Southern California > wnakane at usc.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From wct1 at columbia.edu Mon Mar 28 00:12:13 2022 From: wct1 at columbia.edu (William C. Thompson) Date: Mon, 28 Mar 2022 00:12:13 -0400 Subject: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar Message-ID: With the major Oscars scattered from film to film, *Drive My Car *grabbed the one for Best International Feature. There have been many articles examining *Drive My Car *from numerous angles (I especially enjoyed Earl Jackson's examination of its narrative complexities). In its lead-up to the Oscars, the *NY Times *also presented an entertaining article, almost a conversation, between Bong Joon Ho and Ryusuke Hamaguchi earlier this month: https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 Bill Thompson wct1 at columbia.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Mon Mar 28 04:46:46 2022 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Mon, 28 Mar 2022 11:46:46 +0300 Subject: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar In-Reply-To: References: Message-ID: I hope that this leads to some positive changes within Japanese film industry as well. There is always an international market for well-written, thoughtful art house films. Eija ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > With the major Oscars scattered from film to film, *Drive My Car *grabbed > the one for Best International Feature. > > There have been many articles examining *Drive My Car *from numerous > angles (I especially enjoyed Earl Jackson's examination of its narrative > complexities). In its lead-up to the Oscars, the *NY Times *also > presented an entertaining article, almost a conversation, between Bong Joon > Ho and Ryusuke Hamaguchi earlier this month: > > > https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 > > Bill Thompson > wct1 at columbia.edu > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From reavolution at gmail.com Wed Mar 30 07:29:15 2022 From: reavolution at gmail.com (Rea Amit) Date: Wed, 30 Mar 2022 06:29:15 -0500 Subject: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar In-Reply-To: References: Message-ID: Here's another NYT article (featuring citations by several kineJ-members) that people might find interesting: https://www.nytimes.com/2022/03/28/world/asia/drive-my-car-oscar-japan.html On Mon, Mar 28, 2022 at 3:47 AM Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > I hope that this leads to some positive changes within Japanese film > industry as well. There is always an international market for well-written, > thoughtful art house films. > Eija > > ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > >> With the major Oscars scattered from film to film, *Drive My Car *grabbed >> the one for Best International Feature. >> >> There have been many articles examining *Drive My Car *from numerous >> angles (I especially enjoyed Earl Jackson's examination of its narrative >> complexities). In its lead-up to the Oscars, the *NY Times *also >> presented an entertaining article, almost a conversation, between Bong Joon >> Ho and Ryusuke Hamaguchi earlier this month: >> >> >> https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 >> >> Bill Thompson >> wct1 at columbia.edu >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > Eija Niskanen > Programming director > Helsinki Cine Aasia, March 12.-15.2020 > www.helsinkicineaasia.fi > +358-50-355 3189 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From pieter-janvanhaecke at hotmail.com Wed Mar 30 19:42:19 2022 From: pieter-janvanhaecke at hotmail.com (Pieter-Jan Van Haecke) Date: Wed, 30 Mar 2022 23:42:19 +0000 Subject: [KineJapan] 1Re: Drive My Car (Hamaguchi) Wins International Oscar In-Reply-To: References: Message-ID: Dear all, I would love for ?Drive My Car? to change the Japanese film industry, but I fail to see how. ?Departures?, the previous Oscar winner, did not change it. Other international hits or Cannes winners did not change it. With kind regards, Pieter-Jan Van Haecke For those who?re looking for a more psychonalytic reading of ?Drive My Car?, I gladly introduce the review I wrote. https://psychocinematography.com/2022/01/02/drive-my-car-2021-review/ Windows ? ??? ???? ???: kinejapan-request at mailman.yale.edu ????: Wednesday, 30 March 2022 20:30 ??: kinejapan at mailman.yale.edu ??: KineJapan Digest, Vol 46, Issue 14 Send KineJapan mailing list submissions to kinejapan at mailman.yale.edu To subscribe or unsubscribe via the World Wide Web, visit https://mailman.yale.edu/mailman/listinfo/kinejapan or, via email, send a message with subject or body 'help' to kinejapan-request at mailman.yale.edu You can reach the person managing the list at kinejapan-owner at mailman.yale.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of KineJapan digest..." Today's Topics: 1. Drive My Car (Hamaguchi) Wins International Oscar (William C. Thompson) 2. (Eija Niskanen) 3. Re: Drive My Car (Hamaguchi) Wins International Oscar (Rea Amit) ---------------------------------------------------------------------- Message: 1 Date: Mon, 28 Mar 2022 00:12:13 -0400 From: "William C. Thompson" To: Japanese Cinema Discussion Forum Subject: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar Message-ID: Content-Type: text/plain; charset="utf-8" With the major Oscars scattered from film to film, *Drive My Car *grabbed the one for Best International Feature. There have been many articles examining *Drive My Car *from numerous angles (I especially enjoyed Earl Jackson's examination of its narrative complexities). In its lead-up to the Oscars, the *NY Times *also presented an entertaining article, almost a conversation, between Bong Joon Ho and Ryusuke Hamaguchi earlier this month: https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 Bill Thompson wct1 at columbia.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 2 Date: Mon, 28 Mar 2022 11:46:46 +0300 From: Eija Niskanen To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar Message-ID: Content-Type: text/plain; charset="utf-8" I hope that this leads to some positive changes within Japanese film industry as well. There is always an international market for well-written, thoughtful art house films. Eija ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > With the major Oscars scattered from film to film, *Drive My Car *grabbed > the one for Best International Feature. > > There have been many articles examining *Drive My Car *from numerous > angles (I especially enjoyed Earl Jackson's examination of its narrative > complexities). In its lead-up to the Oscars, the *NY Times *also > presented an entertaining article, almost a conversation, between Bong Joon > Ho and Ryusuke Hamaguchi earlier this month: > > > https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 > > Bill Thompson > wct1 at columbia.edu > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 3 Date: Wed, 30 Mar 2022 06:29:15 -0500 From: Rea Amit To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar Message-ID: Content-Type: text/plain; charset="utf-8" Here's another NYT article (featuring citations by several kineJ-members) that people might find interesting: https://www.nytimes.com/2022/03/28/world/asia/drive-my-car-oscar-japan.html On Mon, Mar 28, 2022 at 3:47 AM Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > I hope that this leads to some positive changes within Japanese film > industry as well. There is always an international market for well-written, > thoughtful art house films. > Eija > > ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > >> With the major Oscars scattered from film to film, *Drive My Car *grabbed >> the one for Best International Feature. >> >> There have been many articles examining *Drive My Car *from numerous >> angles (I especially enjoyed Earl Jackson's examination of its narrative >> complexities). In its lead-up to the Oscars, the *NY Times *also >> presented an entertaining article, almost a conversation, between Bong Joon >> Ho and Ryusuke Hamaguchi earlier this month: >> >> >> https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 >> >> Bill Thompson >> wct1 at columbia.edu >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > Eija Niskanen > Programming director > Helsinki Cine Aasia, March 12.-15.2020 > www.helsinkicineaasia.fi > +358-50-355 3189 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Subject: Digest Footer _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan ------------------------------ End of KineJapan Digest, Vol 46, Issue 14 ***************************************** -------------- next part -------------- An HTML attachment was scrubbed... URL: From eija at helsinkicineaasia.fi Thu Mar 31 08:52:45 2022 From: eija at helsinkicineaasia.fi (Eija Niskanen) Date: Thu, 31 Mar 2022 15:52:45 +0300 Subject: [KineJapan] 1Re: Drive My Car (Hamaguchi) Wins International Oscar In-Reply-To: References: Message-ID: Helsinki Cine Aasia, our Asian film festival here in Finland, offers a special presentation of Hamaguchi 2015 film Happy Hour, on Good Friday. https://cinemaorion.fi/en/elokuvat/happy-hour/ Eija to 31. maalisk. 2022 klo 2.42 Pieter-Jan Van Haecke via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > Dear all, > > > > I would love for ?Drive My Car? to change the Japanese film industry, but > I fail to see how. > > ?Departures?, the previous Oscar winner, did not change it. Other > international hits or Cannes winners did not change it. > > > > With kind regards, > > Pieter-Jan Van Haecke > > For those who?re looking for a more psychonalytic reading of ?Drive My > Car?, I gladly introduce the review I wrote. > > https://psychocinematography.com/2022/01/02/drive-my-car-2021-review/ > > > > Windows ? ??? ???? > > > > *???**: *kinejapan-request at mailman.yale.edu > *????**: *Wednesday, 30 March 2022 20:30 > *??**: *kinejapan at mailman.yale.edu > *??**: *KineJapan Digest, Vol 46, Issue 14 > > > > Send KineJapan mailing list submissions to > kinejapan at mailman.yale.edu > > To subscribe or unsubscribe via the World Wide Web, visit > https://mailman.yale.edu/mailman/listinfo/kinejapan > or, via email, send a message with subject or body 'help' to > kinejapan-request at mailman.yale.edu > > You can reach the person managing the list at > kinejapan-owner at mailman.yale.edu > > When replying, please edit your Subject line so it is more specific > than "Re: Contents of KineJapan digest..." > > > Today's Topics: > > 1. Drive My Car (Hamaguchi) Wins International Oscar > (William C. Thompson) > 2. (Eija Niskanen) > 3. Re: Drive My Car (Hamaguchi) Wins International Oscar (Rea Amit) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Mon, 28 Mar 2022 00:12:13 -0400 > From: "William C. Thompson" > To: Japanese Cinema Discussion Forum > Subject: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar > Message-ID: > < > CAOXQ2fRpDrXs98Zn1NKWHm_OorPjvnpBbzrTK5otwXjWJnV32A at mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > With the major Oscars scattered from film to film, *Drive My Car *grabbed > the one for Best International Feature. > > There have been many articles examining *Drive My Car *from numerous angles > (I especially enjoyed Earl Jackson's examination of its narrative > complexities). In its lead-up to the Oscars, the *NY Times *also presented > an entertaining article, almost a conversation, between Bong Joon Ho and > Ryusuke Hamaguchi earlier this month: > > > https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 > > Bill Thompson > wct1 at columbia.edu > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20220328/148c0c45/attachment-0001.html > > > > ------------------------------ > > Message: 2 > Date: Mon, 28 Mar 2022 11:46:46 +0300 > From: Eija Niskanen > To: Japanese Cinema Discussion Forum > Subject: Re: [KineJapan] Drive My Car (Hamaguchi) Wins International > Oscar > Message-ID: > < > CA+FavwOzKci4dv-AL4CQ3h3qFuWqp6pMp9Z_xFbhBZP3EgTiZg at mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > I hope that this leads to some positive changes within Japanese film > industry as well. There is always an international market for well-written, > thoughtful art house films. > Eija > > ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > > > With the major Oscars scattered from film to film, *Drive My Car *grabbed > > the one for Best International Feature. > > > > There have been many articles examining *Drive My Car *from numerous > > angles (I especially enjoyed Earl Jackson's examination of its narrative > > complexities). In its lead-up to the Oscars, the *NY Times *also > > presented an entertaining article, almost a conversation, between Bong > Joon > > Ho and Ryusuke Hamaguchi earlier this month: > > > > > > > https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 > > > > Bill Thompson > > wct1 at columbia.edu > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at mailman.yale.edu > > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > > > -- > Eija Niskanen > Programming director > Helsinki Cine Aasia, March 12.-15.2020 > www.helsinkicineaasia.fi > +358-50-355 3189 > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20220328/454f2fbe/attachment-0001.html > > > > ------------------------------ > > Message: 3 > Date: Wed, 30 Mar 2022 06:29:15 -0500 > From: Rea Amit > To: Japanese Cinema Discussion Forum > Subject: Re: [KineJapan] Drive My Car (Hamaguchi) Wins International > Oscar > Message-ID: > < > CAA7VZxhAY8kVE-OjCAoZzJwVOhABE1B-AWjbZvYRbTrHBzF-JA at mail.gmail.com> > Content-Type: text/plain; charset="utf-8" > > Here's another NYT article (featuring citations by several kineJ-members) > that people might find interesting: > > https://www.nytimes.com/2022/03/28/world/asia/drive-my-car-oscar-japan.html > > > > > On Mon, Mar 28, 2022 at 3:47 AM Eija Niskanen via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > > I hope that this leads to some positive changes within Japanese film > > industry as well. There is always an international market for > well-written, > > thoughtful art house films. > > Eija > > > > ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( > > kinejapan at mailman.yale.edu) kirjoitti: > > > >> With the major Oscars scattered from film to film, *Drive My Car > *grabbed > >> the one for Best International Feature. > >> > >> There have been many articles examining *Drive My Car *from numerous > >> angles (I especially enjoyed Earl Jackson's examination of its narrative > >> complexities). In its lead-up to the Oscars, the *NY Times *also > >> presented an entertaining article, almost a conversation, between Bong > Joon > >> Ho and Ryusuke Hamaguchi earlier this month: > >> > >> > >> > https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 > >> > >> Bill Thompson > >> wct1 at columbia.edu > >> > >> _______________________________________________ > >> KineJapan mailing list > >> KineJapan at mailman.yale.edu > >> https://mailman.yale.edu/mailman/listinfo/kinejapan > >> > > > > > > -- > > Eija Niskanen > > Programming director > > Helsinki Cine Aasia, March 12.-15.2020 > > www.helsinkicineaasia.fi > > +358-50-355 3189 > > > > _______________________________________________ > > KineJapan mailing list > > KineJapan at mailman.yale.edu > > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20220330/a5269f3b/attachment.html > > > > ------------------------------ > > Subject: Digest Footer > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > ------------------------------ > > End of KineJapan Digest, Vol 46, Issue 14 > ***************************************** > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Thu Mar 31 15:54:51 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Thu, 31 Mar 2022 19:54:51 +0000 (UTC) Subject: [KineJapan] =?utf-8?b?R8WremVuIHRvIHPFjXrFjSAoSGFtYWd1Y2hpKQ==?= In-Reply-To: References: Message-ID: <1248373416.734611.1648756491045@mail.yahoo.com> There was also this piece in the current issue of 'London Review of Books'.https://www.lrb.co.uk/the-paper/v44/n06/michael-wood/at-the-movies I think you can read several articles there before a pay-wall comes up. Roger On Thursday, 31 March 2022, 00:42:08 BST, Pieter-Jan Van Haecke via KineJapan wrote: Dear all, ? I would love for ?Drive My Car? to change the Japanese film industry, but I fail to see how. ?Departures?, the previous Oscar winner, did not change it. ?Other international hits or Cannes winners did not change it. ? With kind regards, Pieter-Jan Van Haecke For those who?re looking for a more psychonalytic reading of ?Drive My Car?, I gladly introduce the review I wrote. https://psychocinematography.com/2022/01/02/drive-my-car-2021-review/ ? Windows ???????? ? ???:kinejapan-request at mailman.yale.edu ????:Wednesday, 30 March 2022 20:30 ??:kinejapan at mailman.yale.edu ??:KineJapan Digest, Vol 46, Issue 14 ? Send KineJapan mailing list submissions to ??????? kinejapan at mailman.yale.edu To subscribe or unsubscribe via the World Wide Web, visit ??????? https://mailman.yale.edu/mailman/listinfo/kinejapan or, via email, send a message with subject or body 'help' to ??????? kinejapan-request at mailman.yale.edu You can reach the person managing the list at ??????? kinejapan-owner at mailman.yale.edu When replying, please edit your Subject line so it is more specific than "Re: Contents of KineJapan digest..." Today's Topics: ?? 1. Drive My Car (Hamaguchi) Wins International Oscar ????? (William C. Thompson) ?? 2.????? (Eija Niskanen) ?? 3. Re: Drive My Car (Hamaguchi) Wins International Oscar (Rea Amit) ---------------------------------------------------------------------- Message: 1 Date: Mon, 28 Mar 2022 00:12:13 -0400 From: "William C. Thompson" To: Japanese Cinema Discussion Forum Subject: [KineJapan] Drive My Car (Hamaguchi) Wins International Oscar Message-ID: ??????? Content-Type: text/plain; charset="utf-8" With the major Oscars scattered from film to film, *Drive My Car *grabbed the one for Best International Feature. There have been many articles examining *Drive My Car *from numerous angles (I especially enjoyed Earl Jackson's examination of its narrative complexities).? In its lead-up to the Oscars, the *NY Times *also presented an entertaining article, almost a conversation, between Bong Joon Ho and Ryusuke Hamaguchi earlier this month: https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 Bill Thompson wct1 at columbia.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 2 Date: Mon, 28 Mar 2022 11:46:46 +0300 From: Eija Niskanen To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Drive My Car (Hamaguchi) Wins International ??????? Oscar Message-ID: ??????? Content-Type: text/plain; charset="utf-8" I hope that this leads to some positive changes within Japanese film industry as well. There is always an international market for well-written, thoughtful art house films. Eija ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( kinejapan at mailman.yale.edu) kirjoitti: > With the major Oscars scattered from film to film, *Drive My Car *grabbed > the one for Best International Feature. > > There have been many articles examining *Drive My Car *from numerous > angles (I especially enjoyed Earl Jackson's examination of its narrative > complexities).? In its lead-up to the Oscars, the *NY Times *also > presented an entertaining article, almost a conversation, between Bong Joon > Ho and Ryusuke Hamaguchi earlier this month: > > > https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 > > Bill Thompson > wct1 at columbia.edu > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -- Eija Niskanen Programming director Helsinki Cine Aasia, March 12.-15.2020 www.helsinkicineaasia.fi +358-50-355 3189 -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 3 Date: Wed, 30 Mar 2022 06:29:15 -0500 From: Rea Amit To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Drive My Car (Hamaguchi) Wins International ??????? Oscar Message-ID: ??????? Content-Type: text/plain; charset="utf-8" Here's another NYT article (featuring citations by several kineJ-members) that people might find interesting: https://www.nytimes.com/2022/03/28/world/asia/drive-my-car-oscar-japan.html On Mon, Mar 28, 2022 at 3:47 AM Eija Niskanen via KineJapan < kinejapan at mailman.yale.edu> wrote: > I hope that this leads to some positive changes within Japanese film > industry as well. There is always an international market for well-written, > thoughtful art house films. > Eija > > ma 28. maalisk. 2022 klo 7.12 William C. Thompson via KineJapan ( > kinejapan at mailman.yale.edu) kirjoitti: > >> With the major Oscars scattered from film to film, *Drive My Car *grabbed >> the one for Best International Feature. >> >> There have been many articles examining *Drive My Car *from numerous >> angles (I especially enjoyed Earl Jackson's examination of its narrative >> complexities).? In its lead-up to the Oscars, the *NY Times *also >> presented an entertaining article, almost a conversation, between Bong Joon >> Ho and Ryusuke Hamaguchi earlier this month: >> >> >> https://www.nytimes.com/2022/03/02/movies/bong-joon-ho-ryusuke-hamaguchi-drive-my-car.html?searchResultPosition=1 >> >> Bill Thompson >> wct1 at columbia.edu >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > -- > Eija Niskanen > Programming director > Helsinki Cine Aasia, March 12.-15.2020 > www.helsinkicineaasia.fi > +358-50-355 3189 > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Subject: Digest Footer _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan ------------------------------ End of KineJapan Digest, Vol 46, Issue 14 ***************************************** ? _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: