From nornes at umich.edu Wed May 3 11:09:10 2023 From: nornes at umich.edu (Markus Nornes) Date: Wed, 3 May 2023 11:09:10 -0400 Subject: [KineJapan] Summer Doc Course at Atene Message-ID: For those in Tokyo this summer, there is a precious chance to see canonical documentary films that rarely get shown. Tsutsui Takefumi is holding a seminar at Atene. The selection of films and themes is excellent. http://www.athenee.net/culturalcenter/program/do/documentary2023_1.html 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 macyroger at yahoo.co.uk Sun May 7 17:32:13 2023 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 7 May 2023 21:32:13 +0000 (UTC) Subject: [KineJapan] FEFF 25 References: <2109345013.7357760.1683495134144.ref@mail.yahoo.com> Message-ID: <2109345013.7357760.1683495134144@mail.yahoo.com> Far East Film Festival at Udinewas back in full swing late last month. Besides a full programme at the largeTeatro Nuovo from 9am till past midnight for nearly nine days, there were threeor four films a day at the Visionario, a longish kilometre away on the oppositeside of the city. FEFF does a remarkable job of filling its large theatre, mainly withpeople from the nearby region to see films from East Asiaand Southeast Asia. But, to do so, it employs a barrageof breathless publicity which a film scholar has to shield against to avoid discouragement.I think I am now managing that for the Japanese films but for others, inretrospect, without realizing it, I still allowed myself to be put off somethat may well have been rewarding when I finally found time to read thecatalogue entries. For example, I ought to have tried the Taiwanese ?TeenageFugitive? by CHANG Pei-cheng which the catalogue variously describes asrealistic, social realism, vividly depicted the sense of alienation permeating.... The blurb had it as ?irresistible comedy?. That film was in the strand?A/B side? from 80s & 90s ?before FEFF existed?. But, to be fair to myself,I had little more than four days there and, for example, finally caught ?2/Duo?by SUWA Nobuhiro, blurbed as ?Amour fou? but which I saw as depicting anabusive relationship, hard to watch due to the terrific acting and to herkeeping coming back for more, even at the end. Mark Schilling?s catalogue entrywas fair and thoughtful. There were also some documentaries. We should not read too much inKOREEDA Hirokazu being the only Japanese filmmaker in ?Jiseok?, the tribute tothe late director of Busan I.F.F., as only one filmmaker from each country wasrepresented. Although the business of the attempted sacking was referred to, viewerswould be disappointed if they expected the controversy unravelled. I guess it?sright that Kim should not be defined by that sorry episode. That story ought tobelong to those who initiated it. There were also two documentaries on Japanesesubjects ? one by Yves Montmayeur, ?Kaidan?, which I?ll have to find elsewhere,and a doc. on AUM by the American-based Ben Braun and Chiaki Yanagimoto. Basedsubstantially on the investigative work of David E. Kaplan and Andrew Marshall,I think it benefited greatly from its more western investigative methodology, validatedby going back to Japanese sources. Their film didn?t mention the previousdocumentaries by MORI Tatsuya, KUMAI Kei and others, which assumed more priorknowledge, but it richly complemented them. Those Japanese archives showed ushow much Asahara of AUM was indulged by the media, even after the lawyer(SAKAMOTO) pursuing their abusive extraction of family funds was ?disappeared?along with his family. KITANO Takeshi on his TV programme made Asaharaparticularly lovable. So, it was illuminating for me to watch just after this the 1969 Otokowa tsurai yo, where the lovable Tora-san was showing selling fake medicines? Asahara?s original career launch. It had seemed as good a time and place asany for me to finally lose my Tora-san virginity by seeing a complete episode ?the first. That film was showing as part of a tribute to BAISH? Chieko, on the backof a screening of ?Plan 75?. I had seen here the original 19-minute section inthe compendium ?Ten Years Japan?. It had been transformed, with entirely newroles for Baish? and Stefanie ARIANNE. For me, it went to show what scriptdevelopment funding might do for some other Japanese independent films. Alsonice to see, in an industry notorious for ditching slightly older actresses infavour of younger talent to play their roles, was that Baish? here gets to playa mere 76-year-old. Not gaining any awards but well-received was ?Egoist?, written anddirected by MATSUNAGA Daishi, from the novel by YAKAYAMA Makoto. Something of afilm of two halves, the music by SEBU Hiroko didn?t just change, it stoppedcompletely when a phone call comes out of the blue. The rich, dreamy musicaccompanied a growing love between a fashion photographer and his personaltrainer which deepened in sincerity. Matsunaga was at one of the many FEFF filmpanels where he was challenged on gay lovers being acted by straight actors.His answer was that there were few box-office-names who had come out in Japan.In any case, it was beautifully acted. On the same panel were the director and actor of ?She Is Me, I Am Her?(NAKAMURA Mayu). ?Actor? in the singular isn?t exactly all the cast, but Nahanadoes have the main role in all four sections.?Nahana told us that she wanted to convey contrasted sides to loneliness,something in which they succeed, without it being a dreary film.? This was a ?Covid? film ? necessarily madewith limited cast but also about the only film to mention the great disturbanceto festivals, films and much else in the previous two years. That greatenveloping topic only really appeared here on the reviews of the national filmindustries which are in the catalogue. Mark Schilling also got on a credit list as the author of the originalstory for ?Convenience Story?. Mark told us he gave MIKI Satoshi a free hand toadapt it, which he did in this siren tale. Although Mark, in his talk, hadcompared konbini stores to purgatorio for their ability to sustain lifein a state of non-satisfaction, I had always thought of them more as infernodue to the zombifying muzak. So, I was greatly relieved that the detachmentfrom realism in the film extended to the music by UENO K?ji, which hadinteresting nourishment. There was much more, of course, and one piece of good news is that ChrisBerry will resume his FEFF reviews for Senses of Cinema, having seenmore, and different, films than me. Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: -------------- next part -------------- A non-text attachment was scrubbed... Name: Kitano endorsed AUM.jpg Type: image/jpeg Size: 147546 bytes Desc: not available URL: -------------- next part -------------- A non-text attachment was scrubbed... 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Name: A & Tora-san were fake medicine sellers .jpg Type: image/jpeg Size: 145574 bytes Desc: not available URL: From cjsuzukibaruch at gmail.com Sun May 7 17:52:21 2023 From: cjsuzukibaruch at gmail.com (CJ Suzuki (Baruch College, CUNY)) Date: Sun, 7 May 2023 17:52:21 -0400 Subject: [KineJapan] KineJapan Digest, Vol 60, Issue 2 In-Reply-To: References: Message-ID: On Sun, May 7, 2023 at 5:34 PM wrote: > 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. FEFF 25 (Roger Macy) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Sun, 7 May 2023 21:32:13 +0000 (UTC) > From: Roger Macy > To: KineJapan discussion forum > Subject: [KineJapan] FEFF 25 > Message-ID: <2109345013.7357760.1683495134144 at mail.yahoo.com> > Content-Type: text/plain; charset="utf-8" > > > Far East Film Festival at Udinewas back in full swing late last month. > Besides a full programme at the largeTeatro Nuovo from 9am till past > midnight for nearly nine days, there were threeor four films a day at the > Visionario, a longish kilometre away on the oppositeside of the city. > > FEFF does a remarkable job of filling its large theatre, mainly withpeople > from the nearby region to see films from East Asiaand Southeast Asia. But, > to do so, it employs a barrageof breathless publicity which a film scholar > has to shield against to avoid discouragement.I think I am now managing > that for the Japanese films but for others, inretrospect, without realizing > it, I still allowed myself to be put off somethat may well have been > rewarding when I finally found time to read thecatalogue entries. For > example, I ought to have tried the Taiwanese ?TeenageFugitive? by CHANG > Pei-cheng which the catalogue variously describes asrealistic, social > realism, vividly depicted the sense of alienation permeating.... The blurb > had it as ?irresistible comedy?. That film was in the strand?A/B side? from > 80s & 90s ?before FEFF existed?. But, to be fair to myself,I had little > more than four days there and, for example, finally caught ?2/Duo?by SUWA > Nobuhiro, blurbed as ?Amour fou? but which I sa > w as depicting anabusive relationship, hard to watch due to the terrific > acting and to herkeeping coming back for more, even at the end. Mark > Schilling?s catalogue entrywas fair and thoughtful. > > There were also some documentaries. We should not read too much inKOREEDA > Hirokazu being the only Japanese filmmaker in ?Jiseok?, the tribute tothe > late director of Busan I.F.F., as only one filmmaker from each country > wasrepresented. Although the business of the attempted sacking was referred > to, viewerswould be disappointed if they expected the controversy > unravelled. I guess it?sright that Kim should not be defined by that sorry > episode. That story ought tobelong to those who initiated it. There were > also two documentaries on Japanesesubjects ? one by Yves Montmayeur, > ?Kaidan?, which I?ll have to find elsewhere,and a doc. on AUM by the > American-based Ben Braun and Chiaki Yanagimoto. Basedsubstantially on the > investigative work of David E. Kaplan and Andrew Marshall,I think it > benefited greatly from its more western investigative methodology, > validatedby going back to Japanese sources. Their film didn?t mention the > previousdocumentaries by MORI Tatsuya, KUMAI Kei and others, which > assumed more priorknowledge, but it richly complemented them. Those > Japanese archives showed ushow much Asahara of AUM was indulged by the > media, even after the lawyer(SAKAMOTO) pursuing their abusive extraction of > family funds was ?disappeared?along with his family. KITANO Takeshi on his > TV programme made Asaharaparticularly lovable. > > So, it was illuminating for me to watch just after this the 1969 Otokowa > tsurai yo, where the lovable Tora-san was showing selling fake medicines? > Asahara?s original career launch. It had seemed as good a time and place > asany for me to finally lose my Tora-san virginity by seeing a complete > episode ?the first. > > That film was showing as part of a tribute to BAISH? Chieko, on the backof > a screening of ?Plan 75?. I had seen here the original 19-minute section > inthe compendium ?Ten Years Japan?. It had been transformed, with entirely > newroles for Baish? and Stefanie ARIANNE. For me, it went to show what > scriptdevelopment funding might do for some other Japanese independent > films. Alsonice to see, in an industry notorious for ditching slightly > older actresses infavour of younger talent to play their roles, was that > Baish? here gets to playa mere 76-year-old. > > Not gaining any awards but well-received was ?Egoist?, written anddirected > by MATSUNAGA Daishi, from the novel by YAKAYAMA Makoto. Something of afilm > of two halves, the music by SEBU Hiroko didn?t just change, it > stoppedcompletely when a phone call comes out of the blue. The rich, dreamy > musicaccompanied a growing love between a fashion photographer and his > personaltrainer which deepened in sincerity. Matsunaga was at one of the > many FEFF filmpanels where he was challenged on gay lovers being acted by > straight actors.His answer was that there were few box-office-names who had > come out in Japan.In any case, it was beautifully acted. > > On the same panel were the director and actor of ?She Is Me, I Am > Her?(NAKAMURA Mayu). ?Actor? in the singular isn?t exactly all the cast, > but Nahanadoes have the main role in all four sections.?Nahana told us that > she wanted to convey contrasted sides to loneliness,something in which they > succeed, without it being a dreary film.? This was a ?Covid? film ? > necessarily madewith limited cast but also about the only film to mention > the great disturbanceto festivals, films and much else in the previous two > years. That greatenveloping topic only really appeared here on the reviews > of the national filmindustries which are in the catalogue. > > Mark Schilling also got on a credit list as the author of the > originalstory for ?Convenience Story?. Mark told us he gave MIKI Satoshi a > free hand toadapt it, which he did in this siren tale. Although Mark, in > his talk, hadcompared konbini stores to purgatorio for their ability to > sustain lifein a state of non-satisfaction, I had always thought of them > more as infernodue to the zombifying muzak. So, I was greatly relieved that > the detachmentfrom realism in the film extended to the music by UENO K?ji, > which hadinteresting nourishment. > > There was much more, of course, and one piece of good news is that > ChrisBerry will resume his FEFF reviews for Senses of Cinema, having > seenmore, and different, films than me. > > Roger > > -------------- next part -------------- > An HTML attachment was scrubbed... > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20230507/0f84460f/attachment.html > > > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: Kitano endorsed AUM.jpg > Type: image/jpeg > Size: 147546 bytes > Desc: not available > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20230507/0f84460f/attachment.jpg > > > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: Asahara indulged Kitano.jpg > Type: image/jpeg > Size: 161430 bytes > Desc: not available > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20230507/0f84460f/attachment-0001.jpg > > > -------------- next part -------------- > A non-text attachment was scrubbed... > Name: A & Tora-san were fake medicine sellers .jpg > Type: image/jpeg > Size: 145574 bytes > Desc: not available > URL: < > http://mailman.yale.edu/pipermail/kinejapan/attachments/20230507/0f84460f/attachment-0002.jpg > > > > ------------------------------ > > Subject: Digest Footer > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan > > > ------------------------------ > > End of KineJapan Digest, Vol 60, Issue 2 > **************************************** > -- ------------------------------------------------------------------ Shige (CJ) Suzuki, PhD Associate Professor Department of Modern Languages and Comparative Literature Baruch College, The City University of New York (CUNY) 55 Lexington Avenue, Box 6-280, New York, NY 10010 E-mail: SHIGERU.SUZUKI at baruch.cuny.edu Office Phone: 646-312-4235 ------------------------------------------------------------------ -------------- next part -------------- An HTML attachment was scrubbed... URL: From ferranidus at gmail.com Mon May 8 13:44:50 2023 From: ferranidus at gmail.com (Ferran de Vargas) Date: Mon, 8 May 2023 19:44:50 +0200 Subject: [KineJapan] New article on Terayama Shuji's cinema Message-ID: Dear colleagues, On the occasion of the 40th anniversary of Terayama Sh?ji's death, I just published in *Japan Forum* an article putting his cinema in dialogue with the political philosophy of the most influential thinker of the Japanese long 68, Yoshimoto Takaaki: https://www.tandfonline.com/doi/full/10.1080/09555803.2023.2209590?src= With best wishes, Ferran de Vargas (Open University of Catalonia) -------------- next part -------------- An HTML attachment was scrubbed... URL: From dlewis24 at wustl.edu Wed May 10 13:16:05 2023 From: dlewis24 at wustl.edu (Diane Lewis) Date: Wed, 10 May 2023 13:16:05 -0400 Subject: [KineJapan] Visiting teaching position (Japanese film) at Miami University, OH Message-ID: Dear all, I'm writing to share a job posting -- Miami University (Ohio) is looking for someone to teach a Japanese film course online this fall. https://jobs.miamioh.edu/en-us/job/501357/visiting-faculty-japanese Please direct any questions about the position to Kazue Harada ( haradak at miamioh.edu), Associate Professor of Japanese in the Department of German, Russian, Asian, and Middle Eastern Languages. Best, Diane -- Diane Wei Lewis Associate Professor, Film & Media Studies Washington University in St. Louis -------------- next part -------------- An HTML attachment was scrubbed... URL: From matteo.boscarol at gmail.com Thu May 11 20:01:00 2023 From: matteo.boscarol at gmail.com (matteoB) Date: Fri, 12 May 2023 09:01:00 +0900 Subject: [KineJapan] Nagoya Cinematheque closing down Message-ID: Dear all, For those of you interested in the mini-theater landscape in Japan, sad news, it was announced yesterday that Nagoya Cinematheque will be closed down at the end of July. The cinema was established in 1982, by a group active in organising independent screenings in the city since 1971. If I'm not mistaken, the group was also responsible for screening Ogawa Pro's films in the area. Nagoya, the 3rd or 4th biggest city in Japan, is now left with just one mini-theater, Cinemaskhole. mb -------------- next part -------------- An HTML attachment was scrubbed... URL: From halllewelyn at gmail.com Mon May 15 11:30:57 2023 From: halllewelyn at gmail.com (Hal Young) Date: Mon, 15 May 2023 16:30:57 +0100 Subject: [KineJapan] European Archive Query Message-ID: Hi All, Just a quick query. I'm hoping to make some research trips over the next few months, with the aim of visiting a few archives and gaining resources on Japanese film (primarily its 1980s film and experimental film). Are there any particular archives/libraries within Europe that any of you would most recommend? Best, Hal Young -------------- next part -------------- An HTML attachment was scrubbed... URL: From nornes at umich.edu Tue May 16 11:02:35 2023 From: nornes at umich.edu (Markus Nornes) Date: Tue, 16 May 2023 09:02:35 -0600 Subject: [KineJapan] documenta 15 / Cinema Caravan / Tokyo Reels Message-ID: I wrote an article about the controversial documenta fifteen from last year. For those who don't know Documenta, it is one of the world's largest and most prestigious art exhibitions. Last year's exhibition had a budget of some $42 million and involved upwards of 1,500 artists. No one knows for sure. That's becase last year an Indonesian collective shook up the art world by decentering business as usual, inviting art collectives from the global south to invite other collectives and choose their own art. It was brilliant and wonderful. There were two collectives with Japan connections. I was involved in one of them, Tokyo Reels. This was one of the epicenters of claims of anti-Semitism and efforts at censorship. It was incredibly exhausting. It also has had unfortunate personal repercussions that continue to today. I attempted to write about one aspect of it all, the contrast between the two Japan-connected collectives. http://mezosfera.org/tokyo-connections-at-documenta-fifteen-art-and-insensitivity/ But I could write a book, the entire situation was so complicated and compelling. I'll be travelling to Brussels and Jakarta this year to develop a more involved piece. And I'll be crafting a lecture about it, if anyone out there is interested. 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 earljac at gmail.com Fri May 19 03:32:52 2023 From: earljac at gmail.com (Earl Jackson) Date: Fri, 19 May 2023 15:32:52 +0800 Subject: [KineJapan] Upcoming lecture at UCLA Message-ID: I am very grateful to Professor William Marotti for making this possible. Here is the announcement. *Japanese Arts and Globalizations presents:* *?Too Late Too Soon: Discoherence in Immediate Postwar Japanese Film?* *Professor Earl Jackson, Dept. of Foreign Languages and Literatures, Asia University, Taiwan* *Tuesday May 30, 3:00PM* *History Conference Room, 6265 Bunche Hall, UCLA* This lecture builds on Jackson?s reconceptualization of Japanese wartime war films as a crisis in meaning, and the melodrama as an attempt to ameliorate that crisis through affect. Although some films worked to reassert a social rationality, this lecture will focus on films that foreground the prematurity of such reassurances. ?Too late too soon? designates the epistemological discoherence of immediate postwar Japanese films in both their reflections on what had happened and their accounts of the future-present visited upon the devastated nation. Earl Jackson Chair Professor Foreign Languages and Literatures Asia University Professor Emeritus National Chiao Tung University Associate Professor Emeritus University of California, Santa Cruz -------------- next part -------------- An HTML attachment was scrubbed... URL: From lucie.rydzek at univ-lorraine.fr Fri May 26 08:32:16 2023 From: lucie.rydzek at univ-lorraine.fr (Lucie Rydzek) Date: Fri, 26 May 2023 14:32:16 +0200 Subject: [KineJapan] How to get in touch with the Tokyo International Film Festival / Tokyo FilmEx / Japan Cuts Message-ID: <74d7175f-230f-5159-844b-571044bc2ab3@univ-lorraine.fr> Dear specialists of Japanese cinema and moving images, I am working on contemporary Japanese films for my thesis and I would like to contact programmers from the Tokyo International Film Festival, Tokyo FilmEx and Japan Cuts. Would someone kindly accept to help me get in touch with them ? I would be very grateful. Thank you for reading, Best regards, -- Lucie RYDZEK PhD Student Universit? de Lorraine From macyroger at yahoo.co.uk Sun May 28 07:10:37 2023 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 28 May 2023 11:10:37 +0000 (UTC) Subject: [KineJapan] Two Cannes awards References: <410311292.5404748.1685272237158.ref@mail.yahoo.com> Message-ID: <410311292.5404748.1685272237158@mail.yahoo.com> At Cannes, twoJapanese top prizes :- SAKAMOTO Y?ji, ?Best Screenplay? ? ?Monster? / ?? Kaibutsu for Koreeda. YAKUSHO Y?ji, ?Best Actor? in ?Perfect Days? for Wenders https://www.festival-cannes.com/en/awards/ ? Roger -------------- next part -------------- An HTML attachment was scrubbed... URL: From macyroger at yahoo.co.uk Sun May 28 07:14:35 2023 From: macyroger at yahoo.co.uk (Roger Macy) Date: Sun, 28 May 2023 11:14:35 +0000 (UTC) Subject: [KineJapan] Two Cannes awards In-Reply-To: <410311292.5404748.1685272237158@mail.yahoo.com> References: <410311292.5404748.1685272237158.ref@mail.yahoo.com> <410311292.5404748.1685272237158@mail.yahoo.com> Message-ID: <693832536.5501362.1685272475589@mail.yahoo.com> Correction SAKAMOTO K?ji R. On Sunday, 28 May 2023 at 12:10:58 BST, Roger Macy via KineJapan wrote: At Cannes, twoJapanese top prizes :- SAKAMOTO Y?ji, ?Best Screenplay? ? ?Monster? / ?? Kaibutsu for Koreeda. YAKUSHO Y?ji, ?Best Actor? in ?Perfect Days? for Wenders https://www.festival-cannes.com/en/awards/ ? 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 Sun May 28 10:20:43 2023 From: aaron.gerow at yale.edu (Gerow Aaron) Date: Sun, 28 May 2023 10:20:43 -0400 Subject: [KineJapan] Two Cannes awards In-Reply-To: <410311292.5404748.1685272237158@mail.yahoo.com> References: <410311292.5404748.1685272237158.ref@mail.yahoo.com> <410311292.5404748.1685272237158@mail.yahoo.com> Message-ID: Thanks Roger! It also seems that Monster won the Queer Palm. https://newsinfrance.com/the-queer-palm-awarded-to-the-japanese-film-monster/ I think it is the first Japanese film to win that. Aaron > 5/28/23 ??7:10?Roger Macy via KineJapan ????: > > At Cannes, two Japanese top prizes :- > > SAKAMOTO Y?ji, ?Best Screenplay? ? ?Monster? / ?? Kaibutsu for Koreeda. > > YAKUSHO Y?ji, ?Best Actor? in ?Perfect Days? for Wenders > > https://www.festival-cannes.com/en/awards/ > > Roger > > > _______________________________________________ > KineJapan mailing list > KineJapan at mailman.yale.edu > https://mailman.yale.edu/mailman/listinfo/kinejapan -------------- next part -------------- An HTML attachment was scrubbed... URL: