From macyroger at yahoo.co.uk Thu Nov 3 20:31:12 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 4 Nov 2022 00:31:12 +0000 (UTC) Subject: [KineJapan] 1931 amateur film by TAKEUCHI Kichinosuke this Saturday References: <2023366933.6003050.1667521872839.ref@mail.yahoo.com> Message-ID: <2023366933.6003050.1667521872839@mail.yahoo.com> A heads-up and a question, please. This weekend, in London atthe Cinema Museum,there?s a silentfilm weekend. On Saturday, at 13.50, there?s a programme of amateur films thatrecreates the The Institute of Amateur Photographers? Award-Winners? FilmProgramme of 1935-39, and includes a film, Sister andBrother, 1931 by TAKEUCHI Kichinosuke from the Amateur Movie Maker Contestof 1932. What I have gleaned so far from Keith Johnston of the research project atU. of East Angliais:- ?????????There?s abrief bio via the Amateur Movie Database: https://www.amateurcinema.org/index.php/filmmaker/kichi-takeuchi) ?????????Report on Sisteras part of IAC World Tour programme: ?The first projection of the WorldTour films, sponsored by the Institute of Amateur Cinematographers, London, to be held in the Far East was given tonight beforethree hundred members of the Sakura Kogata Eigo Kyokai (Cherry Amateur MovieSociety). Winners in the 1934 contest of the Institute, these films haveprogressed through Europe and the Middle East. Veterans of numerous projections, the films are yet in excellentcondition. Japanese amateurs were particularly appreciative of ?Sister,?produced by K. Takeuchi of Kyoto, and ?... ?Further projections are planned in Nagoya, Osaka, Kyoto, and possibly Yokohama, after which the filmswill be sent to Australia.? (?Notes of the MovieClubs? American Cinematographer v19 n1, March 1938, p.121) ?????????Years of birth/ death are currently unknown ?????????He owned akimono shop in Kyoto ?????????When KodakJapan Limited established the Nippon 8 miri Ky?kai (8mm Film Association) inJune 1934, Takeuchi served as one of the board members ?????????He was also aboard member of?the Nippon 8 miri Eiga Renmei (8mm Film League)established in 1938 ?????????Takeuchipublished a number of writings in amateur film magazines published locally inthe Kansai region in the 1930s (which included cities such as Kyoto and Osaka.) The names of thesemagazines are?Beb? kinema (Baby Kinema) and Pat? kinema(Pathe Kinema), and the topics of his writings include the "theory andpractice of small-gauge filmmaking for educating children" (that appearedin several issues of the?Pat? kinema?magazine in 1932 and19333) and a screenplay for a small-gauge production, titled Goldfish(April 1933 in?Pat? kinema) ?????????Some of thesepublications included Takeuchi in a debate about the use of sequences fromother people?s films in new works, whether editing was enough to createoriginality (following some of Pudovkin?s ideas) or if a film had to be acompletely new creation ?????????Some writingson amateur film in Japan include Noriko Morisue(she wrote her PhD at Yale on this topic) and Nada Hisashi, ?The Little CinemaMovement in the 1920s and the Introduction of Avant-Garde Cinema in Japan?, Japan Society ofImage Arts and Society vol.3 (1994): 39-68. I don?t have immediate access to these references, and none of thatdefinitively gives me Takeuchi?s Japanese spelling, so I?m just giving what Ihave, before the screening. The questions are, is there any online resource on Japanese amateurfilmmakers, and can anyone (Noriko Morisue?) tell me more, please. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From noriko.morisue at gmail.com Fri Nov 4 07:09:33 2022 From: noriko.morisue at gmail.com (Noriko Morisue) Date: Fri, 4 Nov 2022 20:09:33 +0900 Subject: [KineJapan] 1931 amateur film by TAKEUCHI Kichinosuke this Saturday In-Reply-To: <2023366933.6003050.1667521872839@mail.yahoo.com> References: <2023366933.6003050.1667521872839.ref@mail.yahoo.com> <2023366933.6003050.1667521872839@mail.yahoo.com> Message-ID: Dear Roger, Thank you so much for your interest in this topic and for your question. I am actually part of the project with Keith Johnston on the IAC World Tour, and the description on Takeuchi (?? ???) that you have quoted in your email is something that I wrote up. My knowledge may not be up to date since I have not been able to work much on the topic since I finished my thesis a few years ago, but when I was working on my diss, there was no comprehensive online resource on Japanese amateur films or filmmakers as far as I was aware of (except for the Amateur Movie Database you are referring to, although this website does not include much information in the Japanese context). You may be able to find some information in the Digital Collection of the National Diet Library, but I do not think you can find anything that will give you a comprehensive framework of this subject. Regarding the IAC World Tour in Japan, unlike what is described in the Amateur Cinematographer article you have quoted, I was able to find evidence of only one screening that took place in Japan (at the hall of Konishiroku?s head office in Tokyo on January 20, 1938). East Anglian Film Archive has made available the works of three Japanese amateur filmmakers from the 1930s (Takeuchi, Okamoto Tatsuichi, and Tsukamoto Koji), all of which are part of the IAC Film Collection. https://eafa.org.uk/search/?q=Takeuchi&titleDateFrom=1890-01-01&titleDateTo=2022-12-30&perorg=&agentActivity=&featured=&workType=&descriptionType=&sound=&colourType=&searchSort=relevance_desc The Collection also includes a film, Tambo, by American filmmaker Fred Ells who was based in Japan from the mid 1920s through 1940, but somehow the web video seems unavailable for his film. Noriko On Fri, Nov 4, 2022 at 9:32 AM Roger Macy via KineJapan < kinejapan at mailman.yale.edu> wrote: > A heads-up and a question, please. > > This weekend, in London at the Cinema Museum, there?s a silent film > weekend > . > On Saturday, at 13.50, there?s a programme of amateur films that recreates > the *The Institute of Amateur Photographers? Award-Winners? Film > Programme of 1935-39,* and includes a film, *Sister and Brother*, 1931 by > TAKEUCHI Kichinosuke from the Amateur Movie Maker Contest of 1932. > > What I have gleaned so far from Keith Johnston of the research project at > U. of East Anglia is:- > > ? There?s a brief bio via the Amateur Movie Database: > https://www.amateurcinema.org/index.php/filmmaker/kichi-takeuchi) > > ? Report on *Sister *as part of IAC World Tour programme: ?The > first projection of the World Tour films, sponsored by the Institute of Amateur > Cinematographers, London, to be held in the Far East was given tonight > before three hundred members of the Sakura Kogata Eigo Kyokai (Cherry > Amateur Movie Society). Winners in the 1934 contest of the Institute, these > films have progressed through Europe and the Middle East. Veterans of > numerous projections, the films are yet in excellent condition. Japanese > amateurs were particularly appreciative of ?Sister,? produced by *K. > Takeuchi* of Kyoto, and ... Further projections are planned in Nagoya, > Osaka, Kyoto, and possibly Yokohama, after which the films will be sent > to Australia.? (?Notes of the Movie Clubs? *American Cinematographer* v19 > n1, March 1938, p.121) > > ? Years of birth / death are currently unknown > > ? He owned a kimono shop in Kyoto > > ? When Kodak Japan Limited established the Nippon 8 miri Ky?kai > (8mm Film Association) in June 1934, Takeuchi served as one of the board > members > > ? He was also a board member of the Nippon 8 miri Eiga Renmei > (8mm Film League) established in 1938 > > ? Takeuchi published a number of writings in amateur film > magazines published locally in the Kansai region in the 1930s (which > included cities such as Kyoto and Osaka.) The names of these magazines > are *Beb? kinema *(Baby Kinema) and *Pat? kinema* (Pathe Kinema), and the > topics of his writings include the "theory and practice of small-gauge > filmmaking for educating children" (that appeared in several issues of the *Pat? > kinema* magazine in 1932 and 19333) and a screenplay for a small-gauge > production, titled *Goldfish* (April 1933 in *Pat? kinema*) > > ? Some of these publications included Takeuchi in a debate about > the use of sequences from other people?s films in new works, whether > editing was enough to create originality (following some of Pudovkin?s > ideas) or if a film had to be a completely new creation > > ? Some writings on amateur film in Japan include Noriko Morisue > (she wrote her PhD at Yale on this topic) and Nada Hisashi, ?The Little > Cinema Movement in the 1920s and the Introduction of Avant-Garde Cinema in > Japan?, *Japan Society of Image Arts and Society* vol.3 (1994): 39-68. > > I don?t have immediate access to these references, and none of that > definitively gives me Takeuchi?s Japanese spelling, so I?m just giving what > I have, before the screening. > > The questions are, is there any online resource on Japanese amateur > filmmakers, and can anyone (Noriko Morisue?) tell me more, please. > > Roger > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From Alastair.Phillips at warwick.ac.uk Fri Nov 4 07:29:45 2022 From: Alastair.Phillips at warwick.ac.uk (Phillips, Alastair) Date: Fri, 4 Nov 2022 11:29:45 +0000 Subject: [KineJapan] TOKYO MONOGATARI Message-ID: Dear friends and colleagues, My BFI Film Classic on Tokyo monogatari was published yesterday and copies are now available to order from Bloomsbury or elsewhere: https://www.bloomsbury.com/uk/tokyo-story-9781911239239/ There will be a special book launch in London at the Daiwa Anglo-Japanese Foundation in London on Friday 18th November. https://dajf.org.uk/event/tokyo-story Do come if in the vicinity. Writing on such a highly venerated film was a special privilege and I am enormously grateful to the many people who both helped me in person and on the page through the example of their own work. Very best wishes, Alastair Professor Alastair Phillips (he/him/his) Film and Television Studies School of Creative Arts, Performance and Visual Cultures Faculty of Arts Building University of Warwick Coventry CV4 7EQ UK http://www2.warwick.ac.uk/fac/arts/film/staff/phillips/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Fri Nov 4 08:43:29 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Fri, 4 Nov 2022 12:43:29 +0000 (UTC) Subject: [KineJapan] 1931 amateur film by TAKEUCHI Kichinosuke this Saturday In-Reply-To: References: <2023366933.6003050.1667521872839.ref@mail.yahoo.com> <2023366933.6003050.1667521872839@mail.yahoo.com> Message-ID: <752393264.6321739.1667565809221@mail.yahoo.com> Thank you, Noriko, for such a generous and quick response ! I appreciateall the work you have done on this. Yes, I can see it?s a beautiful, well-crafted film. The preserved film is shorn of its Japanese title and credits, so I wouldbe very much in the dark without your help. Do you have the original title ? - ?? ? I?ll look forward toviewing the others. Roger On Friday, 4 November 2022 at 11:10:18 GMT, Noriko Morisue wrote: Dear Roger, Thank you so much for your interest in this topic and for your question. I am actually part of the project with Keith Johnston on the IAC World Tour, and the description on Takeuchi (?? ???) that you have quoted in your email is something that I wrote up. My knowledge may not be up to date since I have not been able to work much on the topic since I finished my thesis a few years ago, but when I was working on my diss, there was no comprehensive online resource on Japanese amateur films or filmmakers as far as I was aware of (except for the Amateur Movie Database you are referring to, although this website does not include much information in the Japanese context). You may be able to find some information in the Digital Collection of the?National Diet Library, but I do not think you can find anything that will give you a comprehensive framework of this subject. Regarding the IAC World Tour in Japan, unlike what is described in the Amateur Cinematographer article you have quoted, I was able to find evidence of only one screening that took place in Japan (at the hall of Konishiroku?s head office in Tokyo on January 20, 1938). East Anglian Film Archive has made available the works of three Japanese amateur filmmakers from the 1930s (Takeuchi, Okamoto Tatsuichi, and Tsukamoto Koji), all of which are part of the IAC Film Collection. https://eafa.org.uk/search/?q=Takeuchi&titleDateFrom=1890-01-01&titleDateTo=2022-12-30&perorg=&agentActivity=&featured=&workType=&descriptionType=&sound=&colourType=&searchSort=relevance_desc The Collection also includes a film, Tambo, by American filmmaker Fred Ells who was based in Japan from the mid 1920s through 1940, but somehow the web video seems unavailable for his film. Noriko On Fri, Nov 4, 2022 at 9:32 AM Roger Macy via KineJapan wrote: A heads-up and a question, please. This weekend, in London atthe Cinema Museum,there?s a silentfilm weekend. On Saturday, at 13.50, there?s a programme of amateur films thatrecreates the The Institute of Amateur Photographers? Award-Winners? FilmProgramme of 1935-39, and includes a film, Sister andBrother, 1931 by TAKEUCHI Kichinosuke from the Amateur Movie Maker Contestof 1932. What I have gleaned so far from Keith Johnston of the research project atU. of East Angliais:- ?????????There?s abrief bio via the Amateur Movie Database: https://www.amateurcinema.org/index.php/filmmaker/kichi-takeuchi) ?????????Report on Sisteras part of IAC World Tour programme: ?The first projection of the WorldTour films, sponsored by the Institute of Amateur Cinematographers, London, to be held in the Far East was given tonight beforethree hundred members of the Sakura Kogata Eigo Kyokai (Cherry Amateur MovieSociety). Winners in the 1934 contest of the Institute, these films haveprogressed through Europe and the Middle East. Veterans of numerous projections, the films are yet in excellentcondition. Japanese amateurs were particularly appreciative of ?Sister,?produced by K. Takeuchi of Kyoto, and ?... ?Further projections are planned in Nagoya, Osaka, Kyoto, and possibly Yokohama, after which the filmswill be sent to Australia.? (?Notes of the MovieClubs? American Cinematographer v19 n1, March 1938, p.121) ?????????Years of birth/ death are currently unknown ?????????He owned akimono shop in Kyoto ?????????When KodakJapan Limited established the Nippon 8 miri Ky?kai (8mm Film Association) inJune 1934, Takeuchi served as one of the board members ?????????He was also aboard member of?the Nippon 8 miri Eiga Renmei (8mm Film League)established in 1938 ?????????Takeuchipublished a number of writings in amateur film magazines published locally inthe Kansai region in the 1930s (which included cities such as Kyoto and Osaka.) The names of thesemagazines are?Beb? kinema (Baby Kinema) and Pat? kinema(Pathe Kinema), and the topics of his writings include the "theory andpractice of small-gauge filmmaking for educating children" (that appearedin several issues of the?Pat? kinema?magazine in 1932 and19333) and a screenplay for a small-gauge production, titled Goldfish(April 1933 in?Pat? kinema) ?????????Some of thesepublications included Takeuchi in a debate about the use of sequences fromother people?s films in new works, whether editing was enough to createoriginality (following some of Pudovkin?s ideas) or if a film had to be acompletely new creation ?????????Some writingson amateur film in Japan include Noriko Morisue(she wrote her PhD at Yale on this topic) and Nada Hisashi, ?The Little CinemaMovement in the 1920s and the Introduction of Avant-Garde Cinema in Japan?, Japan Society ofImage Arts and Society vol.3 (1994): 39-68. I don?t have immediate access to these references, and none of thatdefinitively gives me Takeuchi?s Japanese spelling, so I?m just giving what Ihave, before the screening. The questions are, is there any online resource on Japanese amateurfilmmakers, and can anyone (Noriko Morisue?) tell me more, please. Roger _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: From noriko.morisue at gmail.com Sat Nov 5 05:55:37 2022 From: noriko.morisue at gmail.com (Noriko Morisue) Date: Sat, 5 Nov 2022 18:55:37 +0900 Subject: [KineJapan] 1931 amateur film by TAKEUCHI Kichinosuke this Saturday In-Reply-To: <752393264.6321739.1667565809221@mail.yahoo.com> References: <2023366933.6003050.1667521872839.ref@mail.yahoo.com> <2023366933.6003050.1667521872839@mail.yahoo.com> <752393264.6321739.1667565809221@mail.yahoo.com> Message-ID: Dear Roger, I am glad to hear you enjoyed the film, and thank you very much for an additional inquiry. Actually, I have not been able to find the correct Japanese title of this film. One source I found (a Japanese magazine from 1936) introduces the film as *Im?to* (little sister), and another source (a Japanese book on small gauge film in 1941) describes it as *Ane* (big sister). (By watching the film, *Ane* seems to be more relevant) This is my guess, but one possibility may be that Takeuchi created this film for international audiences and festivals in mind from the beginning by putting the English title and intertitles. I am not sure if Takeuchi ever made its Japanese version, since I have not found any evidence of it in coterie magazines or books, nor do know of the print of the Japanese version having survived. Noriko On Fri, Nov 4, 2022 at 9:43 PM Roger Macy wrote: > Thank you, Noriko, for such a generous and quick response ! I appreciate > all the work you have done on this. > > Yes, I can see it?s a beautiful, well-crafted film. > > The preserved film is shorn of its Japanese title and credits, so I would > be very much in the dark without your help. > > Do you have the original title ? - ?? ? > > I?ll look forward to viewing the others. > > Roger > > > On Friday, 4 November 2022 at 11:10:18 GMT, Noriko Morisue < > noriko.morisue at gmail.com> wrote: > > > Dear Roger, > > Thank you so much for your interest in this topic and for your question. > > I am actually part of the project with Keith Johnston on the IAC World > Tour, and the description on Takeuchi (?? ???) that you have quoted in your > email is something that I wrote up. > > My knowledge may not be up to date since I have not been able to work much > on the topic since I finished my thesis a few years ago, but when I was > working on my diss, there was no comprehensive online resource on Japanese > amateur films or filmmakers as far as I was aware of (except for the > Amateur Movie Database you are referring to, although this website does not > include much information in the Japanese context). You may be able to find > some information in the Digital Collection of the National Diet Library, > but I do not think you can find anything that will give you a comprehensive > framework of this subject. Regarding the IAC World Tour in Japan, unlike > what is described in the Amateur Cinematographer article you have quoted, I > was able to find evidence of only one screening that took place in Japan > (at the hall of Konishiroku?s head office in Tokyo on January 20, 1938). > > East Anglian Film Archive has made available the works of three Japanese > amateur filmmakers from the 1930s (Takeuchi, Okamoto Tatsuichi, and > Tsukamoto Koji), all of which are part of the IAC Film Collection. > > > https://eafa.org.uk/search/?q=Takeuchi&titleDateFrom=1890-01-01&titleDateTo=2022-12-30&perorg=&agentActivity=&featured=&workType=&descriptionType=&sound=&colourType=&searchSort=relevance_desc > > The Collection also includes a film, Tambo, by American filmmaker Fred > Ells who was based in Japan from the mid 1920s through 1940, but somehow > the web video seems unavailable for his film. > > Noriko > > On Fri, Nov 4, 2022 at 9:32 AM Roger Macy via KineJapan < > kinejapan at mailman.yale.edu> wrote: > > A heads-up and a question, please. > > This weekend, in London at the Cinema Museum, there?s a silent film > weekend > . > On Saturday, at 13.50, there?s a programme of amateur films that recreates > the *The Institute of Amateur Photographers? Award-Winners? Film > Programme of 1935-39,* and includes a film, *Sister and Brother*, 1931 by > TAKEUCHI Kichinosuke from the Amateur Movie Maker Contest of 1932. > > What I have gleaned so far from Keith Johnston of the research project at > U. of East Anglia is:- > > ? There?s a brief bio via the Amateur Movie Database: > https://www.amateurcinema.org/index.php/filmmaker/kichi-takeuchi) > > ? Report on *Sister *as part of IAC World Tour programme: ?The > first projection of the World Tour films, sponsored by the Institute of Amateur > Cinematographers, London, to be held in the Far East was given tonight > before three hundred members of the Sakura Kogata Eigo Kyokai (Cherry > Amateur Movie Society). Winners in the 1934 contest of the Institute, these > films have progressed through Europe and the Middle East. Veterans of > numerous projections, the films are yet in excellent condition. Japanese > amateurs were particularly appreciative of ?Sister,? produced by *K. > Takeuchi* of Kyoto, and ... Further projections are planned in Nagoya, > Osaka, Kyoto, and possibly Yokohama, after which the films will be sent > to Australia.? (?Notes of the Movie Clubs? *American Cinematographer* v19 > n1, March 1938, p.121) > > ? Years of birth / death are currently unknown > > ? He owned a kimono shop in Kyoto > > ? When Kodak Japan Limited established the Nippon 8 miri Ky?kai > (8mm Film Association) in June 1934, Takeuchi served as one of the board > members > > ? He was also a board member of the Nippon 8 miri Eiga Renmei > (8mm Film League) established in 1938 > > ? Takeuchi published a number of writings in amateur film > magazines published locally in the Kansai region in the 1930s (which > included cities such as Kyoto and Osaka.) The names of these magazines > are *Beb? kinema *(Baby Kinema) and *Pat? kinema* (Pathe Kinema), and the > topics of his writings include the "theory and practice of small-gauge > filmmaking for educating children" (that appeared in several issues of the *Pat? > kinema* magazine in 1932 and 19333) and a screenplay for a small-gauge > production, titled *Goldfish* (April 1933 in *Pat? kinema*) > > ? Some of these publications included Takeuchi in a debate about > the use of sequences from other people?s films in new works, whether > editing was enough to create originality (following some of Pudovkin?s > ideas) or if a film had to be a completely new creation > > ? Some writings on amateur film in Japan include Noriko Morisue > (she wrote her PhD at Yale on this topic) and Nada Hisashi, ?The Little > Cinema Movement in the 1920s and the Introduction of Avant-Garde Cinema in > Japan?, *Japan Society of Image Arts and Society* vol.3 (1994): 39-68. > > I don?t have immediate access to these references, and none of that > definitively gives me Takeuchi?s Japanese spelling, so I?m just giving what > I have, before the screening. > > The questions are, is there any online resource on Japanese amateur > filmmakers, and can anyone (Noriko Morisue?) tell me more, please. > > Roger > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Mon Nov 7 09:50:53 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Mon, 7 Nov 2022 09:50:53 -0500 Subject: [KineJapan] Tanada Yuki at Yale Message-ID: <7B78A228-6B60-41C0-BCA8-0EFD9EAF7975@yale.edu> We at Yale will be enjoying a visit from the first Japanese film director to come to campus since 2019. We are pleased to announce that Tanada Yuki will be presenting several of her films and doing noon talk sessions on November 11 and 12, 2022. All are welcome, though the noon sessions require registration. Japanese Film Director Tanada Yuki Friday, November 11, 2022 - 12:00pm to Saturday, November 12, 2022 - 10:00pm Sterling Memorial Library / Humanities Quadrangle Tanada Yuki is one of the most productive and successful women filmmakers in Japan, a country where even today few women build careers as filmmakers. With a dozen theatrical films since her debut in 2001, she has also directed for television and her work is visible worldwide on Netflix and other platforms. While working in multiple genres from comedy to documentary, she has shown a consistent interest in stories of women struggling through economic inequities. Tanada will be visiting Yale to show two of her works and join students and members of the Yale community in smaller discussion sessions. https://ceas.yale.edu/events/japanese-film-director-tanada-yuki -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: tanada_full-event_poster_2.png Type: image/png Size: 623276 bytes Desc: not available URL: From kcather at austin.utexas.edu Thu Nov 10 14:30:41 2022 From: kcather at austin.utexas.edu (Cather, Kirsten) Date: Thu, 10 Nov 2022 19:30:41 +0000 Subject: [KineJapan] Postdoctoral fellow advertisement (JPN Studies/Digital Humanities, University of Texas at Austin) Message-ID: Dear colleagues, The Department of Asian Studies and the Department of History at the University of Texas at Austin invite applications for two post-doctoral fellows in Japanese Studies for AY 2023-2024. Successful candidates will teach one course per semester with one position housed in the Department of Asian Studies and the other in History. In addition, they will work closely with undergraduate students affiliated with an innovative Digital Humanities space, JapanLab (https://www.utjapanlab.com/). Applications received by 1/3/23 will be given priority. Application portal will remain open until the position is filled. Please see below link for more details: https://utaustin.wd1.myworkdayjobs.com/en-US/UTstaff/details/JapanLab---Department-of-Asian-Studies-and-Department-of-History--University-of-Texas-at-Austin-Postdoctoral-Fellowship_R_00023530. Or on the AAS website here: http://careers.asianstudies.org/jobs/17737725/. Thanks for your help spreading the word. Please feel free to direct anyone with questions to contact me directly. Sincerely, Kirsten Kirsten Cather (pronouns: she/her/hers) Director, Center for East Asian Studies (CEAS) Associate Professor, Asian Studies The University of Texas at Austin | 512-471-0031 | kcather at austin.utexas.edu -------------- next part -------------- An HTML attachment was scrubbed... URL: From barbara.geilhorn at fu-berlin.de Sun Nov 13 23:36:47 2022 From: barbara.geilhorn at fu-berlin.de (Geilhorn, Barbara) Date: Mon, 14 Nov 2022 05:36:47 +0100 Subject: [KineJapan] =?cp1257?q?DIJ_Gender_and_Sexuality_Lecture_Series_o?= =?cp1257?q?n_November_17_=28Thu=29=2C_2022=2C_18=3A30h_JST_-_Weing=E4rtne?= =?cp1257?q?r_on_Film_Stardom?= Message-ID: You are cordially invited to the next DIJ Gender and Sexuality Lecture Series' online talk organised by Barbara Geilhorn and Nora Kottmann on November 17 (Thu), 2022, 18:30h JST Film Stardom and Representation: Takamine Hideko and Women in Post-War Japan Sarah Stark, University of Ghent, Belgium Till Weing?rnter, University College Cork, Ireland Takamine Hideko (1924-2010) is revered and celebrated as one of Japan?s major film stars of the 20th century. She is well remembered for her appearance in seminal works in the Japanese film canon, but also for her work as an essayist. In her essays she not only provides an insight into her views on Japanese cinema, but also actively shapes her own persona and the public view of her long career. Often celebrated for her collaboration with major film directors such as Kinoshita Keisuke or Naruse Mikio, Takamine?s own agency in regard to her career makes an interesting case study for understanding what film stars in post-war Japan represented for their audiences. Takamine had appeared in propaganda films during wartime and later appeared in roles presenting and interrogating new ideas of gender and the role of women in post-war Japanese society. The tensions arising from this can be seen reflected not only in Takamine?s film roles but also in aspects of her public persona and her image as a popular film star, especially among her female fans. Following the Star Studies approach, my talk will examine a number of seminal films and key events in Takamine?s biography in relation to post-war Japanese society. It will explore what Takamine could have represented to her contemporary audience, but also why she still continues to be a popular film star even today. Till Weing?rtner is lecturer in Contemporary East Asian Studies (Japan) at the University College Cork. He has also served as Director of the Centre for Advanced Studies in Languages and Cultures (CASiLaC). Since his student days his research has primarily focused on Japanese comedy. During his postgraduate research on Japanese comedy at Kansai University (Osaka) he tried his hand at stand-up comedy even winning an award and hosting a local radio show with his Japanese comedy partner. These experiences in the Japanese entertainment industry had a big impact on his research interests and he remains interested in performance, not only from an academic position but also by organising performances for Japanese artists as well as at times still performing himself in Japanese, German and English. This is an on-site event without online participation. Registration is required via the event website https://www.dijtokyo.org/event/film-stardom-and-representation-takamine-hideko-and-women-in-post-war-japan/ until November 16, 2022. Due to safety reasons the number of participants is limited to 20; face masks are obligatory. ********************************** Dr. Barbara Geilhorn Senior Research Fellow DIJ German Institute for Japanese Studies Tokyo Jochi Kioizaka Bldg. 2F, 7-1 Kioicho, Chiyoda-ku 102-0094 Tokyo, Japan Tel. +81-(0)3-3222-5147 geilhorn at dijtokyo.org https://www.dijtokyo.org/people/barbara-geilhorn/ Recent publications: forthcoming: Literature after Fukushima: From Marginalized Voices to Nuclear Futurity. Routledge (with Linda Flores, eds). 2021: Okada Toshiki & Japanese Theatre. Aberystwyth, UK: Performance Research Books (with Peter Eckersall et al., eds). Towards a Culture of Responsibility ? Relating Fukushima, Chernobyl, and the Atomic Bombings in Setoyama Misaki?s Theatre. Japan Forum. 2021. Genjitsu wo heny? saseru fikushon?Okada Toshiki no engeki kara kore kara no nihon shakai wo yomitoku. In: Kimura Saeko and Bayard-Sakai, Anne (eds): Sekai bungaku toshite no shinsaigo bungaku. Akashi shoin 2021, 97-118. -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Nov 14 11:03:15 2022 From: nornes at umich.edu (Markus Nornes) Date: Mon, 14 Nov 2022 11:03:15 -0500 Subject: [KineJapan] Haneda Sumiko retrospective at Jeude Paume! In-Reply-To: <20221114153717.B1B6C2E0240@mx16.hosting.augure.com> References: <20221114153717.B1B6C2E0240@mx16.hosting.augure.com> Message-ID: Vous ne visualisez pas cet email ? Cliquez ici N?e en 1926, la documentariste japonaise Haneda Sumiko est l'auteure d'une vaste ?uvre tourn?e entre 1957 et 2012. Ce cycle orchestre des rencontres entre quelques-uns de ses travaux et des films d'autres cin?astes. Il sera accompagn? par plusieurs conversations et d?bats, ouvrant sur des horizons diff?rents : l'histoire du documentaire japonais, la sensibilit? ? la nature, la soci?t? et l'?thique du soin ou encore l'histoire des femmes dans les mouvements politiques. *TOUT LE PROGRAMME* *Mardi 15 novembre ? 19h* Soir?e d'ouverture Projection d'*?cole des femmes d'un village* et *Le cerisier aux fleurs grises* de Haneda Sumiko *R?SERVER* *Jeudi 17 novembre ? 17h* Conf?rence et projection de 3 films 17h : Conf?rence de Mathieu Capel, historien du cin?ma (universit? de Tokyo) 18h : Projection de *Les enfants dans la classe*, *?cole des femmes d'un village* de Haneda Sumiko et *Politiques d'une ville, l'apprentissage des m?re* de Tokieda Toshie *R?SERVER* *Samedi 19 novembre ? 14h30* Projection de 2 films Projection de *Papillons du chou et leurs comportements : observation exp?rimentale* et *Le cerisier aux fleurs grises* de Haneda Sumiko, suivie d'une intervention d'?lodie Royer *R?SERVER* *Samedi 19 novembre ? 17h* Projection de 3 films Projection de *prendas ? ngangas ? enquisos ? machines {each part welcomes the other without saying}*, *Becoming Extinct (Wild Grass)* et *Shape Shifting* de Elke Marh?fer, avec Teresa Castro, programmatrice du cycle *R?SERVER* *Dimanche 20 novembre ? 15h* Projection Projection de *Ode au mont Hayachine* de Haneda Sumiko, avec Ricardo Matos Cabo, programmateur du cycle *R?SERVER* *Mardi 22 novembre ? 18h* Projection Projection de *Akiko, portrait d'une danseuse* de Haneda Sumiko, suivie d'une intervention de Kitahara Mariko, historienne de la danse (universit? Paris 8 Vincennes-Saint-Denis et universit? Waseda, Tokyo) *R?SERVER* *Jeudi 24 novembre ? 17h* Projection de 2 films Projection de *Promenade au pays de la vieillesse* de Marianne Ahrne et *Naomi Replansky at 100* de Megan Rossman, avec Nicole Fernandez Ferrer, directrice du Centre audiovisuel Simone-de-Beauvoir *R?SERVER* *Samedi 26 novembre ? 14h30* Projection Projection de *Je veux le soleil* de Sat? Makoto, avec Sat? Tokue, cin?aste *R?SERVER* *Samedi 26 novembre ? 16h* Projection Projection de *Univers de la d?mence s?nile* de Haneda Sumiko, avec Sat? Tokue, cin?aste, pr?sent? par Teresa Castro et Ricardo Matos Cabo, programmateurs du cycle *R?SERVER* *Dimanche 27 novembre ? 15h* Projection Projection de *T?moignages de femmes : pionni?res dans le mouvement ouvrier au Japon* de Haneda Sumiko, avec Christine Levy, historienne des f?minismes au Japon (universit? de Bordeaux Montaigne) *R?SERVER* Cr?dits visuels : *Mura no fujin gakkyu | L??cole des femmes d?un village, *Haneda Sumiko, 1957 ? Kiroku Eiga Hozon Center - *Ky?shitsu no kodomotachi | Les enfants dans la classe, *Hani Susumu, 1954 ? Kiroku Eiga Hozon Center - *Monshirocho: Kodo no jikken teki kansatsu | Papillons du chou et leurs comportements : observation exp?rimentale, *Haneda Sumiko, 1968 ? Kiroku Eiga Hozon Center - *prendas ? ngangas ? enquisos ? machines {each part welcomes the other without saying}, *Elke Marh?fer, 2014 ? Elke Marh?fer - *Hayachine no fu | Ode au mont Hayachine*, Haneda Sumiko, 1982 ? Kanatasha Inc. - Akiko aru dansa no shozo | Akiko, portrait d?une danseuse, Haneda Sumiko, 1987 ? Kanatasha Inc. - *Promenad i de Gamlas Lad | Promenade au pays de la vieillesse, *Marianne Ahrne, 1974 ? Centre audiovisuel Simone de Beauvoir - *Chihosei rojin no sekai | Univers de la d?mence s?nile*, Haneda Sumiko, 1986 ? Kiroku Eiga Hozon Center - *Onnatachi no sh?gen: R?d? und? no naka no senkuteki joseitachi | T?moignages de femmes : pionni?res dans le mouvement ouvrier au Japon, *Haneda Sumiko, 1996 ? Kanatasha Inc. ABONNEZ-VOUS AU PASS IMAGE TOUT L'AGENDA SOUTENU PAR M?C?NE PRIVIL?GI? Les Amis du Jeu de Paume s'associent ? ses activit?s Mettre ? jour mes pr?f?rences Me d?sinscrire de cette liste ? Jeu de Paume 2022 -------------- next part -------------- An HTML attachment was scrubbed... URL: From aaron.gerow at yale.edu Tue Nov 15 00:55:45 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 15 Nov 2022 00:55:45 -0500 Subject: [KineJapan] Omori Kazuki Message-ID: <0224A9D1-27EF-4C68-A65A-D9CC648BD505@yale.edu> The Japanese film director Omori Kazuki died on November 12 at the age of 70. Omori was one of the first directors to emerge from the world of jishu eiga (self produced films), making 8 and 16mm films in school (including Kuraku made matenai, which features Suzuki Seijun), before he made his commercial debut with Orange Road Kyuko in 1979. A graduate of a medical university, Omori's 1980 ATG film Hippocrates-tachi was itself set at a medical university and earned critical accolades. Omori went on to make the first film adaptation of a full length Murakami Haruki novel--one made possible by the fact they both went to the same high school in Kobe--as well as big commercial films such as an entry in the Godzilla series. He later also taught filmmaking at the Osaka University of the Arts. https://www.kobe-np.co.jp/news/culture/202211/0015810160.shtml 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 Sun Nov 20 11:05:15 2022 From: nornes at umich.edu (Markus Nornes) Date: Sun, 20 Nov 2022 11:05:15 -0500 Subject: [KineJapan] Fwd: JAPANESE FILM MATCHMAKING rename to FILM MATCHMAKERS! In-Reply-To: <6b7b8be4-848b-acf3-7646-692287dc4c88@filmmatchmakers.com> References: <6b7b8be4-848b-acf3-7646-692287dc4c88@filmmatchmakers.com> Message-ID: All programmers, check this out! Markus ---------- Forwarded message ------- Dear Friends, We are pleased to announce the launch of our new website! https://filmmatchmakers.com/ *JFM rename to** ... * Japanese Film Matchmaking changes its name to* FILM MATCHMAKERS.* Our aim remains the same: to facilitate meetings of Japanese film rights-holders with potential curators and buyers worldwide. * What?s new on our website? *We have compiled a slate of new film programs for Fall 2022. Nikkatsu Seijun Suzuki 100th Anniversary , Roman Porn 50th Anniversary Free Stone Eiji Okuda restored films, Seijun Suzuki Taisho Trilogy Kadokawa Kenji Misumi , Daiei 80th Anniversary The NEWS section is full of information on Japanese film tribute programs around the world. Here are some examples. =HACHIMIRI MADNESS: JAPANESE INDIES FROM THE PUNK YEARS ?PFF?????????Metrograph in NY 2022 =Retrospective Juzo Itami ????????Taipei Golden Horse Film Festival 2022 =Meiko Kaji, Lady Scorpion ??? ?????Lumi?re Film Festival 2022 =Kazuhiko Hasegawa and Director?s Company (???????????????????) National Film Archive of Japan 2022 If you are interested in talking with the above sales companies, please let us know and we will arrange for free an online meeting. Please feel free to contact us for any inquiry. The Film Matchmakers Team -- --- *Markus Nornes* *Professor of Asian Cinema* 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: -------------- next part -------------- A non-text attachment was scrubbed... Name: CfIyxQ0Pdw7yKIQr.png Type: image/png Size: 6444 bytes Desc: not available URL: From aaron.gerow at yale.edu Tue Nov 22 14:47:29 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Tue, 22 Nov 2022 14:47:29 -0500 Subject: [KineJapan] Tokyo Genzojo Message-ID: <60C03BE3-7E24-4516-93F5-646B7A8AFE3C@yale.edu> Tokyo Genzojo--a name one has seen in the credits of hundreds of Japanese films--will cease operations in November 2023. Founded in 1955 with investments from Toho, Daiei, and others, it first specialized in color film processing, handling everything from Ozu's color films to Toho tokusatsu movies. It eventually became a subsidiary of Toho and has focused on digital restorations and DCP production in the last decades. Its business will be taken over by other related companies. https://av.watch.impress.co.jp/docs/news/1457984.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 aaron.gerow at yale.edu Sun Nov 27 17:09:17 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 27 Nov 2022 17:09:17 -0500 Subject: [KineJapan] Sai Yoichi Message-ID: <58912E33-38DF-4062-9500-338BF61532F3@yale.edu> The film director Sai Yoichi (Choe Yang-il) died on November 27 of cancer. With a Korean father, he went to Korean schools in Japan and came to be the representative zainichi film director, presenting the issue of Koreans in Japan from both a humorous (All Under the Moon) and serious (Blood and Bones) angle. Sai started out on the lighting crew on film sets before becoming an assistant director, even serving as AD for Oshima Nagisa on In the Realm of the Senses (he later appeared as an actor in Oshima's Gohatto). He directed for TV before making his theatrical directorial debut with Jukkai no mosquito in 1983. He made several films for Kadokawa and Daiei before All Under the Moon, which won most of the awards in 1993. I showed that film in my class a couple of weeks ago and it is as fresh as it used to be. One thing to note is that he was also concerned with other minorities in Japan, and even made several films set in Okinawa, including Buta no mukui, which I have written about. Sai, who also served as president of the Director's Guild of Japan, is certainly a central figure in Japanese cinema from the 1980s on. https://english.kyodonews.net/news/2022/11/9fe585748d76-90s-japanese-film-all-under-the-moon-director-yoichi-sai-dies.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 workshopgroup at aol.com Sun Nov 27 21:02:20 2022 From: workshopgroup at aol.com (Aaron Cohen) Date: Mon, 28 Nov 2022 02:02:20 +0000 (UTC) Subject: [KineJapan] Sessue Hayakawa research collection References: <486243140.2931138.1669600940697.ref@mail.yahoo.com> Message-ID: <486243140.2931138.1669600940697@mail.yahoo.com> A re-ordering of priorities obliged me to abandon aresearch project concerning Sessue Hayakawa, and I am looking for theinstitution or researcher that could best use the research materials I havecollected. These materials consist of information from prewar Japanesepublications, Japanese posters, photographs, recent books from Japan about theactor, postcards, a phonograph record and accompanying songbook, tear sheetsfrom Japanese magazines (some in color), the transcript of an oral historyinterview, and a Japanese autobiography, dedicated and signed (completelydifferent from the English book). Regarding the content of the collection, included is ashort article with rare photographs concerning his stage appearance in ?TheHonorable Mr. Wong? as I was particularly concerned with his career on thestage, that has been given little attention. Another area of interest was hisappearance in ?Typhoon? and I collected material in several languages aboutthat work and its various forms (translations, film, stage; in four languages),with the intent of exploring Hayakawa in the context of cultural studies, or rest-of-the-worldperceptions of Japan and the Japanese during the actor?s lifetime. I publisheda study about the ?The Vermilion Pencil,? examining its different versionsincluding the film with Hayakawa ?(at https://www.academia.edu/84112079/_The_Vermilion_Pencil_Ever_Onward_Christian_Soldiers_).This was a novel by geopolitician Homer Lea, best known for his ?Valor of? Ignorance? novel (Japanese translation,????), predicting Japan?sinvasion of the United States.?A copy of a 1921 interview with Louella Parsons isincluded as well as posters and information featuring actor Sojin Kamiyama. A prospectus with details about the collection isavailable upon request. Anyone interested in acquiring the collection isinvited to contact me in New York at 845.663.8654 (cell) or by email at workshopgroup at aol.com. Aaron M. Cohen New Paltz, NY Phone 845.256.0493 or 845.663.8654 (cell) Aaron M. CohenNew Paltz, NYPhone 845.256.0493 or 845.663.8654 (cell)Publications: https://independent.academia.edu/AaronCohen14/Papers -------------- next part -------------- An HTML attachment was scrubbed... URL: From ferranidus at gmail.com Wed Nov 30 10:54:30 2022 From: ferranidus at gmail.com (Ferran de Vargas) Date: Wed, 30 Nov 2022 16:54:30 +0100 Subject: [KineJapan] =?utf-8?q?Japanese_New_Left=27s_Political_Theories_o?= =?utf-8?q?f_Subjectivity_and_=C5=8Cshima_Nagisa=27s_Practice_of_Ci?= =?utf-8?q?nema?= Message-ID: Dear Colleagues, With apologies for cross-posting, please allow me to announce you the publication of an article that I wrote for *positions: asia critique *about ?shima Nagisa's cinema in relation to New Left political theories of subjectivity: https://read.dukeupress.edu/positions/article-abstract/30/4/679/319866/Japanese-New-Left-s-Political-Theories-of?redirectedFrom=fulltext Yours, Ferran de Vargas -------------- next part -------------- An HTML attachment was scrubbed... URL: