From aaron.gerow at yale.edu Thu Sep 1 11:37:16 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 1 Sep 2022 11:37:16 -0400 Subject: [KineJapan] EXTENSION: Noriaki Tsuchimoto Research Grants deadline approaching Message-ID: <09A0FDAA-B3B3-4169-9D27-D30CC1D7BC06@yale.edu> I just wanted to let everyone know that we can accept applications a few days late. We have mentioned that to some interested in applying. But do try to submit an application by September 9 if you can. NORIAKI TSUCHIMOTO RESEARCH GRANTS ????????? The Council on East Asian Studies at Yale University invites applications for grants to support research utilizing the Noriaki Tsuchimoto Papers housed in Manuscripts and Archives in the Yale University Library. The collection is currently comprised of 83 boxes containing materials related to the filmmaking and other activities of the Japanese documentary filmmaker Noriaki Tsuchimoto (1928-2008), who is most famous for recording the struggles over the Minamata mercury poisoning incident and other environmental hazards. The Council will offer up to four (4) grants in FY 2022-2023 to support research utilizing the collection at the level of up to $1200 for researchers traveling from North America and $2200 for those coming from outside North America. Grant funds will be disbursed in the form of reimbursement for travel, lodging, meals, reproductions, and related research expenses. The competition is open to scholars in all parts of the world and from any discipline, but topics that make extensive use of the collection will be prioritized. The application deadline is Wednesday, August 31, 2022. The grant must be used by Wednesday, August 30, 2023. An additional four grants will be available in the 2023-2024 academic year, with the call for applications being posted by July 2023. For more information, please consult the CEAS website: https://ceas.yale.edu/academics/fellowships-grants/noriaki-tsuchimoto-research-grant Aaron Gerow Alfred W. Griswold Professor of East Asian Languages and Literatures and Film and Media Studies Chair, East Asian Languages and LiteraturesYale University 320 York Street, Room 108 PO Box 208201 New Haven, CT 06520-8201 USA Phone: 1-203-432-7082 Fax: 1-203-432-6729 e-mail: aaron.gerow at yale.edu website: www.aarongerow.com -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Fri Sep 2 10:58:42 2022 From: nornes at umich.edu (Markus Nornes) Date: Fri, 2 Sep 2022 10:58:42 -0400 Subject: [KineJapan] Kanto Daishinsai Doc Message-ID: In anticipation of next year's 100th anniversary, the Film Archive has been busy working on the extant films of the disaster (Okajima-san returned for this). The fruits of their labor are gradually going online, and the website they've created is really great. Aside from whole films, they have clips organized by location, etc. But they just uploaded something special. It's the recording of a performance at the archive from last May with benshi accompaniment (Yamashiro Hideyuki) and music (Joichi Yuasa), Matsuda Eigasha regulars. The benshi performance was interesting. It felt very close to talkie documentary soundtracks, which were often running narrations like this. More importantly, it was based on benshi setsumei that were used at the time. The website also has PDFs and open access scans of those scripts, along with Yamashiro's final script and notes from Joichi. Happily, there is closed captioning in Japanese, as some of the old language and lots of the names are tough to follow. Here is the link: https://kantodaishinsai.filmarchives.jp/special/m01_benshi.html I've seen this film many times, but silent in crappy video versions. This looks fine, and the addition of benshi and music transform the film. I found it pretty moving. It's really wonderful that the Film Archive is getting increasingly serious about online resources. This is some high quality work. Their other digital collections are pretty nice; visit if you haven't. There are the posters and stills (https://www.nfaj.go.jp/onlineservice/digital-gallery/), the early animation (https://www.nfaj.go.jp/onlineservice/jafc/), and Meiji films (https://meiji.filmarchives.jp). I do with they were a little more courageous left Meiji and Taisho for more Showa and more feature films. What would REALLY be great is opening up the digitized collection of prewar magazines that sits on a terminal in the library. I discovered that this summer, and it was really fantastic?both in terms of content and interface. Next time you visit their library plan on sitting down and exploring. Markus -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sat Sep 3 07:50:58 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Sat, 3 Sep 2022 20:50:58 +0900 Subject: [KineJapan] 3 documentaries about Ainu by Himeda Tadayoshi Message-ID: Dear all, Apologies for cross-posting, The Japan Foundation in Toronto presents 3 films from the late pioneering filmmaker, Himeda Tadayoshi. Three documentaries about the Ainu people that have rarely been shown outside of Japan. If you're in North America, you can watch them online Sept 2-4. Chise-a-Kar -We Build A House- ? ????? ????????? (1974) I-Omante -The Bear Ritual- ? ????? ?????? (1977) Wedding Ceremony of the Ainus ? ??????? (1971) Register here: https://jftor.org/event/ainu-himeda-tadayoshi/ Regards Matteo -------------- next part -------------- An HTML attachment was scrubbed... URL: From jeremyharley at gmail.com Sun Sep 11 21:41:26 2022 From: jeremyharley at gmail.com (Jeremy Harley) Date: Mon, 12 Sep 2022 10:41:26 +0900 Subject: [KineJapan] Adachi Masao's new film Message-ID: KineJapan! Adachi Masao has already shot a movie about Abe's shooter Yamagami Tetsuya, to be released on the day of Abe's funeral, Sept. 27. https://smart-flash.jp/sociopolitics/200133/1 Adachi called the film?????????????<---revenge against the state. Jeremy Harley Mabashi Movie Festival -------------- next part -------------- An HTML attachment was scrubbed... URL: From earljac at gmail.com Sun Sep 11 21:59:55 2022 From: earljac at gmail.com (Earl Jackson) Date: Mon, 12 Sep 2022 09:59:55 +0800 Subject: [KineJapan] Adachi Masao's new film In-Reply-To: References: Message-ID: That is brilliant news! Thank you! Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz On Mon, Sep 12, 2022 at 9:42 AM Jeremy Harley via KineJapan < kinejapan at mailman.yale.edu> wrote: > KineJapan! > > Adachi Masao has already shot a movie about Abe's shooter Yamagami > Tetsuya, to be released on the day of Abe's funeral, Sept. 27. > > https://smart-flash.jp/sociopolitics/200133/1 > > Adachi called the film?????????????<---revenge against the state. > > Jeremy Harley > Mabashi Movie Festival > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Sep 12 02:17:47 2022 From: nornes at umich.edu (Markus Nornes) Date: Mon, 12 Sep 2022 08:17:47 +0200 Subject: [KineJapan] Adachi Masao's new film In-Reply-To: References: Message-ID: I saw Adachi days after the incident, which he insisted was "murder" not "assassination." He was already deep into the script and preproduction tasks like lining up staff. He was giddy, especially because he had lined up some amount of the budget as well and the plan was to release it the day of the state funeral, which had just been announced. To this end, his other idea was to skip (or more like "screw" in the spirit of things) the usual distribution routes like mini-theaters and instead show the film in clubs (thus, the Loft connection). Ueno Toshiya happened to be at this gathering; needless to say, they had a lot to talk about. As you can imagine, this is his sequel to *Aka Serial Killer.* Markus --- *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* On Mon, Sep 12, 2022 at 3:42 AM Jeremy Harley via KineJapan < kinejapan at mailman.yale.edu> wrote: > KineJapan! > > Adachi Masao has already shot a movie about Abe's shooter Yamagami > Tetsuya, to be released on the day of Abe's funeral, Sept. 27. > > https://smart-flash.jp/sociopolitics/200133/1 > > Adachi called the film?????????????<---revenge against the state. > > Jeremy Harley > Mabashi Movie Festival > > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From sissu at basicray.org Mon Sep 12 03:00:34 2022 From: sissu at basicray.org (sissu tarka) Date: Mon, 12 Sep 2022 09:00:34 +0200 Subject: [KineJapan] Adachi Masao's new film In-Reply-To: References: Message-ID: <20220912090034.Horde.lIyP2zQp_h6hmyfJY17COgn@webmail.servus.at> dear all, all that sounds very interesting and touching. Thank you for sharing but can anyone please translate the content of the new film into English? Sadly I do not have the skills of reading-writing Japanese language. My research on Adachi has started a number of years ago and I am currently connecting landscape film-theory to current ecological 'imagery and 'sensation' in anime/animation. reading weather manipulation past and present. thank you kindly, verina Quoting Markus Nornes via KineJapan : > I saw Adachi days after the incident, which he insisted was "murder" not > "assassination." He was already deep into the script > and preproduction tasks like lining up staff. He was giddy, especially > because he had lined up some amount of the budget as well and the plan was > to release it the day of the state funeral, which had just been announced. > To this end, his other idea was to skip (or more like "screw" in the spirit > of things) the usual distribution routes like mini-theaters and instead > show the film in clubs (thus, the Loft connection). Ueno Toshiya happened > to be at this gathering; needless to say, they had a lot to talk about. > > As you can imagine, this is his sequel to *Aka Serial Killer.* > > Markus > > --- > > *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* > > > > > On Mon, Sep 12, 2022 at 3:42 AM Jeremy Harley via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> KineJapan! >> >> Adachi Masao has already shot a movie about Abe's shooter Yamagami >> Tetsuya, to be released on the day of Abe's funeral, Sept. 27. >> >> https://smart-flash.jp/sociopolitics/200133/1 >> >> Adachi called the film?????????????<---revenge against the state. >> >> Jeremy Harley >> Mabashi Movie Festival >> >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> From aaron.gerow at yale.edu Thu Sep 15 01:26:05 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Thu, 15 Sep 2022 01:26:05 -0400 Subject: [KineJapan] Suzuki Shirouyasu Message-ID: <1FB52AF8-790A-4281-868D-418AD07E4AEA@yale.edu> The family of the poet and filmmaker Suzuki Shirouyasu ????? just announced on Facebook that he passed away on September 8 at age 87. A celebrated poet and a pioneer of personal documentary, he will be sorely missed. Suzuki was long employed as a NHK cameraman, but under the influence of Mekas and others, shot personal documentaries on his own, becoming one of the key figures in the development of that genre in Japan. He later taught at multiple institutions, including Tokyo Zokei, Image Forum, and Tamabi. He was also a very influential poet, winning a number of the major poetry awards. We featured his work at Yamagata, and I more than once had wonderful conversations with him at Nihon Eizo Gakkai. His son uploaded some of his films to Vimeo about a decade ago. You can watch some of his master works, such as Impression of Sunset, there: https://vimeo.com/1904120 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 Thu Sep 15 14:04:50 2022 From: nornes at umich.edu (Markus Nornes) Date: Thu, 15 Sep 2022 14:04:50 -0400 Subject: [KineJapan] Search Announcement Message-ID: Hello all, Tom sent this and the system didn't want to forward it for reasons I can't figure out. So here you go! Markus =========== ---------- Forwarded message ---------- From: Thomas Lamarre To: KineJapan Cc: Bcc: Date: Wed, 14 Sep 2022 13:36:58 +0000 Subject: new position in Chinese or Korean Cinema and Media Studies Dear all, Although this list is devoted primarily to Japanese cinema, I know many of you work with scholars in Chinese and Korean cinema as well. And so I?m writing to draw your attention to a new position in Chinese or Korean Cinema and Media Studies. Please share the posting with anyone you think might be interested. The deadline is October 17th. https://apply.interfolio.com/113190 The Department of Cinema and Media Studies at The University of Chicago is seeking applications for an Assistant Professor in the field of Chinese or Korean Cinema and Media Studies expected to begin July 1, 2023, or as soon as possible thereafter. Applications are invited across a range of specializations including but not limited to digital cinema and media, transnational cinema and media, environmental media, science and technology studies, film and media cultures, women?s studies, gender, and sexuality, or/and critical race studies. The selected candidate will be expected to teach courses in cinema and media theory and history at multiple levels, to supervise research using primary language materials in Chinese or Korean, and to direct doctoral theses. If you have any questions, feel free to contact me directly. Best, Thomas Lamarre -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Thu Sep 15 15:43:07 2022 From: nornes at umich.edu (Markus Nornes) Date: Thu, 15 Sep 2022 15:43:07 -0400 Subject: [KineJapan] Adachi's New Film Message-ID: Here is an article on Adachi's new film, with the first three screenings at Loft live houses. https://rooftop1976.com/news/2022/09/15160000.php Wish I could be there! Markus PS: Adachi's comment: *????????????* *?????????????????????????????????????????????????????????????????????????????????????????????????????????* *????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????* *??????????????????????????????????????????????????????????????????????* *??????????????????????????????????????????????????????????????????????????* *?????????????????????????* --- *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: From macyroger at yahoo.co.uk Sun Sep 18 08:28:34 2022 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 18 Sep 2022 12:28:34 +0000 (UTC) Subject: [KineJapan] Fw: Access to the ICA In-Reply-To: References: Message-ID: <952948959.8321813.1663504114239@mail.yahoo.com> Sorry to bother the rest of the world with this but, for anyone planning to come to the Tsuchimoto screenings later this afternoon (1600 at the ICA in London), there's a late notice of access change, via Carlton House Terrace (see below). I suggest arriving via Piccadilly station and walking down from there.https://www.ica.art/films/my-town-my-youth-the-minamata-mural Roger ----- Forwarded message ----- From: Ricardo To: Roger Macy Sent: Sunday, 18 September 2022 at 13:15:11 BSTSubject: Access to the ICA Dear Roger, I have just received a message from the ICA saying that most of the roads around the Mall have been closed. This is what they sent: "We have opened up 12 Carlton House Terrace entrance, and visitors can access this entrance from Picadilly side. Otherwise they have instigated a one way system from Admiralty Arch (Trafalgar Square side), up to Buckingham Palace and then round to us." I wonder if anyone will be able to go to the screening. Thank you. All the best,Ricardo -------------- next part -------------- An HTML attachment was scrubbed... URL: From daisyyandu at uwalumni.com Thu Sep 22 11:18:30 2022 From: daisyyandu at uwalumni.com (Daisy Yan Du) Date: Thu, 22 Sep 2022 23:18:30 +0800 Subject: [KineJapan] tenure-track position in East Asian Film and Media Studies, Hong Kong University of Science and Technology Message-ID: Dear Colleagues, The Division of Humanities of the Hong Kong University of Science and Technology is seeking a candidate to fill a tenure-track position in East Asian Film and Media Studies. Japanese and Korean specialists are especially welcome to apply. Please feel free to circulate the job position. Thank you very much! Apply here: http://apply.interfolio.com/114001 Best, Daisy Daisy Yan Du, PhD Associate Professor Division of Humanities Hong Kong University of Science and Technology ---------------------------------------------------- Description The Division of Humanities of the Hong Kong University of Science and Technology (HKUST) is searching for suitable candidates to fill a tenure-track position at the level of Assistant Professor in the disciplines of film, media, or cultural studies. Areas of specialization include Chinese-language films, Japanese films, Korean films, East Asian films in comparative perspectives, media studies, or East Asian popular culture. Preference will be given to candidates whose research is border-crossing, interdisciplinary, and integrates the formal analysis of film and media with rigorous theoretical concerns. The position is to be filled beginning in Fall 2023. The successful candidate is expected to contribute to the introductory Common Core course, Critical Thinking, and Data Literacy, and teach courses in east Asian cinema, world cinema, and popular culture that complement current curricular offerings. Apart from a master?s degree program in Chinese Culture and a research postgraduate degree program at both the master?s and doctoral levels under the broad umbrella of the Division of Humanities, the Division offers general education courses for all undergraduates at HKUST. Together with the Division of Social Science, the Division of Humanities offers a multidisciplinary undergraduate major program of BSc in Global China Studies. Qualifications Applicants should have a PhD degree from a reputable university and show promise of becoming a colleague with a publication record of international impact, a record of grant/fellowship application, proven commitment and performance in both undergraduate and graduate teaching, and demonstrated service to the academic community and the public. English is the medium of instruction and administration at HKUST, but native or near-native proficiency in one major East Asian language is expected. HKUST is an institution promoting diversity. We therefore strongly encourage suitable candidates of diverse backgrounds to apply. Application Instructions Applications should be sent via Interfolio together with (i) a cover letter, including a brief statement of research and teaching; (ii) full CV; (iii) two writing samples of chapter/article length work, all in PDF format; and (iv) record of teaching performance and/ or outlines of two proposed undergraduate courses. Three reference letters should be submitted via Interfolio as the preferred method, or directly sent to hmlit at ust.hk. The Search and Appointments Committee of the Division will begin to review the applications from 31 October 2022. The review process will continue until the position is filled. -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Sat Sep 24 22:37:50 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Sun, 25 Sep 2022 11:37:50 +0900 Subject: [KineJapan] Adachi Masao's new film In-Reply-To: <20220912090034.Horde.lIyP2zQp_h6hmyfJY17COgn@webmail.servus.at> References: <20220912090034.Horde.lIyP2zQp_h6hmyfJY17COgn@webmail.servus.at> Message-ID: Dear all, More details about the screenings of Adachi's Revolution + 1: besides the screenings at Loft venues (Osaka and Tokyo), REVOLUTION + 1 will also have a one day screening at various mini-theaters around Japan on September 26th, 27th and 28th: Nagoya, Nagano, Niigata, Kyoto, Okinawa, Ishigaki island (!), Hyogo, Ibaraki... regards Matteo On Mon, 12 Sep 2022, 16:01 sissu tarka via KineJapan, < kinejapan at mailman.yale.edu> wrote: > dear all, > all that sounds very interesting and touching. Thank you for sharing > but can anyone please translate the content of the new film into > English? Sadly I do not have the skills of reading-writing Japanese > language. > My research on Adachi has started a number of years ago and I am > currently connecting landscape film-theory to current ecological > 'imagery and 'sensation' in anime/animation. > reading weather manipulation past and present. > thank you kindly, > verina > > > > Quoting Markus Nornes via KineJapan : > > > I saw Adachi days after the incident, which he insisted was "murder" not > > "assassination." He was already deep into the script > > and preproduction tasks like lining up staff. He was giddy, especially > > because he had lined up some amount of the budget as well and the plan > was > > to release it the day of the state funeral, which had just been > announced. > > To this end, his other idea was to skip (or more like "screw" in the > spirit > > of things) the usual distribution routes like mini-theaters and instead > > show the film in clubs (thus, the Loft connection). Ueno Toshiya happened > > to be at this gathering; needless to say, they had a lot to talk about. > > > > As you can imagine, this is his sequel to *Aka Serial Killer.* > > > > Markus > > > > --- > > > > *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* > > > > > > > > > > On Mon, Sep 12, 2022 at 3:42 AM Jeremy Harley via KineJapan < > > kinejapan at mailman.yale.edu> wrote: > > > >> KineJapan! > >> > >> Adachi Masao has already shot a movie about Abe's shooter Yamagami > >> Tetsuya, to be released on the day of Abe's funeral, Sept. 27. > >> > >> https://smart-flash.jp/sociopolitics/200133/1 > >> > >> Adachi called the film?????????????<---revenge against the state. > >> > >> Jeremy Harley > >> Mabashi Movie Festival > >> > >> > >> > >> _______________________________________________ > >> 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 Alastair.Phillips at warwick.ac.uk Sun Sep 25 06:53:52 2022 From: Alastair.Phillips at warwick.ac.uk (Phillips, Alastair) Date: Sun, 25 Sep 2022 10:53:52 +0000 Subject: [KineJapan] BFI FILM CLASSIC: TOKYO STORY LAUNCH EVENT In-Reply-To: References: Message-ID: Dear friends and colleagues, The Daiwa Foundation in London is kindly hosting a launch event for my forthcoming BFI Film Classic on Tokyo monogatari. It will take place on Friday 18th November 2022 6-8pm. Bookings are now being taken via this weblink: https://dajf.org.uk/event/tokyo-story I look forward to seeing some of you there! With warm wishes, Alastair Friday 18 November 2022 6:00pm ? 7:00pm Tokyo Story Drinks reception: 7:00pm ? 8:00pm 13/14 Cornwall Terrace, Outer Circle (entrance facing Regent's Park), London NW1 4QP Organised by the Daiwa Anglo-Japanese Foundation Ozu Yasujir??s celebrated family drama, Tokyo monogatari/Tokyo Story (1953), is universally acknowledged as one of the most significant Japanese films ever made, and regularly cited as one of the greatest films of all time in polls of leading critics and filmmakers around the world. Telling the moving story of an elderly couple who travel to Tokyo to visit their grown-up children, the film contrasts the behaviour of their children, who are too busy to pay their parents much attention, and their widowed daughter-in-law who treats them with hospitable kindness. In its complex portrait of human motivation and lively sense of social space, it offers a profound and poignant insight into the generational shifts of postwar Japan. Professor Alastair Phillips (University of Warwick), author of a new BFI Film Classic on Tokyo Story (Bloomsbury Publishing, 2022), will give an extended illustrated talk on the film. The presentation will combine a close analysis of the film?s key locations ? the city of Tokyo and the town of Onomichi ? with discussion of its representation of Japanese society at a time of great cultural change. Drawing upon Japanese and English language sources, he will also situate Tokyo Story within various contemporary critical and industrial contexts and examine the multiple international dimensions of the film?s long after-life to understand its enormous contribution to global film culture. Tokyo Story by Alastair Phillips is published by Bloomsbury (2022). It is available for pre-order via: https://www.bloomsbury.com/uk/tokyo-story-9781911239239/ A discount code will be provided for attendees of this event. Professor Alastair Phillips Film and Television Studies School of Creative Arts, Performance and Visual Cultures Faculty of Arts Building University of Warwick Coventry CV4 7EQ UK E: Alastair.Phillips at warwick.ac.uk W: http://www2.warwick.ac.uk/fac/arts/film/staff/phillips/ ________________________________ From: KineJapan on behalf of kinejapan-request at mailman.yale.edu Sent: 25 September 2022 03:38 To: kinejapan at mailman.yale.edu Subject: KineJapan Digest, Vol 52, Issue 6 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. tenure-track position in East Asian Film and Media Studies, Hong Kong University of Science and Technology (Daisy Yan Du) 2. Re: Adachi Masao's new film (matteoB) ---------------------------------------------------------------------- Message: 1 Date: Thu, 22 Sep 2022 23:18:30 +0800 From: Daisy Yan Du To: Japanese Cinema Discussion Forum Cc: Daisy Yan DU Subject: [KineJapan] tenure-track position in East Asian Film and Media Studies, Hong Kong University of Science and Technology Message-ID: Content-Type: text/plain; charset="utf-8" Dear Colleagues, The Division of Humanities of the Hong Kong University of Science and Technology is seeking a candidate to fill a tenure-track position in East Asian Film and Media Studies. Japanese and Korean specialists are especially welcome to apply. Please feel free to circulate the job position. Thank you very much! Apply here: http://apply.interfolio.com/114001 Best, Daisy Daisy Yan Du, PhD Associate Professor Division of Humanities Hong Kong University of Science and Technology ---------------------------------------------------- Description The Division of Humanities of the Hong Kong University of Science and Technology (HKUST) is searching for suitable candidates to fill a tenure-track position at the level of Assistant Professor in the disciplines of film, media, or cultural studies. Areas of specialization include Chinese-language films, Japanese films, Korean films, East Asian films in comparative perspectives, media studies, or East Asian popular culture. Preference will be given to candidates whose research is border-crossing, interdisciplinary, and integrates the formal analysis of film and media with rigorous theoretical concerns. The position is to be filled beginning in Fall 2023. The successful candidate is expected to contribute to the introductory Common Core course, Critical Thinking, and Data Literacy, and teach courses in east Asian cinema, world cinema, and popular culture that complement current curricular offerings. Apart from a master?s degree program in Chinese Culture and a research postgraduate degree program at both the master?s and doctoral levels under the broad umbrella of the Division of Humanities, the Division offers general education courses for all undergraduates at HKUST. Together with the Division of Social Science, the Division of Humanities offers a multidisciplinary undergraduate major program of BSc in Global China Studies. Qualifications Applicants should have a PhD degree from a reputable university and show promise of becoming a colleague with a publication record of international impact, a record of grant/fellowship application, proven commitment and performance in both undergraduate and graduate teaching, and demonstrated service to the academic community and the public. English is the medium of instruction and administration at HKUST, but native or near-native proficiency in one major East Asian language is expected. HKUST is an institution promoting diversity. We therefore strongly encourage suitable candidates of diverse backgrounds to apply. Application Instructions Applications should be sent via Interfolio together with (i) a cover letter, including a brief statement of research and teaching; (ii) full CV; (iii) two writing samples of chapter/article length work, all in PDF format; and (iv) record of teaching performance and/ or outlines of two proposed undergraduate courses. Three reference letters should be submitted via Interfolio as the preferred method, or directly sent to hmlit at ust.hk. The Search and Appointments Committee of the Division will begin to review the applications from 31 October 2022. The review process will continue until the position is filled. -------------- next part -------------- An HTML attachment was scrubbed... URL: ------------------------------ Message: 2 Date: Sun, 25 Sep 2022 11:37:50 +0900 From: matteoB To: Japanese Cinema Discussion Forum Subject: Re: [KineJapan] Adachi Masao's new film Message-ID: Content-Type: text/plain; charset="utf-8" Dear all, More details about the screenings of Adachi's Revolution + 1: besides the screenings at Loft venues (Osaka and Tokyo), REVOLUTION + 1 will also have a one day screening at various mini-theaters around Japan on September 26th, 27th and 28th: Nagoya, Nagano, Niigata, Kyoto, Okinawa, Ishigaki island (!), Hyogo, Ibaraki... regards Matteo On Mon, 12 Sep 2022, 16:01 sissu tarka via KineJapan, < kinejapan at mailman.yale.edu> wrote: > dear all, > all that sounds very interesting and touching. Thank you for sharing > but can anyone please translate the content of the new film into > English? Sadly I do not have the skills of reading-writing Japanese > language. > My research on Adachi has started a number of years ago and I am > currently connecting landscape film-theory to current ecological > 'imagery and 'sensation' in anime/animation. > reading weather manipulation past and present. > thank you kindly, > verina > > > > Quoting Markus Nornes via KineJapan : > > > I saw Adachi days after the incident, which he insisted was "murder" not > > "assassination." He was already deep into the script > > and preproduction tasks like lining up staff. He was giddy, especially > > because he had lined up some amount of the budget as well and the plan > was > > to release it the day of the state funeral, which had just been > announced. > > To this end, his other idea was to skip (or more like "screw" in the > spirit > > of things) the usual distribution routes like mini-theaters and instead > > show the film in clubs (thus, the Loft connection). Ueno Toshiya happened > > to be at this gathering; needless to say, they had a lot to talk about. > > > > As you can imagine, this is his sequel to *Aka Serial Killer.* > > > > Markus > > > > --- > > > > *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* > > > > > > > > > > On Mon, Sep 12, 2022 at 3:42 AM Jeremy Harley via KineJapan < > > kinejapan at mailman.yale.edu> wrote: > > > >> KineJapan! > >> > >> Adachi Masao has already shot a movie about Abe's shooter Yamagami > >> Tetsuya, to be released on the day of Abe's funeral, Sept. 27. > >> > >> https://smart-flash.jp/sociopolitics/200133/1 > >> > >> Adachi called the film?????????????<---revenge against the state. > >> > >> Jeremy Harley > >> Mabashi Movie Festival > >> > >> > >> > >> _______________________________________________ > >> 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: ------------------------------ Subject: Digest Footer _______________________________________________ KineJapan mailing list KineJapan at mailman.yale.edu https://mailman.yale.edu/mailman/listinfo/kinejapan ------------------------------ End of KineJapan Digest, Vol 52, Issue 6 **************************************** -------------- next part -------------- An HTML attachment was scrubbed... URL: From joanne.bernardi at rochester.edu Sun Sep 25 14:54:30 2022 From: joanne.bernardi at rochester.edu (Bernardi, Joanne) Date: Sun, 25 Sep 2022 18:54:30 +0000 Subject: [KineJapan] TT Job ad, CJK broadly defined (U Rochester, Rochester NY) Message-ID: Dear colleagues, Please help me spread the word about a TT Assistant Prof. job opening in the Dept. of Modern Languages and Cultures, Univ. of Rochester. The ad is available on UR, H-Net, AAS and MLA job boards, am also pasting below. We were asked to define the position broadly as a preliminary step in expanding EA studies AT UR, courses/colleagues already in place in CJK language, culture, anthropology, religion, history: ??????The University of Rochester Department of Modern Languages and Cultures (MLC) invites applications for a tenure-track position as Assistant Professor of East Asian Culture. We welcome applications from scholars whose work considers transcultural circulations both within East Asia and beyond its imagined borders. We are interested in, among other possibilities, Sinophonic and likeminded diasporic approaches, Afro-Asian studies, transnational ecocriticism, the cultural productions of ethnic minority groups in East Asia, gender studies, and comparative analysis of East Asian literature, culture, media, and/or philosophy. ?????Alongside a concurrent search in East Asian art and art history, this position represents a preliminary stage in a cluster hire initiative in East Asian Studies at the University of Rochester. The successful candidate will have the opportunity to participate in planning the future of a new direction in East Asian inquiry at the University of Rochester. The successful candidate will be joining the MLC faculty in Japanese studies, Chinese studies, and Korean in addition to Chinese studies faculty in the Departments of Anthropology and Religion. Currently, MLC offers a major and minor in Japanese, a minor in Chinese, and a cluster (a three-course concentration) in Korean. Undergraduate students also have the option of completing an East Asian Studies major or minor through the Multidisciplinary Studies Center. ??????The teaching load is two courses per semester. We encourage applications from scholars interested in teaching courses that extend beyond contemporary studies. MLC faculty also teach core Comparative Literature courses for all department majors that introduce students to different approaches to cultural analysis. MLC faculty are encouraged to contribute to the University?s strong interdisciplinary programs in the Susan B. Anthony Institute for Gender, Sexuality, and Women?s Studies, Literary Translation Studies, Film and Media Studies, Digital Media Studies, and the Graduate Program in Visual and Cultural Studies. Scholars of Afro-Asian studies will benefit from opportunities to collaborate with present and incoming colleagues in the Frederick Douglass Institute for African and African-American Studies. Applicants must have a Ph.D. by appointment and a native or near-native command of at least one East Asian language. To apply, visit https://www.rochester.edu/faculty-recruiting/login and submit the following materials: a cover letter, a teaching statement with potential course offerings, a current CV, a chapter-length writing sample, and three letters of recommendation. The application should be addressed to the ?East Asian Culture Search Committee.? Application review will begin immediately following the November 1, 2022 deadline and will continue until the position is filled. Preliminary interviews will take place by Zoom. Appointment effective July 1, 2023 with teaching duties beginning August 2023. Please address questions pertaining to this search to Professor Will Bridges at wbridges at u.rochester.edu. The University of Rochester, an Equal Opportunity Employer, has a strong commitment to diversity and actively encourages applications from candidates from groups underrepresented in higher education as well as candidates with a demonstrated commitment to diversity and equity. EOE Minorities/Females/Protected Veterans/Disabled Thank you! Joanne Bernardi Professor of Japanese & Visual and Cultural Studies Dept. of Modern Languages and Cultures University of Rochester, PO Box 270082, Rochester NY USA https://www.sas.rochester.edu/mlc/people/faculty/bernardi_joanne/ Project Director, Re-Envisioning Japan: Japan as Destination in 20th Century Visual and Material Culture https://rej.lib.rochester.edu/ -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Mon Sep 26 22:35:44 2022 From: nornes at umich.edu (Markus Nornes) Date: Mon, 26 Sep 2022 22:35:44 -0400 Subject: [KineJapan] Revolution + 1 Talk Show Message-ID: Last night was the premiere of Adachi?s new film Revolution +1. The venue was Loft+1 in Shinjuku. Afterwards, he sat on a panel with musician Darth Raider, Miyadai Shinji, and screenwriter Inoue. They broadcast it live via Vimeo. Now I see that the recorded it and left it up: https://player.vimeo.com/video/753485644?h=09313605ac I look forward to hearing how the film itself is. Everyone at the screening seemed excited. Markus -- --- *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: From jtj53213 at gmail.com Wed Sep 28 02:35:50 2022 From: jtj53213 at gmail.com (John Junkerman) Date: Wed, 28 Sep 2022 15:35:50 +0900 Subject: [KineJapan] Revolution + 1 Talk Show In-Reply-To: References: Message-ID: I managed to get a ticket to the Loft 9 screening, timed to coincide with Abe?s state funeral. The screening started with a remote feed of Adachi Masao, outside Budokan, confined within the police lines that kept protesters away from the venue. The film was remarkable. It uses rain heavily, which is apparently an Adachi trademark. When asked why, he said, ?If I knew, I wouldn?t make films.? But it was clearly a metaphor for the reality that fell upon Kawakami (the renamed killer of Abe, Yamagami) over the years. It is raining in the scene where he kills Abe, at odds with the news footage of the same scene. An early scene shows him in his cell, flooded to his knees. That?s when he begins telling his story. Everyone here is of course familiar with that story: his father?s suicide, his mother?s entrapment in the Unification Church, the family?s impoverishment and bankruptcy, his brother?s suicide. But the depiction of the steady accumulation of humiliation and despair is compelling and empathetic. There is an amazing scene toward the end where the actor, Tamoto Soran, does a frenetic, feverish dance, as if trying to shake off the demons and scales of psychic pain. The film raises lots of questions, and the post-screening discussion delved into issues of perpetrator/victim, the violence of state power, the consequences of loss of family and social support networks, precarity, etc. There was also a good deal of discussion of the Wakamatsu school of filmmaking: the initial script apparently ended with a bomb explosion at the state funeral, which screenwriter Inoue Junichi commented, would might be how Wakamatsu would have ended the film. Instead, Adachi has Kawakami?s sister address the camera to say she respects her brother for doing what he believed he had to do, but that she will follow an alternative path. Adachi said he saw the film as a story about the breakdown of love and connection and that choosing that ending showed that he had matured. To which Inoue quipped, ?It took you 83 years to grow up!? (He included what amounts to a scene of self-criticism, where the daughter of revolutionary activists commiserates with Kawakami, two ?nisei? whose lives and families were sacrificed to their parents? convictions.) The 50-minute rough cut will be finetuned and supplemented into an 80-minute film by the end the year or so. Now that the state funeral (fiasco) is behind us, the film will continue to probe the Unification Church and the other symptoms of social breakdown that remain. Personally, I hope they rethink the. ?Revolution+1? title, which doesn?t really capture the spirit of the film, but perhaps they?re already too deep into promotion, with all the attention the film has gotten. (I tried posting some photos but it put me over the size limit, so I'll just post the text.) John Junkerman On Wed, Sep 28, 2022 at 2:11 PM John Junkerman wrote: > I managed to get a ticket to the Loft 9 screening, timed to coincide with > Abe?s state funeral. The screening started with a remote feed of Adachi > Masao, outside Budokan, confined within the police lines that kept > protesters away from the venue. > > The film was remarkable. It uses rain heavily, which is apparently an > Adachi trademark. When asked why, he said, ?If I knew, I wouldn?t make > films.? But it was clearly a metaphor for the reality that fell upon > Kawakami (the renamed killer of Abe, Yamagami) over the years. It is > raining in the scene where he kills Abe, at odds with the news footage of > the same scene. An early scene shows him in his cell, flooded to his knees. > That?s when he begins telling his story. > > Everyone here is of course familiar with that story: his father?s suicide, > his mother?s entrapment in the Unification Church, the family?s > impoverishment and bankruptcy, his brother?s suicide. But the depiction of > the steady accumulation of humiliation and despair is compelling and > empathetic. There is an amazing scene toward the end where the actor, > Tamoto Soran, does a frenetic, feverish dance, as if trying to shake off > the demons and scales of psychic pain. > > The film raises lots of questions, and the post-screening discussion > delved into issues of perpetrator/victim, the violence of state power, the > consequences of loss of family and social support networks, precarity, etc. > There was also a good deal of discussion of the Wakamatsu school of > filmmaking: the initial script apparently ended with a bomb explosion at > the state funeral, which screenwriter Inoue Junichi commented, would might > be how Wakamatsu would have ended the film. Instead, Adachi has Kawakami?s > sister address the camera to say she respects her brother for doing what he > believed he had to do, but that she will follow an alternative path. Adachi > said he saw the film as a story about the breakdown of love and connection > and that choosing that ending showed that he had matured. To which Inoue > quipped, ?It took you 83 years to grow up!? (He included what amounts to a > scene of self-criticism, where the daughter of revolutionary activists > commiserates with Kawakami, two ?nisei? whose lives and families were > sacrificed to their parents? convictions.) > > The 50-minute rough cut will be finetuned and supplemented into an > 80-minute film by the end the year or so. Now that the state funeral > (fiasco) is behind us, the film will continue to probe the Unification > Church and the other symptoms of social breakdown that remain. Personally, > I hope they rethink the. ?Revolution+1? title, which doesn?t really capture > the spirit of the film, but perhaps they?re already too deep into > promotion, with all the attention the film has gotten. > > I'll attach a couple of photos: Adachi with Tamoto and other cast members; > and the panel, with Inoue on the left. > > > John Junkerman > > On Tue, Sep 27, 2022 at 11:36 AM Markus Nornes via KineJapan < > kinejapan at mailman.yale.edu> wrote: > >> Last night was the premiere of Adachi?s new film Revolution +1. >> >> The venue was Loft+1 in Shinjuku. Afterwards, he sat on a panel with >> musician Darth Raider, Miyadai Shinji, and screenwriter Inoue. They >> broadcast it live via Vimeo. Now I see that the recorded it and left it up: >> >> https://player.vimeo.com/video/753485644?h=09313605ac >> >> I look forward to hearing how the film itself is. Everyone at the >> screening seemed excited. >> >> Markus >> -- >> --- >> >> *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* >> >> >> _______________________________________________ >> KineJapan mailing list >> KineJapan at mailman.yale.edu >> https://mailman.yale.edu/mailman/listinfo/kinejapan >> > > > - > -- John Junkerman jtj53213 at gmail.com 2-18-6 Ehara-cho, Nakano Tokyo 165-0023 -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Wed Sep 28 02:57:53 2022 From: matteo.boscarol at gmail.com (matteoB) Date: Wed, 28 Sep 2022 15:57:53 +0900 Subject: [KineJapan] Revolution + 1 Talk Show In-Reply-To: References: Message-ID: Thank you very much for the report John, I was at the screening in Nagoya, Adachi, Inoue and others were there after the screenings and they said that all the screenings around Japan were sold out. I also found the part when Kawakami talk with the daughter of a revolutionary activist very significant. The music by ?tomo Yoshihide was also fitting. The screening itself was an event of resistance in my opinion, I could feel the energy filling the small theater. Regards Matteo Il giorno mer 28 set 2022 alle ore 15:36 John Junkerman via KineJapan < kinejapan at mailman.yale.edu> ha scritto: > I managed to get a ticket to the Loft 9 screening, timed to coincide with > Abe?s state funeral. The screening started with a remote feed of Adachi > Masao, outside Budokan, confined within the police lines that kept > protesters away from the venue. > > The film was remarkable. It uses rain heavily, which is apparently an > Adachi trademark. When asked why, he said, ?If I knew, I wouldn?t make > films.? But it was clearly a metaphor for the reality that fell upon > Kawakami (the renamed killer of Abe, Yamagami) over the years. It is > raining in the scene where he kills Abe, at odds with the news footage of > the same scene. An early scene shows him in his cell, flooded to his knees. > That?s when he begins telling his story. > > Everyone here is of course familiar with that story: his father?s suicide, > his mother?s entrapment in the Unification Church, the family?s > impoverishment and bankruptcy, his brother?s suicide. But the depiction of > the steady accumulation of humiliation and despair is compelling and > empathetic. There is an amazing scene toward the end where the actor, > Tamoto Soran, does a frenetic, feverish dance, as if trying to shake off > the demons and scales of psychic pain. > > The film raises lots of questions, and the post-screening discussion > delved into issues of perpetrator/victim, the violence of state power, the > consequences of loss of family and social support networks, precarity, etc. > There was also a good deal of discussion of the Wakamatsu school of > filmmaking: the initial script apparently ended with a bomb explosion at > the state funeral, which screenwriter Inoue Junichi commented, would might > be how Wakamatsu would have ended the film. Instead, Adachi has Kawakami?s > sister address the camera to say she respects her brother for doing what he > believed he had to do, but that she will follow an alternative path. Adachi > said he saw the film as a story about the breakdown of love and connection > and that choosing that ending showed that he had matured. To which Inoue > quipped, ?It took you 83 years to grow up!? (He included what amounts to a > scene of self-criticism, where the daughter of revolutionary activists > commiserates with Kawakami, two ?nisei? whose lives and families were > sacrificed to their parents? convictions.) > > The 50-minute rough cut will be finetuned and supplemented into an > 80-minute film by the end the year or so. Now that the state funeral > (fiasco) is behind us, the film will continue to probe the Unification > Church and the other symptoms of social breakdown that remain. Personally, > I hope they rethink the. ?Revolution+1? title, which doesn?t really capture > the spirit of the film, but perhaps they?re already too deep into > promotion, with all the attention the film has gotten. > > (I tried posting some photos but it put me over the size limit, so I'll > just post the text.) > > > John Junkerman > > On Wed, Sep 28, 2022 at 2:11 PM John Junkerman wrote: > >> I managed to get a ticket to the Loft 9 screening, timed to coincide with >> Abe?s state funeral. The screening started with a remote feed of Adachi >> Masao, outside Budokan, confined within the police lines that kept >> protesters away from the venue. >> >> The film was remarkable. It uses rain heavily, which is apparently an >> Adachi trademark. When asked why, he said, ?If I knew, I wouldn?t make >> films.? But it was clearly a metaphor for the reality that fell upon >> Kawakami (the renamed killer of Abe, Yamagami) over the years. It is >> raining in the scene where he kills Abe, at odds with the news footage of >> the same scene. An early scene shows him in his cell, flooded to his knees. >> That?s when he begins telling his story. >> >> Everyone here is of course familiar with that story: his father?s >> suicide, his mother?s entrapment in the Unification Church, the family?s >> impoverishment and bankruptcy, his brother?s suicide. But the depiction of >> the steady accumulation of humiliation and despair is compelling and >> empathetic. There is an amazing scene toward the end where the actor, >> Tamoto Soran, does a frenetic, feverish dance, as if trying to shake off >> the demons and scales of psychic pain. >> >> The film raises lots of questions, and the post-screening discussion >> delved into issues of perpetrator/victim, the violence of state power, the >> consequences of loss of family and social support networks, precarity, etc. >> There was also a good deal of discussion of the Wakamatsu school of >> filmmaking: the initial script apparently ended with a bomb explosion at >> the state funeral, which screenwriter Inoue Junichi commented, would might >> be how Wakamatsu would have ended the film. Instead, Adachi has Kawakami?s >> sister address the camera to say she respects her brother for doing what he >> believed he had to do, but that she will follow an alternative path. Adachi >> said he saw the film as a story about the breakdown of love and connection >> and that choosing that ending showed that he had matured. To which Inoue >> quipped, ?It took you 83 years to grow up!? (He included what amounts to a >> scene of self-criticism, where the daughter of revolutionary activists >> commiserates with Kawakami, two ?nisei? whose lives and families were >> sacrificed to their parents? convictions.) >> >> The 50-minute rough cut will be finetuned and supplemented into an >> 80-minute film by the end the year or so. Now that the state funeral >> (fiasco) is behind us, the film will continue to probe the Unification >> Church and the other symptoms of social breakdown that remain. Personally, >> I hope they rethink the. ?Revolution+1? title, which doesn?t really capture >> the spirit of the film, but perhaps they?re already too deep into >> promotion, with all the attention the film has gotten. >> >> I'll attach a couple of photos: Adachi with Tamoto and other cast >> members; and the panel, with Inoue on the left. >> >> >> John Junkerman >> >> On Tue, Sep 27, 2022 at 11:36 AM Markus Nornes via KineJapan < >> kinejapan at mailman.yale.edu> wrote: >> >>> Last night was the premiere of Adachi?s new film Revolution +1. >>> >>> The venue was Loft+1 in Shinjuku. Afterwards, he sat on a panel with >>> musician Darth Raider, Miyadai Shinji, and screenwriter Inoue. They >>> broadcast it live via Vimeo. Now I see that the recorded it and left it up: >>> >>> https://player.vimeo.com/video/753485644?h=09313605ac >>> >>> I look forward to hearing how the film itself is. Everyone at the >>> screening seemed excited. >>> >>> Markus >>> -- >>> --- >>> >>> *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* >>> >>> >>> _______________________________________________ >>> KineJapan mailing list >>> KineJapan at mailman.yale.edu >>> https://mailman.yale.edu/mailman/listinfo/kinejapan >>> >> >> >> - >> > > > -- > John Junkerman > jtj53213 at gmail.com > 2-18-6 Ehara-cho, Nakano > Tokyo 165-0023 > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > -------------- next part -------------- An HTML attachment was scrubbed... URL: From jtj53213 at gmail.com Wed Sep 28 01:11:44 2022 From: jtj53213 at gmail.com (John Junkerman) Date: Wed, 28 Sep 2022 14:11:44 +0900 Subject: [KineJapan] Revolution + 1 Talk Show In-Reply-To: References: Message-ID: I managed to get a ticket to the Loft 9 screening, timed to coincide with Abe?s state funeral. The screening started with a remote feed of Adachi Masao, outside Budokan, confined within the police lines that kept protesters away from the venue. The film was remarkable. It uses rain heavily, which is apparently an Adachi trademark. When asked why, he said, ?If I knew, I wouldn?t make films.? But it was clearly a metaphor for the reality that fell upon Kawakami (the renamed killer of Abe, Yamagami) over the years. It is raining in the scene where he kills Abe, at odds with the news footage of the same scene. An early scene shows him in his cell, flooded to his knees. That?s when he begins telling his story. Everyone here is of course familiar with that story: his father?s suicide, his mother?s entrapment in the Unification Church, the family?s impoverishment and bankruptcy, his brother?s suicide. But the depiction of the steady accumulation of humiliation and despair is compelling and empathetic. There is an amazing scene toward the end where the actor, Tamoto Soran, does a frenetic, feverish dance, as if trying to shake off the demons and scales of psychic pain. The film raises lots of questions, and the post-screening discussion delved into issues of perpetrator/victim, the violence of state power, the consequences of loss of family and social support networks, precarity, etc. There was also a good deal of discussion of the Wakamatsu school of filmmaking: the initial script apparently ended with a bomb explosion at the state funeral, which screenwriter Inoue Junichi commented, would might be how Wakamatsu would have ended the film. Instead, Adachi has Kawakami?s sister address the camera to say she respects her brother for doing what he believed he had to do, but that she will follow an alternative path. Adachi said he saw the film as a story about the breakdown of love and connection and that choosing that ending showed that he had matured. To which Inoue quipped, ?It took you 83 years to grow up!? (He included what amounts to a scene of self-criticism, where the daughter of revolutionary activists commiserates with Kawakami, two ?nisei? whose lives and families were sacrificed to their parents? convictions.) The 50-minute rough cut will be finetuned and supplemented into an 80-minute film by the end the year or so. Now that the state funeral (fiasco) is behind us, the film will continue to probe the Unification Church and the other symptoms of social breakdown that remain. Personally, I hope they rethink the. ?Revolution+1? title, which doesn?t really capture the spirit of the film, but perhaps they?re already too deep into promotion, with all the attention the film has gotten. I'll attach a couple of photos: Adachi with Tamoto and other cast members; and the panel, with Inoue on the left. John Junkerman On Tue, Sep 27, 2022 at 11:36 AM Markus Nornes via KineJapan < kinejapan at mailman.yale.edu> wrote: > Last night was the premiere of Adachi?s new film Revolution +1. > > The venue was Loft+1 in Shinjuku. Afterwards, he sat on a panel with > musician Darth Raider, Miyadai Shinji, and screenwriter Inoue. They > broadcast it live via Vimeo. Now I see that the recorded it and left it up: > > https://player.vimeo.com/video/753485644?h=09313605ac > > I look forward to hearing how the film itself is. Everyone at the > screening seemed excited. > > Markus > -- > --- > > *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* > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > - -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: IMG_0263.jpg Type: image/jpeg Size: 720679 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: IMG_0267.jpg Type: image/jpeg Size: 675966 bytes Desc: not available URL: From mbsas at berkeley.edu Wed Sep 28 20:06:02 2022 From: mbsas at berkeley.edu (Miryam Sas) Date: Wed, 28 Sep 2022 17:06:02 -0700 Subject: [KineJapan] my book is coming out! Message-ID: Hi all, Just a headsup that you can download the intro to my new book, "Feeling Media: Potentiality and the Afterlife of Japan" for free here : and get 30% off at Duke's website with the code E22SAS. Thanks to Tom LaMarre and Daisuke Miyao for writing great endorsements! Thanks to all of you who helped this happen in so many ways. All the best, Miryam Details below: *Subjects* Media Studies , Asian Studies > East Asia , Art and Visual Culture > Art Criticism and Theory In *Feeling Media* Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale?the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists?especially those responding to the Fukushima disaster?adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system. ?*Feeling Media* takes up the essential question posed by media artists of the 1960s, which continues to haunt us. Telecommunications, touted to bring us closer together, have instead riddled everyday life with new forms of distance and alienation?what kind of politics is equal to this situation? Miryam Sas?s profound engagement with Japan?s transmedia art advances a practical and orphic response: feel media otherwise.? ? Thomas Lamarre, Cinema and Media Studies/East Asian Languages and Civilizations, University of Chicago ?*Feeling Media* is a must-read for anyone interested in media ecology and eager to explore how to live as a global citizen in a world swamped in new media. By questioning and overcoming the Eurocentric perspective and formation of media theory, it will be a field-defining book in media studies and contemporary Japanese art.? ? Daisuke Miyao, author of *Japonisme and the Birth of Cinema* -- *Miryam Sas* Professor, Comparative Literature, Film & Media, Japanese Arts University of California, Berkeley *Feeling Media: Potentiality and the Afterlife of Art *(Duke University Press, available for pre-order now.) For 30% off use coupon code E22SAS You can read/download the introduction here or check the flyer here . -------------- next part -------------- An HTML attachment was scrubbed... URL: From rodica-livia.monnet at umontreal.ca Wed Sep 28 20:59:15 2022 From: rodica-livia.monnet at umontreal.ca (Rodica-Livia Monnet) Date: Thu, 29 Sep 2022 00:59:15 +0000 Subject: [KineJapan] From Livia Monnet, congratulations, another book announcement In-Reply-To: References: Message-ID: Congratulations, Miriam, what a fabulous book. Already read the intro, can?t wait to read all the volume. I pre-ordered it, and I asked our library to order it too. Since Miriam mentions post-Fukushima art, I take to liberty to announce the publication of my book, Toxic Immanence: Decolonizing Nuclear Legacies and Futures. Tom Lamarre has a great chapter on ShinGojira in it. With contributions by John Masco, Mick Broderick, Sarah Kanouse and Shiloh Krupar, Peter van Wyck, Sezin Top?u, Robert Bo Jacobs, Jessica Hurley and more. A brief description and Table of Contents is attached. The publisher?s blurb is here: https://www.mqup.ca/toxic-immanence-products-9780228011361.php With apologies for the self-promotion, and in hopes that some of you will find some chapters of the book useful. Livia Livia Monnet Professor of Comparative Literature, Film, Asian Studies, and Environmental Humanities University of Montreal De : KineJapan de la part de Miryam Sas via KineJapan Date : jeudi, 29 septembre 2022 ? 02:08 ? : Japanese Cinema Discussion Forum Cc : Miryam Sas Objet : [KineJapan] my book is coming out! Hi all, Just a headsup that you can download the intro to my new book, "Feeling Media: Potentiality and the Afterlife of Japan" for free here: and get 30% off at Duke's website with the code E22SAS. Thanks to Tom LaMarre and Daisuke Miyao for writing great endorsements! Thanks to all of you who helped this happen in so many ways. All the best, Miryam Details below: Subjects Media Studies, Asian Studies > East Asia, Art and Visual Culture > Art Criticism and Theory In Feeling Media Miryam Sas explores the potentialities and limitations of media theory and media art in Japan. Opening media studies and affect theory up to a deeper engagement with works and theorists outside Euro-America, Sas offers a framework of analysis she calls the affective scale?the space where artists and theorists work between the level of the individual and larger global and historical shifts. She examines intermedia, experimental animation, and Marxist theories of the culture industries of the 1960s and 1970s in the work of artists and thinkers ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and the Three Animators' Group to art critic Hanada Kiyoteru and landscape theorist Matsuda Masao. She also outlines how twenty-first-century Japanese artists?especially those responding to the Fukushima disaster?adopt and adapt this earlier work to reframe ideas about collectivity, community, and connectivity in the space between the individual and the system. ?Feeling Media takes up the essential question posed by media artists of the 1960s, which continues to haunt us. Telecommunications, touted to bring us closer together, have instead riddled everyday life with new forms of distance and alienation?what kind of politics is equal to this situation? Miryam Sas?s profound engagement with Japan?s transmedia art advances a practical and orphic response: feel media otherwise.? ? Thomas Lamarre, Cinema and Media Studies/East Asian Languages and Civilizations, University of Chicago ?Feeling Media is a must-read for anyone interested in media ecology and eager to explore how to live as a global citizen in a world swamped in new media. By questioning and overcoming the Eurocentric perspective and formation of media theory, it will be a field-defining book in media studies and contemporary Japanese art.? ? Daisuke Miyao, author of Japonisme and the Birth of Cinema -- Miryam Sas Professor, Comparative Literature, Film & Media, Japanese Arts University of California, Berkeley Feeling Media: Potentiality and the Afterlife of Art (Duke University Press, available for pre-order now.) For 30% off use coupon code E22SAS You can read/download the introduction here or check the flyer here. -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: ToxicImmanencePublicationAnnouncementSept2022.docx Type: application/vnd.openxmlformats-officedocument.wordprocessingml.document Size: 296038 bytes Desc: ToxicImmanencePublicationAnnouncementSept2022.docx URL: From pslarson2 at gmail.com Wed Sep 28 21:03:34 2022 From: pslarson2 at gmail.com (Peter Larson) Date: Wed, 28 Sep 2022 21:03:34 -0400 Subject: [KineJapan] my book is coming out! In-Reply-To: References: Message-ID: Congratulations?? On Wed, Sep 28, 2022 at 8:07 PM Miryam Sas via KineJapan < kinejapan at mailman.yale.edu> wrote: > Hi all, > Just a headsup that you can download the intro to my new book, "Feeling > Media: Potentiality and the Afterlife of Japan" for free here > : and get 30% off at Duke's website with the > code E22SAS. > Thanks to Tom LaMarre and Daisuke Miyao for writing great endorsements! > Thanks to all of you who helped this happen in so many ways. > All the best, > Miryam > > Details below: > > *Subjects* > Media Studies > > , Asian Studies > > > East Asia > > , Art and Visual Culture > > > Art Criticism and Theory > > In *Feeling Media* Miryam Sas explores the potentialities and limitations > of media theory and media art in Japan. Opening media studies and affect > theory up to a deeper engagement with works and theorists outside > Euro-America, Sas offers a framework of analysis she calls the affective > scale?the space where artists and theorists work between the level of the > individual and larger global and historical shifts. She examines > intermedia, experimental animation, and Marxist theories of the culture > industries of the 1960s and 1970s in the work of artists and thinkers > ranging from filmmaker Matsumoto Toshio, photographer Nakahira Takuma, and > the Three Animators' Group to art critic Hanada Kiyoteru and landscape > theorist Matsuda Masao. She also outlines how twenty-first-century Japanese > artists?especially those responding to the Fukushima disaster?adopt and > adapt this earlier work to reframe ideas about collectivity, community, and > connectivity in the space between the individual and the system. > > ?*Feeling Media* takes up the essential question posed by media artists > of the 1960s, which continues to haunt us. Telecommunications, touted to > bring us closer together, have instead riddled everyday life with new forms > of distance and alienation?what kind of politics is equal to this > situation? Miryam Sas?s profound engagement with Japan?s transmedia art > advances a practical and orphic response: feel media otherwise.? ? Thomas > Lamarre, Cinema and Media Studies/East Asian Languages and Civilizations, > University of Chicago > > ?*Feeling Media* is a must-read for anyone interested in media ecology > and eager to explore how to live as a global citizen in a world swamped in > new media. By questioning and overcoming the Eurocentric perspective and > formation of media theory, it will be a field-defining book in media > studies and contemporary Japanese art.? ? Daisuke Miyao, author of *Japonisme > and the Birth of Cinema* > -- > *Miryam Sas* > Professor, Comparative Literature, Film & Media, Japanese Arts > University of California, Berkeley > > *Feeling Media: Potentiality and the Afterlife of Art > *(Duke University Press, > available for pre-order now.) For 30% off use coupon code E22SAS > You can read/download the introduction here > or > check the flyer here > > . > > > > > > > _______________________________________________ > 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 Wed Sep 28 23:33:15 2022 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Wed, 28 Sep 2022 23:33:15 -0400 Subject: [KineJapan] TT job in Korean literature/media at Yale Message-ID: <2DECF8AA-8747-490C-A02D-F2527088A670@yale.edu> This is not a job centered on Japan, but we are encouraging scholars who might be doing comparative work between, for instance, Korea and Japan, to apply. Position Description The Department of East Asian Languages and Literatures at Yale University is looking to hire a tenure-track appointment at the rank of assistant professor in Korean literature/media and/or related humanities fields beginning July 1, 2023. Scholars of both premodern and modern Korea will be considered, and we encourage applications from scholars with any area of specialization, including those whose work traverses? multiple East Asian languages and/or is comparative in method. The teaching expectation is normally four courses per academic year, plus service to the program. Qualifications The appointee must hold a Ph.D. or equivalent degree or have completed all requirements for the Ph.D. by June 1, 2023. Applicants should have native or near-native fluency in Korean. Application Instructions Applicants should submit an application via http://apply.interfolio.com/113055 They should submit a cover letter, CV, teaching statement, writing sample (less than 30 pages in length), and arrange for three letters of recommendation. Review of applications will begin October 30 and will continue until the position is filled. For questions regarding this position, please email the chair of the search committee: Aaron Gerow (aaron.gerow at yale.edu). Equal Employment Opportunity Statement Yale University is an Affirmative Action/Equal Opportunity employer. Yale values diversity among its students, staff, and faculty and strongly welcomes applications from women, persons with disabilities, protected veterans, and underrepresented minorities. -------------- next part -------------- An HTML attachment was scrubbed... URL: From williamjamescarroll at gmail.com Thu Sep 29 18:59:20 2022 From: williamjamescarroll at gmail.com (William Carroll) Date: Thu, 29 Sep 2022 16:59:20 -0600 Subject: [KineJapan] Upcoming Suzuki Seijun Screenings Message-ID: Hello everyone, I mentioned a few months ago on this listserv that I was arranging some screenings of Suzuki Seijun films in the coming months to coordinate with the release of my book, *Suzuki Seijun and Postwar Japanese Cinema*. I'm happy to announce the first three venues for the traveling retrospective. Beginning next week, the University of Oklahoma will be playing *Tokyo Drifter* and *Satan's Town* (October 3rd), *Carmen from Kawachi* and *A Tale of Sorrow and Sadness* (October 7th), and *Love Letter *and *Kagero-za* (October 9th). In early November, Bard College will be playing *Love Letter *and *Satan's Town* on November 7th and *Tokyo Drifter* on November 14th. I will also be doing an in-person discussion event at Bard on November 8th. Also in early November, Duke University will be playing *Tokyo Drifter* on November 4th , *Carmen from Kawachi* on November 10th , and *Kagero-za* on November 11th . I will be at Duke to introduce *Carmen from Kawachi* and *Kagero-za*. There are some more venues in the US lined up between late November and March 2023, but I will wait until the venues post official announcements before I post them here. The prints for these films will be moving to Canada starting in April 2023. If you're interested in booking one or more of these films, let me know and we'll see if it's possible to fit some more screenings in. Best, Will -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Japanese Film Series.pdf Type: application/pdf Size: 11037051 bytes Desc: not available URL: